Search - Joshua Pierce, Elizabeth Parcells, Carol Eaton Elowe :: Music from the Ether: Original Works for Theremin

Music from the Ether: Original Works for Theremin
Joshua Pierce, Elizabeth Parcells, Carol Eaton Elowe
Music from the Ether: Original Works for Theremin
Genres: Special Interest, Pop, Classical
 
  •  Track Listings (12) - Disc #1

As her hands dance around the instrument's antennas, Lydia Kavina proves the theremin is no mere producer of Hollywood sound effects. Russian theremin virtuoso Kavina presents the first release EVER dedicated solely to ori...  more »

     
?

Larger Image

CD Details

All Artists: Joshua Pierce, Elizabeth Parcells, Carol Eaton Elowe, Kristen Fox
Title: Music from the Ether: Original Works for Theremin
Members Wishing: 5
Total Copies: 0
Label: Mode
Release Date: 6/22/1999
Genres: Special Interest, Pop, Classical
Styles: Vocal Pop, Chamber Music, Historical Periods, Classical (c.1770-1830), Instruments, Electronic
Number of Discs: 1
SwapaCD Credits: 1
UPC: 764593007623

Synopsis

Album Description
As her hands dance around the instrument's antennas, Lydia Kavina proves the theremin is no mere producer of Hollywood sound effects. Russian theremin virtuoso Kavina presents the first release EVER dedicated solely to original compositions for the instrument - spanning the "golden age" of the theremin from its invention in the 1920s to contemporary works. One of the first attempts to unite music and scientific technology in the 20th century, the theremin is considered to be the ancestor of modern electronic musical instruments. Its evolution from scientific curiosity (discussed in scientific journals and manufactured by RCA) to virtuoso classical instrument (played by Clara Rockmore in Carnegie Hall) to "instrument of the future" (according to Cage, Var¸se, Grainger and others) to Hollywood sound effect (played in soundtracks to Spellbound, The Day the Earth Stood Still, The Lost Weekend, etc.) to rock-and-roll instrument (used by The Beach Boys, Led Zeppelin, Phish, Portishead and others) has been well documented. This disc is full of discoveries, including Martinu's Fantasia, and Percy Grainger's graphically notated Free Music #1 (1935) for 4 theremins, along with other "period" works by Schillinger (known for his writings on music and as a guru to composers from Gershwin to Earle Brown) and Isidor Achron (the accompanist to Heifetz). Modern works are represented by Kavina herself, Brazilian Jorge Antunes (with electronic tape) and Russian Vladimir Komarov, whose work also incorporates the inventor's voice and a rendition of Glinka's infamous The Lark, which Theremin had performed for Lenin to demonstrate the instrument. Lydia Kavina is the world's leading thereminist today. The granddaughter of Leon Theremin's first cousin, she was the inventor's last protˇgˇe. She began studying the instrument with him at the age of nine, and was concertizing by age fourteen. Since then, Kavina has given over 500 performances. She has also appeared in Howard Shore's soundtracks to eXistenZ and the Oscar-winning movie Ed Wood, and has performed in the Tom Waits/Robert Wilson collaborations Alice and The Black Rider. Kavina now serves on the lecture staff of The Glinka Museum and is affiliated with the Theremin Center, both in Moscow.

Similarly Requested CDs

 

CD Reviews

Theremin as an instrument, not a curiosity
Steve Bryson | Corte Madera, CA United States | 04/29/2002
(5 out of 5 stars)

"This is a great album. I particularly like Lydia Kavina's original compositions, where the Theremin is clearly the ideal instrument. Kavina's use of the Theremin is much more effective than Clara Rockmore's. While Rockmore's recordings show skill and ability, I cannot imagine anyone saying "yes, the Theremin is the ideal instrument" for the music on Rockmore's album. Speaking as an electronic musician who loves to explore the frontiers of music, I feel that under Rockmore the Theremin's appeal was more for its curiosity than for its appropriateness to the music.With Lydia Kavina we have a different situation entirely. The music is ideal for the Theremin, and many of the compositions (particularly Kavina's) have real emotional power. I cannot imagine these pieces played with any other instrument (besides a synthesizer programmed to sound like a theremin). Lydia Kavina is exploring a new musical space, appropriate to the Theremin. This album gives a fine sampling of that space, hopefully hinting at more to come."
Kavina Is The Greatest!
David J Candy | 05/20/2000
(5 out of 5 stars)

"After listening to this disque repeatedly, I would now dare put forth the notion that Lydia Kavina may have proven to the world that she is the greatest thereminist of all - even better than the legendary Clara Rockmore. Whilst Rockmore may be the better performer in a solo/piano accompaniment setting, she very rarely played in an emsemble setting with the rest of the 'serious' instruments found in the orchestra. Kavina's real strength is in her ability to successfully mesh the unique sound of the thereminvox with other orchestral instruments. Her rendition of Bohuslav Martinu's "Fantasy For Thereminvox, Oboe, Piano and Strings" (the second-most overlooked and forgotten piece of classical-electronic music - the first being, of course, Darius Milhaiud's "Suite for Ondes-Martenot And Piano") is truly incredible. For those of you listeners who appreciate how well the oboe and viola work and sound together, Ms. Kavina creates the same effect with the thereminvox and oboe in Martinu's work. Unlike Rockmore's novelty-sound in "The Art Of The Theremin", Kavina makes the thereminvox work as capable and as successful as any of the more 'convential' instruments found on the disque.The music featured on this disque is as bright and fresh as "The Art Of The Theremin" sounds like muzak for the funeral home.If you need further proof of the ability of this performer, then check out Kavina's brilliant work on the "Ed Wood" soundtrack."
Good Overall
A. S. Templeton | Seattle, WA USA | 02/27/2002
(3 out of 5 stars)

"Miss Kavina is a very talented thereminist, certainly up there with the likes of Clara Rockmore and Samuel J. Hoffman.Nevertheless her choices in repertoire for this CD are mostly forgettable. Free Music #1 for four theremins (1936) was no doubt very avant garde at the time, but it's no more listenable now than then.Also the timbre of her instrument in most of the pieces varies from overtone-less sinewave to drinking-straw nasal buzz, with nothing pleasant in between. Absent are the sweet, second-harmonic and pitch/time-variant harmonics that make Rockmore's ancient thermionic custom machine so nice to listen to.But nevertheless Miss Kavina is to be applauded for helping keep the theremin visible in the electronic music field, with her emphasis on live performance and traditional musicianship, rebuffing the studioism and MIDI-ization of the last three decades.Definitely a worthy addition to all theremin enthusiasts' CD shelves."