for six theremins

“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).

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”.


Theremin Center | People