Ondes Martenot

The ondes Martenot (/ˈoʊnd mɑːrtəˈnoʊ/ OHND mar-tə-

Ondes Martenot
NOH; French: [ɔ̃d maʁtəno], "Martenot waves") or ondes
musicales ("musical waves") is an early electronic musical
instrument. It is played with a keyboard or by moving a
ring along a wire, creating "wavering" sounds similar to a
theremin. A player of the ondes Martenot is called an
ondist.

The ondes Martenot was invented in 1928 by the French

inventor Maurice Martenot. Martenot was inspired by the
accidental overlaps of tones between military radio
oscillators, and wanted to create an instrument with the
An ondes Martenot (seventh generation
expressiveness of the cello.
model, 1975)
The ondes Martenot is used in more than 100 orchestral Dates 1928–present
compositions. The French composer Olivier Messiaen Technical specifications
used it in pieces such as his 1949 symphony Turangalîla-
Polyphony none[1]
Symphonie, and his sister-in-law Jeanne Loriod was a
celebrated player of the instrument. It appears in numerous Oscillator vacuum tube or transistor
film and television soundtracks, particularly science fiction Synthesis heterodyne
and horror films. It has also been used by contemporary type
acts such as Daft Punk, Damon Albarn and the Radiohead Input/output
guitarist Jonny Greenwood.
Keyboard 72-note rail-mounted
keyboard capable of
History producing vibrato by lateral
motion
The ondes Martenot (French for "Martenot waves") is one
of the earliest electronic instruments,[2][3][4] patented in the
same year as another early electronic instrument, the theremin.[2] It was invented in 1928 by the French
cellist Maurice Martenot.[2] Martenot had been a radio operator during World War I, and developed the
ondes Martenot in an attempt to replicate the accidental overlaps of tones between military radio
oscillators.[2] He hoped to bring musical expressivity of the cello to his new instrument.[5] According to The
Guardian, the ondes Martenot visually resembles a cross between an organ and a theremin.[2]

Martenot first demonstrated the ondes Martenot on April 20, 1928,[6] performing Dimitrios Levidis's Poème
symphonique at the Paris Opera.[7] He embarked on a number of performance tours to promote it,
beginning in Europe before going to New York.[8] In 1930, he performed with the Philadelphia Orchestra,
after which he embarked on a world tour.[8] In 1937, the ondes Martenot was displayed at the Exposition
Internationale de Paris with concerts and demonstrations in an ensemble setting with up to twelve ondists
performing together at a time.[8] Beginning in 1947, the ondes Martenot was taught at the Paris
Conservatory, with Martenot as the first teacher.[9]
Units were manufactured to order.[6] Over the following years, Martenot produced several new models,
introducing the ability to produce vibrato by moving the keys, a feature adapted in the 1970s by some
Yamaha GX-1 synthesisers.[3] Martenot was uninterested in mass-producing the ondes Martenot, which
may have contributed to its decline in popularity following initial interest.[8] Jean-Louis Martenot, Maurice
Martenot's son, created new ondes Martenot models.[3] In 2009, the Guardian reported that the last ondes
Martenot was manufactured in 1988, but that a new model was being manufactured.[2]

Sounds and technique

The ondes Martenot is unique among electronic musical instruments
in its methods of control.[10] The ondes Martenot can be played 0:00 / 0:00
with a metal ring worn on the right index finger. Sliding the ring A recording of the Ondomo, an
along a wire produces "theremin-like" tones, generated by oscillator instrument based on the ondes
circuits using vacuum tubes,[2] or transistors in the seventh Martenot

model.[11][12]

The third model, unveiled in 1929, had a non-functioning simulacrum of a keyboard below the wire to
indicate pitch.[13] This model also had a "black fingerguard" on a wire which could be used instead of the
ring. It was held between the right thumb and index finger, which was played standing at a distance from
the instrument. When played in this way, the drawer is removed from the instrument and placed on a bench
next to the player. Maurice Martenot's pedagogical manual for the ondes Martenot, written in 1931, offers
instruction on both methods of playing.[14]

