Ivan Vïshnegradsky
Encyclopedia
Ivan Alexandrovich Wyschnegradsky (September 29, 1979), also transliterated as Vïshnegradsky, Wyshnegradsky, Wischnegradsky, Vishnegradsky, or Wishnegradsky (since he emigrated to France, he used "Wyschnegradsky" as spelling for his surname) was a Russian composer primarily known for his microtonal compositions, including the quarter tone scale, though he used scales of up to 72 divisions (mainly third, sixth and twelfth tones).
http://www.voixnouvelles.fr/histo/RB/Photo/g5440.jpg
on May 4, 1893. His father was a banker and his mother wrote poems. His grandfather was a celebrated mathematician who was Minister for Finance from 1888 to 1892. After his baccalaureat, Wyschnegradsky entered the School of Mathematics. He followed the courses of harmony
, composition
and orchestration
(1911–1915) led by Nicolas Sokolov, professor with the Academy of Saint Petersburg. In 1912, he entered the School of Law.
. At the end of the concert, Cui congratulated him "for his moderation".
In 1916, Wyschnegradsky composed The Day of the Brahma, which will become later The Day of the Existence, for narrator, full orchestra and mixed chorus ad libitum
. In 1917, the day before the revolution
, Wyschnegradsky completed his law studies. In November, his father died. Ivan adhered to the ideals of the Russian Revolution and composed The Red Gospel, opus 8. In 1919, he elaborated on his first project on the notation of twelfth-tones.
The following year, Wyschnegradsky and his family moved to Paris. The Pleyel house manufactured a pneumatic-transmission piano for him which did not satisfy him entirely (1921). Wyschnegrasky wished to build a true quarter-tone piano and thought that he can do it only in Germany. He ordered from Straube a Möllendorf-type quarter-tone harmonium
. In 1922 and 1923, he went to several revivals in Germany where he meets R. Stein, A. Haba, J. Mager and W. Möllendorf. The following year, he married Hélène Benois who gave him a son, Dimitri (1924, now Dimitri Vichney), but the union was broken in 1926, and they divorced.
He ordered a quarter-tone piano from Foerster (1927). The Vandelle quartet performed the Prelude and Fugue, opus 15. In 1929, the piano made by Foerster arrives in Paris. He met Lucille Markov (Gayden), his future wife. He also published the Manual of Quarter-tone Harmony (1932). In 1934, he composed Twenty-four preludes in all the tones of the chromatic scale
diatonicized with thirteen sounds, for two pianos in quarter tones (1934).
On January 25, 1937, he attended the fir st concert devoted entirely to his music. He met Olivier Messiaen
, and later Henri Dutilleux
and Claude Ballif
. He recorded the slow movement of the Symphony Thus spoke Zarathustra for four pianos in quarter tones.
In 1942, Wyschnegradsky was arrested by the Germans and transferred to Compiègne
, where he remained two months. His wife, of American nationality, was also arrested and transferred to Vittel
.
On November 11, 1945, Gisèle Peyron and Mady Sauvageot, sopranos, Lili Fabrègue, viola, Yvette Grimaud, Yvonne Loriod
, Pierre Boulez
and Serge Nigg
, pianos gave a concert of works of Wyschnegradsky. Contracting tuberculosis
, he rested at the sanatorium of St. Martin-du-Tertre. In 1947, André Souris gave the première in Belgium of the Symphony Thus spoke Zarathustra for four pianos in Brussels. In 1951, Pierre Boulez, Yvette Grimaud, Claude Helffer and Ina Marika gave a performance of the Second symphonic fragment, opus 24 in Paris. The Revue Musicale published a special issue on Ivan Wyschnegradsky and Nicolas Obouhow.
In 1977, Martine Joste organized a concert at Radio France
. In Canada, Bruce Mather
did the same. In 1978, Alexandre Myrat, at the head of the Philharmonic Orchestra of Radio France, performs the Day of Existence. Ivan Wyschnegradsky is invited by the DAAD as composer-in-residence at Berlin. He cannot go there for reasons of health. Radio-France commissions from him a String trio.
