“The theremin literally produces a note from thin air! It looks like wizardry,” composer Holly Harrison says. “There’s a mystery and magic to the way the instrument is played, but also to the quality of the sound itself. It’s so pure.”
Harrison has been commissioned to write a new piece of music as part of the Australian Chamber Orchestra's 50th Anniversary celebrations, in the Theremin & Beyond tour, something the Australian composer describes as “extraordinarily exciting”.
“It’s beyond real to write for the ACO under any circumstance, but writing for the Orchestra in its 50th year feels extra special,” she says.
How do you write music for the theremin?
Harrison describes wanting to write a work that enjoys the idiosyncratic blips and beeps of the theremin, “showcasing its quirky side.”
“The instrument's capacity to gliss completely smoothly between notes gives it a unique quality; one we often associate with an other-worldliness. This ability to transcend time or place creates a real curiosity about the instrument.
“At times, I’ve treated the theremin like a voice, glissing in and out of operatic mode, and then contrasting this with rumbling, gurgling synthesiser sounds,” she tells us. “Disco string lines bring the retro feel,” she adds, giving a tantalising taste of her new piece.
“I’ve treated the theremin like a voice, glissing in and out of operatic mode, and then contrasting this with rumbling, gurgling synthesiser sounds. Disco string lines bring the retro feel.”Holly Harrison, composer
Because the instrument is so devoid of apparent boundaries – it's played with no physical contact from the performer – it can seem like the compositional possibilities are endless.
“The challenge in writing for the theremin is that, unlike an instrument like the violin, it can be difficult to know what its limitations are,” the composer confesses.
There are some though. “Large leaps can be very difficult, as can rapid articulations of notes,” Harrison explains. “My music tends to be highly rhythmic, so I imagine this could also pose a challenge!” she laughs.
And Harrison certainly knew what she didn’t want to do with the theremin.
“I was keen to avoid any sort of ‘spookiness’ that we generally associate with the instrument,” she tells us. “Looking at the concert’s programming, I knew there would already be works that show this (like Midsomer Murders).
“I wanted to treat the theremin like a pure instrument and demonstrate how expressive it can be, especially over a huge range of octaves or registers. I was looking to tap into the contrasts between dark and playful, as well as spiky and lyrical.”
Writing for one of the best theremin players in the world
Lucky for Harrison, the main constraint, or lack thereof, in this new commission is the performer who will premiere it. And any limitations the theremin may seem to have on its invisible surface are entirely counteracted by the brilliance of virtuoso player Carolina Eyck.
“Yes, you’re really writing for the performer, rather than the instrument,” the composer agrees. “It’s a huge privilege to write for Carolina and connect on this project. It’s been fabulous to get to know this weird, wacky, and wonderful instrument. She’s a superstar and I truly hope my piece shows her off in the best possible way!”
Harrison describes how inspiring it was to find Eyck's extensive collection of demo and performance videos online, an “absolute treasure trove of material to trawl through and get a feel for her playing: it’s eclectic!”
“It’s a huge privilege to write for Carolina Eyck and get to know this weird, wacky, and wonderful instrument. She’s a superstar.”Holly Harrison, composer
What is Holly Harrison's new theremin piece about?
Harrison's new work, Hovercraft, is so-called, and so-inspired, because of the similarities between the sci-fi mode of transport, and the sci-fi-sounding instrument.
“It’s essentially a concerto for theremin,” she says. “Hovercrafts are amphibious, almost science-fiction-like vehicles, capable of traversing water, land, snow, and mud: they literally hover on a cushion of air.
“I see many similarities between the theremin and this invention. My piece reimagines the hovercraft as more airborne than intended! A hovercraft through the looking-glass, capable of soaring heights. A hovercraft that isn’t afraid to get down and dirty.”
So is the theremin the most unusual instrument Harrison has written for?
Nearly. “A special mention also goes to writing for accordion and shakuhachi,” she reveals. “And my next work is for harp quintet – as in five harps – so that’s a bit unusual too! I really enjoy writing for instruments that require a steep learning curve – it helps keep things fresh and exciting from my perspective.
“You have to look for a way to make it work and reinvent yourself a little each time.”
Hear Hovercraft in Theremin & Beyond, touring to Wollongong, Sydney, Brisbane, Melbourne and Canberra, 8-20 May. Click here to book tickets.
