| Theremin discovered the phenomenon that was to become his new instrument quite by accident in 1917 at a technical institute in Russia, where he was a student. He was working on a device to measure the density of gasses under pressure. He discovered that the apparatus was very sensitive, interpreting even the slightest motion of his hands in the surrounding air. He attached a set of earphones to the device and could hear the fluctuations of the instrument as musical tones. After four years of development, the instrument was patented in 1921. The instrument was first unveiled at an electronics exposition in Moscow in 1922 and attracted the attention of Lenin who expressed great optimism that it would advance the cause of Communism by serving as a propaganda tool for national electrification. Theremin was sent across Russia to demonstrate the instrument and in 1927 he was sent abroad to show off the Soviets latest technological and scientific advances. | |
The public was amazed and intrigued by the Theremin's magical playing technique, which added a high degree of theatricality to the performances. When he played at the Paris Opera, police were called to keep order among the crowds that thronged to the performance. Theremin arrived in America in 1928, wooing New York society with his enchanting instrument
Click Vocalise to download and hear the Theremin in action. |
Theremin himself described the operation of his instrument as "using an alternating current of
suitable frequency, tones of varying pitch are easily obtainable. A small vertical rod is used as
the antenna. When the instrument is in operation, electromagnetic waves of very weak energy are
generated around this rod. These waves are of a definite length and frequency. The approach of a
hand, which is an electrical conductor, alters the conditions in the electromagnetic field
surrounding the antenna, changes its capacity and thus affects the frequency of the alternating
current generated by the apparatus. In this manner, a kind of invisible touch is produced in the
space surrounding the antenna, and, as in a cello, a finger pressing on a string produces a higher
pitch as it approaches the bridge, in this case also, the pitch increases as the finger is brought
nearer the antenna. Likewise the intensity of the tone can also easily be changed by a simple movement of the hand in space. For this purpose the instrument is equipped with another, in this case circular, antenna around which electromagnetic waves are similarly formed. The approach of a hand toward this antenna causes a change in the degree of the intensity of the alternating current which produces the tone. Thus by raising the hand over the ring-shaped antenna the note sounded grows louder and by lowering the hand it grows softer, until it dies out in the softest pianissimo". |
| Theremin instructed many students in technique, the most famous was Clara Rockmore whose sister and frequent piano accompanist, Nadia Reisenberg, was also an Ampico recording artist. Clara was a child prodigy with perfect pitch and the ability to replay any melody she heard. These are ideal qualities for a Thereminist, and she developed an unparalleled mastery of the instrument. Indeed, it was Rockmores performances throughout the 1930's, '40's and '50's that proved that the Theremin could play a serious role in both classical and popular music. In 1977, Rockmore recorded performances of music by Stravinsky, Tchaikovsky and Rachmaninoff among others, demonstrating that the Theremin could create an emotional impact previously associated only with the human voice and, to some extent, the violin or cello. These recordings are now available on a Delos CD called "The Art of the Theremin". | 
Click here to download and listen to Clara Rockmore playing her Theremin. |
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While Theremin engaged in creative work and selling his inventions, he also maintained a secret
double-life as a Soviet spy: His mission was to gather information on U.S. innovations in military
technology and to find out which side America would take in the event of world war.
Theremin's activities in America are clouded in secrecy and ambiguity, and the details of his rather
sudden departure back to Russia are equally murky. According to various accounts, he returned
voluntarily because he was anxious about the impending war, or else because he was forcibly removed
from his studio by the KGB. Theremin himself at different times recounted conflicting versions of his
return to Russia, perhaps as a result of advanced age and failing memory - but perhaps also due to the
degree of discretion he was allowed; he may have been deliberately vague. And it is also possible that
the kidnapping theory arose because of language barriers between Theremin and his American associates.
Recent information has come to light that indicates the reason for his hasty departure was financial
trouble: He had fallen into disfavour with close associates whose friendship and generosity in lending
money to fund his work he exploited to the point where they finally had enough and closed the door
on him. Facing lawsuits and other legal action, he left in haste for his homeland, accompanied by
Soviet escorts who may have been mistaken for KGB agents. Whatever the circumstances were that
entangled Theremin at that time, he did return to the USSR in 1938 and soon fell into disfavour there.
His outspokenness landed him on the official "disapproval list." He was accused of anti-Soviet
propaganda and sent to gulags and concentration camps. Rumours were spread that Theremin had been
executed. However, the Soviets shrewdly recognised his talents, and eventually he was put to work
on top-secret laboratory projects under close supervision. Among various useful things,
he developed a Bug for eavesdropping, for which he was awarded the most prestigious
Soviet scientific award, the First-Class Stalin Prize, in 1947. |
