While I was composing this work, the word ‘onde’ was repeatedly circling in my mind, causing associations of all kinds to emerge. ‘Waves’, both in their abstract meanings, and in concrete, were all around me.
Ondes martenot was, before I started this my first work for it, a real phantom instrument to me. And now, it still remains as such, a phantom. I was familiar with the sound of it — from the works of French composers like Messiaen, but since here isn’t a single such instrument in Finland, a part of its character always appeared ‘unreal’ to me. In composing this music, I have relied much to my instincts, imagination and — to common sense.
Le Fantôme des Ondes is written without the physical contact with the instrument. What we hear is a musical vision — interpreted by Takashi Harada — captured directly from my mind, and not tried, tested or moulded in the presence of the instrument, to fit the normal conditions of works composed earlier for ondes martenot.
Quite naturally, this kind of course of creative action demands a great deal from the performing artist. He must fully employ his creativity in his interpretation. Beside that, he is like a brain surgeon, performing the first ever — and never before tried — operation of this kind.
This work has been a true adventure to me, and I hope it will be that to its audience, too. At this very moment I can only believe that I have succeeded in writing what I have heard inside of me.
Le Fantôme des Ondes is about ghosts inside and outside of us.
The tape was realized at the Sibelius Academy Electronic Studio SACMUS. I also thank to Mr. Toshiya Yamagishi and Mr. Takashi Harada for their kind help in bringing this work to life.
© Jovanka Trbojevic (1998) Instrumentation
ondes m, tape Category
Chamber Works, Electro-acoustic Works Premiere
Takashi Harada, ondes martenot, Hiratsuka (Japan), July 5, 1998. Commisioned by / dedications
Commissioned by the Tanabata Festival. PDF for promotional use
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