Seasons Of Love [Concerto for Theremin by Kalevi Aho]

Clara Rockmore, in her “Theremin Method” published in 1998, defined thereminists as those who use the theremin as a voice to interpret real music, rather than a magic toy for producing strange and eerie sounds. Robert Moog once lamented that Leon Theremin invented an instrument with a unique sound, but musicians simply used it to play in existing musical styles.

I like Clara Rockmore, and I like Robert Moog. But which is better? There’s only one way to find out!

Kalevi Aho’s Theremin Concerto is a modern Modern Classical classic. I’ve heard Carolina Eyck perform it twice now, once in a streamed concert and once at the Royal Albert Hall during the 2022 BBC Proms. It bears repetition – I found the first time difficult, something I often find with modern classical, and I felt able to appreciate it much more the second time. There are eight movements, each corresponding to one of the eight seasons of the Sami – take that, Vivaldi! and there is a real sense of a cycle, with each movement a natural progression from the last.

Aho tends towards Moog’s vision for the theremin, celebrating its unique sound and properties – broad octave range, infinite legato, smooth glissando. There’s never a sense that the theremin is imitating a violin or any other instrument, in fact there are times when different sections of the orchestra often seem to be imitating the theremin. The concerto also features theremin and voice duets, Eyck’s speciality, and there are passages of abstract or perhaps magical sound as well as imitated birdsong.

Aho has described the theremin as a shamanistic instrument and its player as a magician. This is never more true than when watching Eyck’s highly expressive style of play, casting musical spells through movement. The Albert Hall was the perfect venue for a magic show. This is a performance space that feels like its’ own self-contained universe, and a universe in which it is completely normal to look up and see the inverted mushrooms floating above.

Although the focus is on the theremin, the concerto also stands out in its use of percussion, which is often subtle, but still central to every movement, and incidentally requiring a fascinating line-up of unusual percussive instruments and machines.  

U Can't Touch This [Open Theremin]

In her book "Method for Theremin" Clara Rockmore, one of the greatest theremin players, defines a thereminist as one who approaches and welcomes it as yet another voice with which to interpret real music, not a magic toy for producing strange and eerie sounds.

[Open Theremin custom case version 2]

I have to be honest. When I built my Open Theremin my intentions were not entirely honourable. I intended to create a soundscape for an animation. I did have some ideas about musical elements but strange and eerie sounds were definitely a major part of the plan.

However my intentions have changed. The theremin is not an instrument you can just pick up and play, and it quickly became apparent that I'd have to learn the basics to control it. I've been working through books by Clara Rockmore and Carolina Eyck, and the more I've practiced, the more I've enjoyed trying to play music, even if it's not quite a virtuoso performance.

[Presented for your amusement...]

I still have plans for the animation, and a theremin-based musical score is still a possibility. Strange and eerie sounds are now on the back burner, and while I can't quite describe myself as a thereminist yet, I'm enjoying the challenge of becoming one.