Questions re Theremin Festivals

heh, as long as they are paying admission, right?    Perhaps keep them corralled in a 'sideshow' area.

Well, that, but mostly because the idea of a daxophone, fire organ, cristal baschet and theremin quartet intrigues me.

"Well, that, but mostly because the idea of a daxophone, fire organ, cristal baschet and theremin quartet intrigues me." - Gordon C

Not to mention a petrol motor powered "musical" penguin or a racing track covered in pre-recorded "musical" samples, and remote control cars with magnetic pickups which play the samples they are passing over..

These were just two of the completely utterly loony exhibits I had to share space with in the Royal Festival Hall (HO 2010) . When the cars or penguin was operating (which, fortunately, was rarely - the cars went through recording heads within 1/2 hour, and the penguin produced smog and could only be run briefly) I went out for a smoke.. Couldnt hear the theremins (or anything else) when these "instruments" were playing.. But they were fun the first few times I heard them.. And my children loved the cars on their one visit to the show! ;-)

Then there was Felix with his wonderful musical machines - true works of art - solenoid driven band controlled over Midi... Wonderful compositions by Felix, absolutely brilliant and beautiful. Felix was by far the biggest attraction and by far the most brilliant artist and developer at the show, IMO.. I would say the theremins were the next big attention getter - but still miles from Felix in every way.. He stole the show, deservedly!

Yes - I do think there is a place for the "loony fringe" - Provided this does not dominate or distract too much - A bit of nonsense entertainment.

IMO, the idea (I think it was Peter's) of having a "primary" focus on alternative musical controllers is a good one - there are plenty of amazing ideas / prototypes / products which would fit this description.. And perhaps a few whackier instruments as well. I certainly never want to see or hear a petrol powered "musical" penguin again! ... But I wont be going to NY, so get him if you want! ;-)

Fred.

The penguin..

The first question should be, what will appeal to the larger number of thereminists, to be part of the world of weird and wacky instruments, historical curiosities, electronic instruments or acoustic instruments, or some other category, such as alternative controllers (not one I would care for myself - a lot of alternative controllers are more in the area of sound art and performance art and that's not really what most of us are about.)

"The first question should be, what will appeal to the larger number of thereminists, to be part of the world of weird and wacky instruments, historical curiosities, electronic instruments or acoustic instruments, or some other category, such as alternative controllers" - Gordon

Ok, - My expierience with "theremin festivals" can be counted on one finger, LOL.. And I dont think HO 2010 was any "normal" kind of theremin festival anyway.. There was one day where theremins and thereminists took centre stage and filled the hall - there was, in fact, just a one-day "theremin festival" - And a lot of this day (in terms of quality) was IMO ruined because of the other activities going on in the background.

During the following 9 days, I only met 4 thereminists who had bothered to visit.. This was a completely open, free public event in a prominent venue in the centre of London, and probably 98% of daytime visitors came in off the Embankment just wandering about, not having any idea about what they would find in the RFH.

In terms of exposing people to the instrument, the 9 days were great.. The fact is that it was open, free, and lots of people came for musical events and to see synthesisers and penguins and Felix machines, and some even came to see theremins!!

- but it was not a theremin festival (apart from the first day) - apart from my pitch-only theremin and videos of Clara and other synth and theremin pioneers, there was nothing much for thereminists.. An hour (at most) and everything they could see or do would have been seen and done!

"(not one I would care for myself - a lot of alternative controllers are more in the area of sound art and performance art and that's not really what most of us are about.)"

"sound art and performance art" - Huh ? What are "we about" then? - And what are musical penguins and tape playing cars and every exhibit at HO-2010 "about" if not "sound art and performance art" with occassionally some music being produced as well..

Compared to the kind of sound art and performance art centred instruments in "the world of weird and wacky instruments" and "historical curiosities", "alternative controllers" to me, far better fits with how thereminists like to think of their 'place' in the musical world.

But the real truth is that without the "performance art" aspect of the theremin, it would be a relic which would not even have left Lev's lab in Russia, IMO..

Fred.

Sorry Gordon - Im not trying to pick a fight! ;-)  ... And you probably know more about theremin festivals and what makes them "tick" than any other person on the planet... What I say is purely my perspective and my taste, and in terms of viability etc, your advice should be seriously heeded IMO.

In planning an event like a theremin festival, you're not going to be able to satisfy everybody. Although we all call ourselves "thereminists" our musical interests and goals vary so widely that when you come right down to it, we have little in common. If you try to have a "something for everyone" type of festival, you run the risk of disappointing everybody.

The event that Fred described above seems to have been a musical version of what we used to call a "Fun Fair", where people would come to see a wide variety of new and entertaining things that they could experiment with first hand. These kinds of fairs are wonderful fun, especially for kids, but they are chaotic (and more often than not, LOUD).

Then you have the problem of organizing something that is more or less all-inclusive, an event that will be of interest to people who have been playing the theremin for years, as well as "noobs" who know nothing at all about it. It has been my experience that these two groups, although they may get along socially, do not mix well musically within the context of a really focused conference. 

With popular traditional instruments that have thousands of enthusiasts throughout the world, you can always pick & choose the type of event you want to stage: HARP FOR BEGINNERS or ADVANCED HARP TECHNIQUE WITH NICANOR ZABALETA. With the theremin, the fan base isn't big enough to do this. 

I think that one has to see it in proportional volumes and to adapt ones plans to the small number of potential participants.

