Ondes Martenot: repertoire and performers

The article is devoted to the history of performance on a rare instrument of the Waves of Martenot. Its history of creation, repertoire and performance capabilities have not yet become the subject of a separate study, while at the Paris Conservatory there is still a class of Waves of Martenot, and the repertoire is periodically replenished. In connection with these facts, the coverage of the features of a musical instrument seems to be a very relevant topic. For the analysis, the main material was the works specially written for the Waves of Martenot, which can be used to determine the specifics of a particular version of the instrument that determined its technical capabilities, as well as various interviews of performers on the Waves of Martenot. The conclusion of the study is the discovery of new opportunities for enriching the timbre due to the established repertoire and the circle of performers on the instrument, as well as a special stylistic pluralism and sound imaging capabilities that determined the specifics of the instrument and at the same time its concert and cinematic fate, where it is widely used both in academic, film music, and in rock bands. The object of the study is the electromusical instrument Martino Waves, which became widespread in performing practice and composer's work of the 20th century. The subject of the research is the existing performing repertoire of Waves Martenot and performing practice. The novelty of the study lies in the fact that this is the first study in Russian about this music instrument. The applied methodology is based on a comparative analysis of various versions of the Martenot Waves instrument, the material for which are works created by composers in different years when its creator, Maurice Martenot, modified the instrument's design.

Ondes Martenot, Moris Martenot, Tomas Bloch, André Jolivet, electrical musical instruments of the, performing technique, Jeanne Loriot, Christine Ott, Natalie Forget, Dimitris Levidis