Wyschnegradsky died on September 29, 1979, at 86 years old.
http://www.voixnouvelles.fr/histo/RB/Photo/g5440.jpg
Early life
Ivan Wyschnegradsky was born at Saint PetersburgSaint Petersburg
Saint Petersburg is a city and a federal subject of Russia located on the Neva River at the head of the Gulf of Finland on the Baltic Sea...
on May 4, 1893. His father was a banker and his mother wrote poems. His grandfather was a celebrated mathematician who was Minister for Finance from 1888 to 1892. After his baccalaureat, Wyschnegradsky entered the School of Mathematics. He followed the courses of harmony
Harmony
In music, harmony is the use of simultaneous pitches , or chords. The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the "vertical" aspect of music, as distinguished from melodic...
, composition
Musical composition
Musical composition can refer to an original piece of music, the structure of a musical piece, or the process of creating a new piece of music. People who practice composition are called composers.- Musical compositions :...
and orchestration
Orchestration
Orchestration is the study or practice of writing music for an orchestra or of adapting for orchestra music composed for another medium...
(1911–1915) led by Nicolas Sokolov, professor with the Academy of Saint Petersburg. In 1912, he entered the School of Law.
Music career
The first public performance of Wyschnegradsky's Andante religioso and funebre was performed at the theatre Pavlovsk under the direction of Aslanov, in the presence of César CuiCésar Cui
César Antonovich Cui was a Russian of French and Lithuanian descent. His profession was as an army officer and a teacher of fortifications; his avocational life has particular significance in the history of music, in that he was a composer and music critic; in this sideline he is known as a...
. At the end of the concert, Cui congratulated him "for his moderation".
In 1916, Wyschnegradsky composed The Day of the Brahma, which will become later The Day of the Existence, for narrator, full orchestra and mixed chorus ad libitum
Ad libitum
Ad libitum is Latin for "at one's pleasure"; it is often shortened to "ad lib" or "ad-lib"...
. In 1917, the day before the revolution
Russian Revolution
Russian Revolution can refer to:* Russian Revolution , a series of strikes and uprisings against Nicholas II, resulting in the creation of State Duma.* Russian Revolution...
, Wyschnegradsky completed his law studies. In November, his father died. Ivan adhered to the ideals of the Russian Revolution and composed The Red Gospel, opus 8. In 1919, he elaborated on his first project on the notation of twelfth-tones.
The following year, Wyschnegradsky and his family moved to Paris. The Pleyel house manufactured a pneumatic-transmission piano for him which did not satisfy him entirely (1921). Wyschnegrasky wished to build a true quarter-tone piano and thought that he can do it only in Germany. He ordered from Straube a Möllendorf-type quarter-tone harmonium
Harmonium
A harmonium is a free-standing keyboard instrument similar to a reed organ. Sound is produced by air being blown through sets of free reeds, resulting in a sound similar to that of an accordion...
. In 1922 and 1923, he went to several revivals in Germany where he meets R. Stein, A. Haba, J. Mager and W. Möllendorf. The following year, he married Hélène Benois who gave him a son, Dimitri (1924, now Dimitri Vichney), but the union was broken in 1926, and they divorced.
He ordered a quarter-tone piano from Foerster (1927). The Vandelle quartet performed the Prelude and Fugue, opus 15. In 1929, the piano made by Foerster arrives in Paris. He met Lucille Markov (Gayden), his future wife. He also published the Manual of Quarter-tone Harmony (1932). In 1934, he composed Twenty-four preludes in all the tones of the chromatic scale
Chromatic scale
The chromatic scale is a musical scale with twelve pitches, each a semitone apart. On a modern piano or other equal-tempered instrument, all the half steps are the same size...
diatonicized with thirteen sounds, for two pianos in quarter tones (1934).
