The Theremin playing technique is unique, having developed in its own distinctive way. A pivotal moment in its history occurred when the inventor, Lev Theremin, himself a classically educated cellist, sought new ways of making music. We owe gratitude to Lev Theremin for pioneering the freedom of hand movements in the air, coupled with sensitive, expressive, and romantic interpretations.
Throughout his long life, Lev Theremin had numerous students, including Konstantin Kovalsky in the 1920s, Clara Rockmore and Luci Rosen in the 1930s, and later in his career, Lydia Kavina, as well as Theremin’s own daughters Natalia and Elena. Theremin’s teaching approach emphasized leading by example, delivering soulful performances, maintaining a friendly attitude, and fostering great enthusiasm.
Lev Theremin’s peak period of teaching was during his time in New York from 1927 to 1938, coinciding with the production of RCA theremins and the emergence of theremin ensembles. Joseph Schillinger, a composer and member of Theremin’s studio, initiated the writing of a manuscript titled “Theremin School,” though it remained unfinished. Lucy Rosen and later Clara Rockmore also contributed exercises to theremin study.
Clara Rockmore significantly advanced theremin playing techniques by actively developing the right-hand finger movements and by inspiring Lev Theremin to enhance the volume antenna’s response. She developed intricate wrist movements in her left hand for fine articulation, staccato, and various types of sound attacks. Clara Rockmore’s influential impact on theremin playing is encouraged by videos published by Steven M. Martin in the 1993 documentary “Theremin: An Electronic Odyssey” and later by Robert Moog in the late 1990s.
Konstantin Kovalsky, an active professional theremin player in the USSR from the 1920s to the 1970s, introduced the “Kovalsky method,” using one antenna for pitch and a foot pedal for volume control. Kovalsky’s teaching tradition continued through Lev Korolev and Zoya Dugina-Ranevskaya in Moscow till the 2000s.
From 1976, Lev Theremin taught Lydia Kavina, who later embarked on her path of theremin teaching. In 1994, Lydia released the first tutorial video, “Mastering the Theremin,” included with each new Etherwave theremin. This video became the essential guide for growing number of theremin beginners in 1990s-2000s. Among Kavina’s students were Masami Takeuchi, Carolina Eyck, Thierry Frenkel and others. Lydia’s teaching legacy includes running a regular theremin class at the Theremin Center of Moscow Conservatory from 1997 to 2006. Her technique incorporates insights from Lev Theremin, Clara Rockmore and Carolina Eyck.
The First International Theremin Festival in Portland, Maine, in 1997 initiated the tradition of Theremin educational sessions, fostering interactions among thereminists. Today, this tradition continues through the Theremin Academy, directed by Thierry Frenkel, featuring teachers from various countries.
Japanese thereminist Masami Takeuchi began regular theremin teaching in Tokyo and Kobe in the late 1990s, contributing to Japan’s vibrant theremin community. German thereminist Carolina Eyck, mentored by Lydia Kavina from age 8, developed her unique technique known as “eight finger positions” and authored the first systematic theremin learning book, “The Art of Playing the Theremin,” in 2006.
Currently, private lessons and group workshops are offered by thereminists worldwide, including Japan, Russia, Germany, France, United Kingdom, the USA, Chile, Peru. Dorit Crysler conducts workshops for the Kids Cool Theremin School in Europe and the USA. Moreover one can find numerous tutorial videos on Youtube and attend online workshops, leveraging the internet’s development to facilitate global theremin education through visual examples.