Ondes Martenot: Difference between revisions

File:OndesMartenotDemonstratedByInventor.jpg

Ondes Martenot demonstrated by inventor Maurice Martenot

The Ondes Martenot ("Martenot waves"; also known as the Ondium Martenot, Martenot and Ondes musicales.) is an early electronic musical instrument with a keyboard and slide, invented in 1928 by Maurice Martenot and originally very similar in sound to the Theremin. The sonic capabilities of the instrument were subsequently expanded by the addition of filter banks and switchable loudspeakers. The instrument is especially known for its eerie wavering notes produced by the thermionic valves that produce oscillating frequencies.

The Ondes Martenot has been used by many composers, most notably Olivier Messiaen. He used it in many of his works, such as the Turangalîla-Symphonie, Feuillet inedit Number 4, Trois Petites Liturgies de la Présence Divine; his opera Saint-François d'Assise requires three of the intraments. Other composers included Pierre Boulez, Edgard Varèse, Darius Milhaud, Arthur Honegger and Maurice Jarre; André Jolivet wrote a concerto for it in 1947. Bohuslav Martinů authorized the adaptation of his "Fantasie" to the use of the Ondes Martenot when it proved difficult to perform on the Theremin, for which it was originally written. About 1000 works were composed for the instrument including 40 concertos.

A first integration of the Ondes Martenot into popular music was achieved in the Quebec musical scene. The two most popular quebecer musical groups of the time, Beau Dommage and Harmonium, used extensively of this instrument (introduced there by Marie Bernard) in each of their 1975 album, respectively Où est passée la noce? and Si on avait besoin d'une cinquième saison. Harmonium later toured with Supertramp and received several reviews of their work by English-speaking musical critics of progressive rock, who noted their use of the Ondes Martenot.

The instrument was frequently used in soundtracks for television and horror and science fiction movies, and is still used from time to time. Barry Gray frequently used it in his scores for Gerry Anderson's television series, and film composer Elmer Bernstein incorporated the instrument into many of his works beginning with Heavy Metal, in 1981. Films scores using the Ondes Martenot include Doppelgänger (1968), Ghostbusters (1984), Lawrence of Arabia (1962), Billion Dollar Brain (1967), Tucker: The Man and His Dream (1988),Amélie (2001), and Bodysong (2003), by Jonny Greenwood of Radiohead. However, its first use is by swiss composer Arthur Honegger for Berthold Bartoschs film "The idea" (1930, score added 1934). It is not responsible for the female voice effects in the original Star Trek theme, despite many rumours to the contrary. BBC Radio 6 Music - The Great Bleep Forward claims a Ondes Martenot was used.

Jonny Greenwood is often credited with bringing the Ondes to a larger audience through Radiohead's Kid A (2000), Amnesiac (2001) and Hail to the Thief (2003) albums. Greenwood uses the Ondes often in his solo efforts, and has written a piece for the instrument, titled "Smear." The Ondes Martenot was also utilized by Bryan Ferry, in 1999, on the album As Time Goes By, and by Joe Jackson on his 1994 album Night Music.

See also

The Electro-Theremin is a similar instrument.

Prominent Ondes-Martenot composers and performers include Olivier Messiaen, Christine Ott, Jonny Greenwood, Thomas Bloch, Elmer Bernstein, and Jacques Tchamkerten, who was taught the instrament by Messiaen's sister in law.

External links

• Thomas Bloch: Ondes Martenot, glassharmonica and cristal Baschet professional musician
• Keyboard Museum entry
• Christine Ott: Ondes Martenot musican
• The presentation of Ondes Martenot C° Union des Enseignements Martenot
• Audities Foundation Model 6 Ondes Martenot
• BBC Radio 6 Music - The Great Bleep Forward