On January 25, 1937, he attended the fir st concert devoted entirely to his music. He met Olivier Messiaen
Olivier Messiaen
Olivier Messiaen was a French composer, organist and ornithologist, one of the major composers of the 20th century. His music is rhythmically complex ; harmonically and melodically it is based on modes of limited transposition, which he abstracted from his early compositions and improvisations...
, and later Henri Dutilleux
Henri Dutilleux
Henri Dutilleux is one of the most important French composers of the second half of the 20th century, producing work in the tradition of Maurice Ravel, Claude Debussy, and Albert Roussel, but in a style distinctly his own...
and Claude Ballif
Claude Ballif
Claude Ballif was a French composer.His music is known as a combination of tonality and serialism - a system that he named metatonality....
. He recorded the slow movement of the Symphony Thus spoke Zarathustra for four pianos in quarter tones.
In 1942, Wyschnegradsky was arrested by the Germans and transferred to Compiègne
Compiègne
Compiègne is a city in northern France. It is designated municipally as a commune within the département of Oise.The city is located along the Oise River...
, where he remained two months. His wife, of American nationality, was also arrested and transferred to Vittel
Vittel
Vittel is a commune in the Vosges department in Lorraine in northeastern France.Mineral water is bottled and sold here by Nestlé Waters France, under the Vittel brand.-History:...
.
On November 11, 1945, Gisèle Peyron and Mady Sauvageot, sopranos, Lili Fabrègue, viola, Yvette Grimaud, Yvonne Loriod
Yvonne Loriod
Yvonne Loriod was a French pianist, teacher, and composer, and the second wife of composer Olivier Messiaen. Her sister was the Ondes Martenot player Jeanne Loriod.-Life:...
, Pierre Boulez
Pierre Boulez
Pierre Boulez is a French composer of contemporary classical music, a pianist, and a conductor.-Early years:Boulez was born in Montbrison, Loire, France. As a child he began piano lessons and demonstrated aptitude in both music and mathematics...
and Serge Nigg
Serge Nigg
-Biography:After initial studies with Ginette Martenot, Nigg entered the Paris Conservatory in 1941 and studied harmony with Olivier Messiaen and counterpoint with Simone Plé-Caussade. In 1945, he met René Leibowitz, who introduced him to the twelve-tone technique of composition...
, pianos gave a concert of works of Wyschnegradsky. Contracting tuberculosis
Tuberculosis
Tuberculosis, MTB, or TB is a common, and in many cases lethal, infectious disease caused by various strains of mycobacteria, usually Mycobacterium tuberculosis. Tuberculosis usually attacks the lungs but can also affect other parts of the body...
, he rested at the sanatorium of St. Martin-du-Tertre. In 1947, André Souris gave the première in Belgium of the Symphony Thus spoke Zarathustra for four pianos in Brussels. In 1951, Pierre Boulez, Yvette Grimaud, Claude Helffer and Ina Marika gave a performance of the Second symphonic fragment, opus 24 in Paris. The Revue Musicale published a special issue on Ivan Wyschnegradsky and Nicolas Obouhow.
In 1977, Martine Joste organized a concert at Radio France
Radio France
Radio France is a French public service radio broadcaster.-Mission:Radio France's two principal missions are:* To create and expand the programming on all of their stations; and...
. In Canada, Bruce Mather
Bruce Mather
Bruce Mather is a Canadian composer, pianist, and writer who is particularly known for his contributions to contemporary classical music. One of the most notable composers of microtonal music, he was awarded the Jules Léger Prize twice, first in 1979 for his Musique pour Champigny and again in...
did the same. In 1978, Alexandre Myrat, at the head of the Philharmonic Orchestra of Radio France, performs the Day of Existence. Ivan Wyschnegradsky is invited by the DAAD as composer-in-residence at Berlin. He cannot go there for reasons of health. Radio-France commissions from him a String trio.
Wyschnegradsky died on September 29, 1979, at 86 years old.
