The ethereal, wavering tones produced by the Theremin have appeared in numerous horror movie scores, along with one iconic rock recording—the Beach Boys’ “Good Vibrations.” Despite such exposure, the device rarely attracted dedicated performers and served chiefly as a generator of atmospheric effects. Its creator, Leon Theremin, nevertheless intended the apparatus to function as a legitimate concert instrument. Among its players, Clara Rockmore stands as the foremost exponent; a contemporary of the inventor, she cultivated an exacting method that allowed the inherently microtonal device to approximate equal temperament. Born Clara Reisenberg, she first gained notice as a violin prodigy and entered the Imperial Conservatory of Music in St. Petersburg at four years old. While still a child she relocated with her family to New York City, where she studied from 1925 to 1928 under Leopold Auer. Physical ailments affecting her muscles and joints curtailed her violin prospects, yet an encounter with Theremin in New York led to a close collaboration between 1932 and 1934. Thereafter she adopted the contactless instrument as her principal medium. On 27 October 1938 she delivered a landmark recital at Town Hall that included, among other pieces, her transcription of Franck’s Violin Sonata. A respected career as orchestral soloist and recitalist followed. Her most enduring document arrived in 1977 with the album The Art of the Theremin, featuring arrangements of works by Ravel, Stravinsky, and Rachmaninov. Renewed interest in vintage electronic instruments during the 1980s returned attention to her achievements; Robert Moog assisted in producing the CBS television documentary The Art of the Theremin. She also appeared in the 1994 feature Theremin: An Electronic Odyssey.