Here my recipe which worked very fine for the "Colmar Theremin Summer Academy" for three consecutive years (the 4th event is currently be planned):

I can't allow to take a financial risk nor can I do fund raising. Thus the academy is held in my house. There are just two "teachers" or however you would call that: Carolina Eyck and myself. I have a large guest room where Carolina can live and teach during these days, I do my part (teaching theremin ensemble playing and theremin mod/upgrade/repairs) in my usual theremin repair shop room.

The program and a list of available lessons are published on the internet at least 3 months before and people will have to sign up to allow an efficient planning.

During the four academy days, the people come for their lessons, teachings or whatsoever (my daughters are there for opening the door when the bell rings and to guide people upstairs) and use the remaining part of the days for tourism.

In order to not neglect the social component, there are always some "side" activities: On the Friday evening I invite a few selected people to have the traditional Shabbes dinner with my family and me. On the saturday evening, there is always a common activity for all participants, last year it was a dinner at an "all you can eat" Chinese restaurant. Finally there is a final event on the sunday afternoon in my living room: Coffee, tea, cakes and an open stage where those who want may play for all the participants.

From the very first time that I organized it this way (2010), we had always between 16 and 20 participants and all the hours for individual and group lessons (about 30 hours in four days for each Carolina and me) were always sold out and about the half of the people are addicted because of the very special and familiar atmosphere, so that they show up every year again.

Participants come usually from France, Germany, Switzerland, Austria, the Netherlands, the UK, Italy and Spain or roughly said from within a thousand miles radius. The advantage of the early publishing of the academy's schedule allows people to book their hotel rooms early and get low rates (around 40$ per person and night) even during the summer holiday season and in my direct neighborhood, that means in the pedestrian zone of this marvelous medieval city and at walking distance from my house.

Out of that there is no registration fee, people pay just their lessons directly to their teachers and those who want to have access to the cake buffet on the sunday afternoon are invited to make a financial contribution.

I don't know if this successful "template" can be copied but I invite everybody to do so and to ask me for further hints. I'm totally willing to share my experience in order to make theremin events happen.

Thierry: ".......Thus the academy is held in my house. There are just two 'teachers' or however you would call that: Carolina Eyck and myself."

Thierry,

The event that you describe is probably far more intense and instructive for the few that are in attendance than a larger, broader "theremin festival" with perhaps 30 or 40 people would be. I believe I would find your intimate THEREMIN ACADEMY more satisfying and probably more enlightening than a big, international theremin bash.

One of the important questions that pops up when it comes to teaching theremin technique is - WHAT TECHNIQUE DO YOU TEACH? There are as many methods of playing the theremin as there are thereminists! If you have only one single teacher at your academy, then only those who want to play like that particular teacher are going to be interested in participating and taking lessons. 

The vast majority of people who attend theremin conferences and conventions where theremin lessons are offered by several different teachers (each teaching an entirely different method), believe that they can take lessons with ALL the teachers, take from each one whatever they feel is relevant to their own needs, reject the rest, and synthesize an approach that suits their own personal requirements and expectations.

I have never heard of such an attitude in regard to any traditional instrument, but it is quite common in the theremin community. It is also perhaps one of the reasons why the general level of precision theremin playing is so abysmally....dare I say laughably.... low!

Many people believe that since the principle of playing the theremin is so straightforward and simple, they don't need lessons at all. They can just..... DO IT!

"The event that Fred described above seems to have been a musical version of what we used to call a "Fun Fair"" - Coalport.

There certainly was that aspect to it - And it was fun.. My account is probably somewhat biased because I was there for ten days, and after the first couple of days the "fun fair" aspect really got on my nerves!

The positive sides were:

(a) The first day which was really a theremin "festival" - If that had gone on for a week, even with the "fun fair" being "active" intermittantly, it would have been great.

(b) Most evenings, when the daytime passers-by had mostly gone, and people who were interested in theremins and electronic music turned up for the performances in the theatre - They would come early and explore the exhibits and play the theremins befor the show.. And many (most) were really interested. Because of the noise the other exhibits produced, they were mostly silenced.. and people could hear the theremins and actually play them.  After the show was generally the busiest time - right up till closing time, when musicians would also often have a go.

(c) The real buzz of introducing people to the theremin for the first time.

The interesting sides:

The most interesting thing I found was when orchestras and performers passed through the event and encountered the theremin for the first time. I think Gordons comments about our community being a bit "insular" is valid in this context - But thereminist will need to really "toughen up" if they dont want to feel "hurt" by most comments coming from other musicians, if my expierience is anything to go by..

Most musicians regarded the theremin as a gimmick - perhaps slightly above the gimmic level of the penguin, but not much higher! (ok - I dont think that being surrounded by musical racing cars and the penguin did much to confer any "musical merit" to my theremins - another reason why I think theremins should probably not be surrounded by too much whackyness ;-)

There were a few exceptions, but most politely conveyed that they never thought much of the theremins musical potential. Alas, my playing skills could do no more than confirm their belief.. Perhaps if Clara or Peter or Lydia or even Gordon ;-) had been manning the machines, they would have been easier converts..

@ Thierry.. Your event sounds really cosy!

@coalport: Our (Carolina's and mine) idea was just to have a coherent teaching concept to prevent this "fair" effect with participants picking only the cherries from different cakes. That's why the decision of limiting the number of "teachers" was taken willingly and potential participants get either the Eyck system or nothing. The number of recurring participants seems to confirm that the idea is not too bad.