Works
| Chromatic (semitone) works |
|---|
| La Journée de l'existence, for recitation, orchestra & choir ad. lib., without Op. (1916–1917, revised 1927 & 1939) |
| L'automne (words by F. Nietzsche, translated to Russian), for bass-baritone & piano, Op. 1 (1917) Ed. Belaieff. |
| Préludes (2), for piano, Op. 2 (1916) Ed. Belaieff. |
| Le soleil décline (words by F. Nietzsche), for bass-baritone & piano, Op. 3 (1917–1918) Ed. Belaieff. |
| Le scintillement des étoiles (words by Sophie Wyschnegradsky, his mother), for soprano & piano, Op. 4 (1918) |
| Quatre fragments, for piano (1st version), Op. 5 (1918) |
| L'Évangile Rouge (words by Vassili Kniaseff), cycle for voice & piano (1st version), Op. 8 (1918–1920) |
| Le mot, for soprano & piano, Op. 36 (1953) |
| Prélude, for piano, Op. 38a (1956) |
| String Quartet #3, Op. 38b (1945–1958) |
| Étude sur le carré magique sonore, for piano, Op. 40 (1956) Ed. Belaieff. |
| Third-tone Works |
|---|
| Prélude et danse, for Carrillo third tones piano, Op. 48 (1966) |
| 31st-tone Work |
|---|
| Étude ultrachromatique, for Fokker 31-tone organ, Op. 42 (1959) |
| Sixth-tone Works |
|---|
| Prélude et fugue, for 3 pianos in sixth tones, Op. 30 (1945) |
| Poème, for Carrillo sixth tones piano, Op. 44a (1958) |
| Études sur les mouvements rotatoires, for 3 pianos in sixth tones & orchestra, Op. 45b (1961) |
| Composition I, for 3 pianos in sixth tones, Op. 46a (1961) |
| Dialogue à trois, for 3 pianos in sixth tones, Op. 51 (1973–1974) |
| Méditations (2), for 3 pianos in sixth tones, without Op. (undated) |
| Twelfth-tone Works |
|---|
| Arc-en-ciel, for 6 pianos in twelfth tones, Op. 37 (1956) |
| Étude, for Carrillo twelfth tones piano, Op. 44b (1958) |
| Mixed Micro-intervals |
|---|
| Chant douloureux et étude, for violin & piano, Op. 6 (1918) (third, quarter, sixth & eighth tones in the violin part) |
| Méditation sur deux thèmes de la Journée de l'existence, for cello & piano, Op. 7 (1918–1919) (third, quarter & sixth tones in the cello part) |
| Chant nocturne, for violin & 2 pianos in quarter tones, Op. 11 (1927, revised 1971) (quarter, sixth & eighth tones in the violin part) |
| Œuvre sans titre, for 3 pianos in sixth tones & piano in quarter tones, without Op. (undated) |
| Quarter-tone Works |
|---|
| Quatre fragments, for 2 pianos in quarter tones (2nd version), Op. 5 (1918) |
| L'Évangile Rouge, cycle for voice & 2 pianos in quarter tones (2nd version), Op. 8 (1918–1920) |
| Chants sur Nietzsche (2), for baritone & 2 pianos in quarter tones, Op. 9 (1923) |
| Variations sur la note Do, for 2 pianos in quarter tones, Op. 10 (1918–1920) |
| Dithyrambe, for 2 pianos in quarter tones, Op. 12 (1923–1924, revised vers. by Bruce Mather, 1991) |
| String Quartet #1, Op. 13 (1923–1924) |
| Chœurs (2, words by A. Pomorsky), for mixed choir, 4 pianos in quarter tones & percussions, Op. 14 (1926) |
| Prélude et fugue sur un chant de l'Évangile rouge, for quartertone piano, version for string quartet (lost), Op. 15 (1927) |
| Prélude et danse, for 2 pianos in quarter tones, Op. 16 (1926) |
| Ainsi parlait Zarathoustra, symphonie, for 4 pianos in quarter tones (sketches for orchestration in Bibliothèque Nationale, Paris), Op. 17 (1929–1930, revised 1936, Ed. L'Oiseau-Lyre) |
| String Quartet #2, Op. 18 (1930–1931) |
| Études de concert(2), for 2 pianos in quarter tones, Op. 19 (1931) |
