The sound of the instrument is often associated with eerie situations. The electric signals from the theremin are amplified and sent to a loudspeaker. These antennas capacitively sense the relative position of the hands and control oscillators for frequency with one hand, and amplitude ( volume) with the other. Each antennae forms one half of a capacitor with each of the thereminist's hands as the other half of the capacitor. The instrument's controlling section usually consists of two metal antennas which function not as radio antennas but rather as position sensors. It is named after its inventor, Leon Theremin, who patented the device in 1928. The theremin ( / ˈ θ ɛr əm ɪ n/ originally known as the ætherphone/ etherphone, thereminophone or termenvox/ thereminvox) is an electronic musical instrument controlled without physical contact by the performer (who is known as a thereminist). And, apart from the piano sound noted above, the recording is very fine.Problems playing this file? See media help. Kobekina’s playing is technically immaculate, but at times emotionally cool. It was especially frustrating because the physical CD could easily accommodate the performance of a classical period sonata played on the baroque cello. The Paradis and Escaich are particularly impressive the well-known Debussy and Fauré are well played, but other performances find an even greater variety of colors and emotional depth. It is disappointing to see a record label release a new full price album with less than 60 minutes of music. To sum up, there is a great deal to admire in this recording, with plenty of little-known repertoire and playing that is always technically immaculate. Matton’s ‘Détail’ for cello and harpsichord, immediately establishes and maintains a gloomy and threatening atmosphere, while Kobekin’s ‘Gallardo’ is the most immediately appealing, a series of increasingly complex variations on the initial tune, Tristan Pereira’s percussion always keeping it connected to its older roots even as the musical setting becomes increasingly contemporary. Escaich’s ‘La Folia,’ based on the old European tune of the same name, begins with low growls from the cello, growing ever more acrobatic and virtuosic – a fantastic display of Kobekina’s technique. The final three tracks, by Escaich, Matton, and Kobekin (the cellist’s father) are the three modern selections. If one did not know the original, I think this arrangement would prove attractive, but this arrangement seems the opposite of what the composer intends. Ária: Cantilena’ that lacks the ethereal spirit of the original. But in Track 3 she performs an extroverted and fulsome cello and piano arrangement of Villa-Lobos’ ‘Bachianas Brasileiras No. This is surely meant to highlight Kobekina’s mastery of a wide array of pieces with distinctive styles, from different time periods (and also serve the growing streaming services’ way of promoting single tracks). Several are single movements from larger multi-movement pieces. The remainder of the recital consists of short works, most under five minutes. Overall, Kobekina’s reading only skirts the music’s emotional depths, whereas Steven Isserlis and Cinnie Shih (in superior BIS sound) are far more emotionally engaging. The performers sometimes allow energy level in slower passages to drop, especially noticeable when comparing this reading to Edgar Moreau’s forwardly flowing performance on Erato. But there is a hard edge to Vincent Boccadoro’s piano tone, made worse by an overly bright engineered sound. The opening minute again exhibits a compelling freedom of pulse the conversational sense of give and take between piano and cello is beautifully managed. Debussy’s ‘Cello Sonata’ (track 2), the album’s best known and most substantial piece, is expertly played. Kobekina’s offers spotless intonation, clear articulation, and a vital rhythmic sense, wedded to a flexible sense of phrasing. The concert opens with a fiery and sensuous Fandango by Italian composer Giovanni Sollima.
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