The above photo shows the percussion and brass ensemble of the SLEE SINFONIETTA in performance. The acoustics of the SLEE CONCERT HALL are excellent and its organ (masterfully played by British organist Kevin Bowyer) was in perfect tune with the instruments (which is not always the case, as organists know only too well). The two theremin cellos were amplified through individual stage monitors (the light brown boxes seen on either side of the cellists) as well as through two diamond speakers (seen at the left and right of the stage). These diamond speakers are impressive replicas of the speaker used by the late theremin virtuoso, Clara Rockmore. Like the theremin cellos, they were created by Floyd Engels.
The concert was followed by a very interesting panel discussion and Q & A period, presided over by Olivia Mattis. From left to right, the participants were: organist Kevin Bowyer, conductor Magnus Martensson, composer and professor of music composition David Felder, bass baritone Nicholas Isherwood, the father of the modern theremin cello Floyd Engels, Professor Olivia Mattis, author and musicologist Albert Glinsky, theremin cellists Jonathan Golove and Mary Artmann.
The evening ended with a performance of a movement from one of the solo cello suites by Johann Sebastian Bach. As theremin cellist, Mary Artmann, pointed out, playing the theremin cello is like playing a cello with only one string. This is a disadvantage in playing the traditional cello repertoire because the acoustic cello has four strings and two notes can be played at once. In order to solve the problem of the single-voiced electronic theremin cello, both theremin cellists participated in what would normally have been a work for a single instrumentalist. It was an interesting and delightful demonstration. A perfect finish to an important event.
At the top of the fingerboard (where the tuning pegs would be on a traditional cello), Floyd Engels included the small brass plaque seen above. It is Mr. Engels' intention to make a limited number of these unusual instruments and offer them for sale to interested individuals or institutions. I will try to keep up to date on what is happening in this regard, and post a link on my website for anyone who might be interested in knowing more about this.
Olivia Mattis is to be congratulated on the success of her presentation of ECUATORIAL and on the excellent pre-concert talk she gave. Her passion for composer Edgard Varese and her wonderful anecdotes about inventor Leon Theremin (whom she met personally and interviewed in France, in 1989) really lit up the evening.
This event confirmed something I have long suspected about the music of Edgard Varese. In order to fully appreciate it, it must be heard live and be performed by musicians who are really up to the monumental task of playing it. According to Nicolas Slonimsky, who conducted the premiere of the work in 1934, the first performance was a "terrible disaster"! I cannot think of a more noble and praiseworthy achievement for someone of Olivia Mattis' dedication to, and passion for Varese, than being responsible for the presentation of this moving work as it was intended to be heard, interpreted by musicians worthy of the task.
Take A Look Inside The Theremin Cello