| Étude en forme de scherzo, for 2 pianos in quarter tones, Op. 20 (1931) |
| Prélude et fugue, for 2 pianos in quarter tones, Op. 21 (1932) |
| Pièces (2), for 2 pianos in quarter tones, without Op. (1934) |
| Préludes dans tous les tons de l'échelle chromatique diatonisée à 13 sons (24), for 2 pianos in quarter tones, Op. 22 (1934, rev. 1960) Ed. Belaieff. |
| Premier fragment symphonique, for 4 pianos in quarter tones, Op. 23a; for orchestra, Op. 23c (1934, orch. vers. 1967) |
| Deuxième fragment symphonique, for 4 pianos in quarter tones, timpani & percussions, Op. 24 (1937) |
| Poème, for 2 pianos in quarter tones, without Op. (1937) |
| Linnite, pantomime in 1 act & 5 scenes, for 3 voices & 4 pianos in quarter tones, Op. 25 (1937) |
| À Richard Wagner, for baritone & 2 pianos in quarter tones, Op. 26 (1934) |
| Acte chorégraphique, for bass-baritone, mixed choir, 4 pianos in quarter tones, percussions & ad. lib. instruments (viola, clarinet in C & balalaika), Op. 27 (1937–1940) |
| Cosmos, for 4 pianos in quarter tones, Op. 28 (1939–1940) Ed. Belaieff. |
| Chants russes (2), for bass-baritone & 2 pianos in quarter tones, Op. 29 (1940–1941) |
| Troisième fragment symphonique, for 4 pianos in quarter tones & ad. lib. percussions, Op. 31 (1946) |
| Fugues (2), for 2 pianos in quarter tones, Op. 32 (1951) |
| Variations sans thème et conclusion (5), for orchestra, Op. 33 (1951–1952) |
| Sonate en un mouvement, for viola & 2 pianos in quarter tones, Op. 34 (1945–1959) |
| Transparence I, for Onde Martenot & 2 pianos in quarter tones, Op. 35 (1953) |
| Quatrième fragment symphonique, for 4 Ondes Martenot & 4 pianos in quarter tones, Op. 38c (1956) |
| Polyphonies spatiales, for piano, harmonium, Onde Martenot, percussions & string orchestra, Op. 39 (1956) |
| Études sur les densités et les volumes, for 2 pianos in quarter tones, Op. 39b (1956) |
| Dialogue à deux, for 2 pianos in quarter tones, Op. 41 (1958–1973) |
| Dialogue, for 2 pianos in quarter tones, 8 hands, without Op. (1959) |
| Composition en quarts de ton for string quartet Op. 43 (1960) Ed. Belaieff. |
| Études sur les mouvements rotatoires, for 2 pianos in quarter tones, 8 hands, Op. 45a.; for chamber orchestra, Op. 45c (1961) Ed. Belaieff. |
| Composition II, for 2 pianos in quarter tones, Op. 46b (1960) |
| Transparence II, for Onde Martenot & 2 pianos in quarter tones, Op. 47 (1962–1963) |
| Intégrations, for 2 pianos in quarter tones, Op. 49 (1962) |
| L'Éternel Étranger, for voices, mixed choir, 4 pianos in quarter tones, percussions and orchestra (unfinished orchestration), Op. 50 (1940–1960) |
| Symphonie en un mouvement, for orchestra, Op. 51b (1969) |
| Composition, for Ondes Martenot quartet, Op. 52 (undated) |
| String Trio, Op. 53 (1979, unfinished, completed by Claude Ballif Claude Ballif Claude Ballif was a French composer.His music is known as a combination of tonality and serialism - a system that he named metatonality.... ) |
| Trauergesang, Epigrammen, Ein Stück, for quartertone piano, without Op. (undated, found by M. Smolka in Alois Hába's archives in 1992) |
Recordings
- Ivan Wyschnegradsky : Ainsi Parlait Zarathoustra, opus 17. Monique Haas, Ina Marika, Edouard Staempfli, Max Vredenburg, pianos sous la direction du compositeur. LP 78 tours 1938, L'Oiseau-Lyre Editions.
