The Four ThereMantras are a combination of improvised music with predetermined concepts, structure and sounds. Each is separated by the tone of a Tibetan singing bowl. Winner of Cygnus Radio’s SPELLBOUND Best Avant Garde Composition, 2006.
The brief FOUR THEREMANTRAS are:
I – Kraa Procession
II – Pagoda W’eez
III – Xun-Blood, The Run to Heaven
IV – Sona – Lev’s Lullaby
Sit in lotus position, close your eyes, breathe deep and let go…
Howard Moscovitz and I have embarked on an improvisational journey, the first step of which was a five-hour session. during that time we began exploring the potential for intuitive music. the Divertimento was our fourth experiment that day, and one that was very different from the others. In it there are intermittent passages where the theremin employs what I call an inflective voice, one that is more linguistic than musical — this quality then informed the piano, promtping Howard to play in “clusters” of flowing notes that yeilded some intriguing tonal variants. There was also a very intricate ebb and flow between piano and theremin, as they lead one another through the piece.
From Gustav Mahler’s Symphony No. 5, Adagietto is an achingly beautiful composition. This is the first four minutes of the full ten-minute piece, ending as it did in our production of Unholy Secrets of the Theremin. Jef has created what is very close to an orchestral fullness to the accompaniment, and we found that the theremin’s timbre worked best as a rich voice with (if you listen carefully) a slight oboe texture.
Translated, the title of Jo Moustaki’s fantastic song is, “The Gypsy and the Girl.” Pianist Jef Anderson and I hope to convey the passion and seductive quality of the lyrics, even though this is an instrumental version. Briefly, the gypsy tells the girl, “Love is worth any price,” and he proceeds to tell her all he is willing to do to possess her love: “I will steal from the people of the city to bring you a dress of satin!’ he says. “I will say ‘I love you’ as one speaks the name of Jesus, or I’ll cry it in the streets like a blasphemy!” And there’s plenty more where that came from. Seek out Edith Piaf’s recording of the song and you’ll be amazed.
