GLISSANDI
for
six theremins
(1997)
“Glissandi”
was originally written for six live theremin-voxs. Initialy
was not able to find enough theremin-vox players, thus I was
constrained to make a version for one live Theremin-vox (played
by Lydia Kavina) and five prerecorded theremin-voxs. This was
a sidestep from the original conception of the piece, that presuppose
a free simultaneous “surf” of all the theremin-voxs. The score
constitute a partially closed (terminated) structure that have
not a fixed beginning and every player can start on the score
place that is more attractive for him (her), but there is a
established for all the theremin-voxs final (when the voice
suddenly appears). |
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The
version I have recorded, with the five prerecorded theremin-voxs
some way contradicts the original conception since the tape
performance is always identical while the Lydia Kavina theremin-voxs
part is always different and this fact results in a even new
formal resolution of the “Glissandi” every time it is performed. |
In several pieces,
like in “Glissandi” are tree elements (categories): the sound by itself,
the body gesture (motion) that go with the sound and finally, the
body gesture by itself. “Glissandi” try to handle the theremin-voxs
in another point of view, that is theremin-voxs is an instrument capable
(by its nature) of non-temperated behavior and receive now new possibilities,
beyond the diatonic and traditional treatment it is used generally.
The body gestures shall now create a new musical language, and this
objective was partially achieved by “Glissandi”.
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