- Ivan Wyschnegradsky : Méditation sur 2 thèmes de la Journée de l'Existence opus 7, Prélude et fugue opus 21, Vingt-quatre préludes opus 22 (extraits), Troisième Fragment symphonique opus 32, Etude sur le carré sonore magique opus 40, Etude sur les mouvements rotatoires opus 45, Prélude et Etude opus 48, Entretien du compositeur avec Robert Pfeiffer. S. Billier, M. Joste, J.F. Heisser, J. Koerner, pianos, J. Wiederker, violoncelle sous la direction de M. Decoust. Editions Block, Berlin, 2 LP, EB 107/108.
- Piano Duo. Ivan Wyschnegradsky : Concert Etude opus 19, Fugue opus 33, Integration opus 49. Bruce Mather : Sonata for two pianos. Bengt Hambraeus : Carillon. Bruce Mather and Pierrette Le Page, pianos. Mc Gill University Records 77002.
- Music for three pianos in sixths of tones. Ivan Wyschnegradsky : Dialogue à trois opus 51, Composition opus 46, Prélude et Fugue opus 30. Bruce Mather : Poème du Délire. Jack Behrens : Aspects. Louis-Philippe Pelletier, Paul Helmer, François Couture, pianos sous la direction de Bruce Mather. Mc Gill University Records 83017.
- Ivan Wyschnegradsky : Vingt-quatre Préludes opus 22, Intégrations opus 49. Henriette Puig-Roget and Kazuoki Fujii, pianos. Fontec records, Tokyo, FOCD 3216.
- Between the Keys, Microtonal Masterpieces of the 20th century. Charles Ives : Three Quarter-tone Pieces for Two Pieces, Ivan Wyschnegradsky : Meditation on Two Themes from the Day of Existence opus 7,transcription for bassoon and piano by Johnny Reinhard, Harry Partch : Yankee Doodle Fantasy, John Cage : Sonatas and Interludes for Prepared Piano, The American Festival of Microtonal Music Ensemble, dir. Johnny Reinhard, Newport Classic, NPD 85526.
- Ivan Wyschnegradsky : String Quartet # 1, opus 13, String Quartet # 2, opus 18, String Quartet #3, opus 38bis, Composition for String Quartet opus 43, Trio for strings opus 53. Arditti Quartet. Edition Block, Berlin, CD-EB 201
- Hommage à Ivan Wyschnegradsky : Transparences I opus 36, Transparences II opus 47, Composition en quarts de ton pour quatuor d'ondes Martenot, Cosmos opus 29. Serge Provost Ein Horn. Bruce Mather Yquem. Jean Laurendeau, ondes, Pierrette Lepage, Bruce Mather, Marc Couroux, François Couture, Paul Helmer, pianos, Ensemble d'Ondes Martenot de Montréal. Société Nouvelle d'Enregistrement, SNE-589-CD
- Ivan Wyschnegradsky : Etudes sur les mouvements rotatoires opus 45c, Sonate pour alto et piano opus 34, Dialogue opus posthume, Etudes sur les densités et les volumes opus 39bis, Deux chants sur Nietzsche opus 9, Dithyrambe opus 12. Jacques Bona, baryton-basse, Teodor Coman, alto, Sylvaine Billier, Martine Joste, Gérard Frémy, Yves Rault, pianos et l'Ensemble 2e2m sous la direction de Paul Méfano. 2e2m Collection.
