Our 2003 Theremin Conference
It is generally acknowledged that Opera in the Twentieth Century was denied the recognition given to operas of the preceding centuries. Of all Twentieth Century operas written, only two generally come to mind. "Wozzeck" by Alban Berg and "Porgy and Bess" by George Gershwin were perhaps the last of the operas written by what most consider to be the last great symphonists.
For the past 30 years, Arthur Harrison and I have devoted hundreds of hours of study to "Porgy and Bess." This year, our main inspiration was the CD release of the Lehman Engel recording, Sony Classical MH2K63322, formerly on Columbia vinyl set SL-162, the first-ever recording of the opera which went beyond a mere showcase of the popular arias, or the orchestral suite. During this year's theremin conference, we put our efforts toward interpreting some of the opera's arias with dual theremins. Arthur's 148 theremin, soon destined for production, emulated the soprano voice for Bess and Serena. My Etherwave(TM) theremin emulated the bass and baritone voices, Porgy and Crown. The lower voices were particularly appropriate when treated with the the Digitech(TM) RP300 effects processor in the "Vibro" mode, rendering the usual vibrato motions of the pitch hand unnecessary.
This year, more than any other, our abilities to read each other as we played became more refined, promoting a smoother result than in prior years' sessions. Impromptu duets, after all, require a great deal of intuition and familiarity among the performers, as well as familiarity with the music.
In fact, my recent endeavors toward the restoration of classic pinball machines has, for the first time, given me experience in basic electrical and electronic concepts, making Arthur's work in the area of theremins easier for me to understand.
In my formal studies of music composition, I had read about theremins, and Howard Mossman had introduced me to actual instruments as early as 1967, giving me the opportunity to play them. It would be seven years later that I would find my own instrument in the form of a theremin manufactured by Maestro, a company then renowned for the "Echoplex" tape delay.
A significant element in this year's conference was that much of our activities were recorded by Stephen Guidry and Abby Moser of The Catholic University of America, both of whom have been working long-term on a documentary about Arthur, with a focus on theremins. In the tape sessions, I had the opportunity to explain how I met Arthur, and how, when I introduced him to the theremin in 1974, didn't realize that he would eventually make theremins one of his passions; the symbiosis of man and machine, so profound with theremin, inspiring his own designs. Our annual collaborations, focused on this unique instrument, will continue to be a source of immeasurable pleasure in our future musical endeavors.
Philip Mann
Washington DC
October 26, 2003
©2003, Philip Mann