- Lyrische Aspekte unseres Jahrhundert. Martin Gelland, violon et Lennart Wallin, piano. Othmar Schoeck : Sonate pour violon et piano, opus 22. Ivan Wyschnegradsky : Chant douloureux opus 6, pour violon et piano. Chant nocturne opus 11 (Klaus-Georg Pohl et Ute Gareis, pianos à quarts de ton). Allen Sapp : And the Bombers Went Home pour violon et piano. Willy Burkhard : Sonate pour violon et piano opus 78. Richard Strauss : Allegretto pour violon et piano. Hanns Jelinek : Zehn Zahme Xenien opus 32 pour violon et piano. Dieter Acker : Sonate pour violon solo. Vienna Modern Masters, VMM 2017
- 50 Jaar Stichting Huygens-Fokker. Peter Schat : Collages voor 31-toonsorgel. Henk Badings : Sonate 3 voor twee violen, Reeks van kleine klankstukken. Ivan Wyschnegradsky : Etude Ultrachromatique. Jos Zwaanenburg : Cherubs' Chirrup. Rafael Reina : Drag on ... Claustrophobia. Stichting Huygens-Fokker, 1999.
- L'Evangile rouge (The Red Gospel). Ivan Wyschnegradsky : L'Evangile Rouge opus 8, Deux chants sur Nietzsche opus 9, Deux chants russes opus 29, A Richard Wagner opus 26 . Bruce Mather : Un cri qui durerait la mer, Des laines de lumière. Michel Ducharme, baryton-basse, Pierrette Lepage et Bruce Mather, pianos accordés en quarts de ton. Société Nouvelle d'Enregistrement, SNE-647-CD.
- La Journée de l'existence, confession de la vie devant la vie pour orchestre, chœur ad libitum et récitant, shiiin 4 CD 2009.
Writings
- Liberation of sound (in Russian). Nakanounié. Berlin, 7 janvier 1923.
- Liberation of rhythm (en russe). Nakanounié, Berlin, 18 et 25 mars 1923.
- Quelques considérations sur l'emploi des quarts de ton en musique. Le monde musical, Paris, 30 juin 1927.
- Quartertonal music, its possibilities and organic Sources, Pro Musica Quarterly, New York, 19 octobre 1927, pp 19–31.
- Musique et Pansonorité. La revue Musicale IX, Paris, décembre 1927, pp 143.
- Manuel d'harmonie à quarts de ton, La Sirène Musical, Paris, 1932, republished by Ed. Max Eschig, Paris, 1980.
- Etude sur l'harmonie par quartes superposées. Le Ménestrel 12 juin 1935, p 125 et 19 juin 1935, p 133.
- La musique à quarts de ton et sa réalisation pratique. La Revue Musicale 171, 1937.
- L'énigme de la musique moderne. La Revue d'esthétique, Janvier-mars 1949, pp 67–85 et avril-juin 1949, pp 181–205.
- Préface à un traité d'harmonie par quartes superposées. Polyphonie 3,1949, p 56.
- Problèmes d'ultrachromatisme. Polyphonie 9–10, 1954, pp 129–142.
- Les Pianos de J. Carrillo. Guide du concert et du disque, Paris, 19 janvier 1959.
- Continuum électronique et suppression de l'interprète. Cahiers d'études de Radio Télévision, Paris, Avril 1958, pp 43–53.
- L'ultrachromatisme et les espaces non octaviants, La Revue Musicale # 290–291, pp. 71–141, Ed. Richard-Masse, Paris, 1972.
- La Loi de la Pansonorité (Manuscript, 1953), Ed. Contrechamps, Geneva, 1996. Preface by Pascal Criton, edited by Franck Jedrzejewski. ISBN 2-940068-09-7.
- Une philosophie dialectique de l'art musical (Manuscript, 1936), Ed. L'Harmattan, Paris, 2005, edited by Franck Jedrzejewski. ISBN 2-7475-8578-6.