Later versions added a real functioning keyboard;[13] the keys

produce vibrato when moved from side to side. This was
introduced in the 1930s with the 84-key fourth version of the
instrument.[16][17] Subsequent versions had 72 keys. Combined
with a switch that transposes the pitch by one octave, these
instruments have a range from C1 to C8 .[18] A drawer allows
manipulation of volume and timbre by the left hand.[19] Volume is
controlled with a touch sensitive glass "lozenge".[2]
Au ruban playing technique
Early models can produce only a few waveforms.[19] Later models
can simultaneously generate sine, peak-limited triangle, square,
pulse, and full-wave rectified sine waves, in addition to pink noise,
all controlled by switches in the drawer.[20] The square wave and
full-wave rectified sine wave can be further adjusted by sliders in
the drawer. On the Seventh model, a dial at the top of the drawer
adjusts the balance between white noise and the other waveforms.
A second dial adjusts the balance between the three speakers. A
switch chooses between the keyboard and ribbon.[21]
Diffuseurs from left to right:
Further adjustments can be made using controls in the body of the Métallique, Palme, and cabinet
containing both Principal and
instrument. These include several dials for tuning the pitch, a dial
Résonance[15]
for adjusting the overall volume, a switch to transpose the pitch by
one octave, and a switch to activate a filter.[21] The drawer of the seventh model also includes six
transposition buttons, which change the pitch by different intervals.[22] These can be combined to
immediately raise the pitch by up to a minor ninth.[23]

Martenot produced four speakers, called diffuseurs, for the instrument.[24] The Métallique features a gong
instead of a speaker cone, producing a metallic timbre. It was used by the first ondes Martenot quartets in
1932.[16] Another, the Palme speaker, has a resonance chamber laced with strings tuned to all 12 semitones
of an octave; when a note is played in tune, it resonates a particular string, producing chiming tones.[2][25] It
was first presented alongside the sixth version of the ondes Martenot in 1950.[26]

According to The Guardian, the ondes Martenot "can be as soothing and moving as a string quartet, but
nerve-jangling when gleefully abused".[2] Greenwood described it as "a very accurate theremin that you
have far more control of ... When it's played well, you can really emulate the voice."[25] The New York
Times described its sound as a "haunting wail".[6]

Use

Classical music
The ondes Martenot is used in many classical compositions,[3] most notably by the French composer
Olivier Messiaen. Messiaen first used it in Fête des belles eaux, for six ondes,[27] and went on to use it in
several more works, including Trois petites liturgies de la présence divine and Saint François d'Assise. For
his Turangalîla-Symphonie, Messiaen used it to create "shimmering, swooping musical effects".[6] This
symphony featured the ondes Martenot and piano as soloists against the backdrop of a large orchestra. It is
widely renowned as a masterpiece, and its fame associated the ondes Martenot with Messiaen.[9] Messiaen's
widow, Yvonne Loriod, arranged and edited four unpublished Feuillets inédits for ondes Martenot and
piano which were published in 2001.[28]

Other composers who used the instrument include Arthur Honegger, Claude Vivier, Darius Milhaud,
Edgard Varèse, Marcel Landowski, Charles Koechlin, Florent Schmitt, Matyas Seiber, and Jacques Ibert.[6]
Honegger's most notable work including the ondes Martenot was his dramatic oratorio, Jeanne d'Arc au
bûcher in 1935, in which the ondes Martenot's unique sonority was used to augment the string section.[29]
Darius Milhaud, who also enjoyed the unusual nature of the ondes Martenot, used it several times in the
1930s for incidental music.[30] Edgard Varèse did not use the ondes Martenot often, but it did appear in the
premiere of Amériques in Paris; he also replaced the theremin parts of his Ecuatorial with ondes
Martenot.[31]

According to the New York Times, the ondes' most celebrated performer was the French musician Jeanne
Loriod (1928–2001), who studied under Martenot at the Paris Conservatory. She performed internationally
in more than 500 works, created 85 works for a sextet of ondes she formed in 1974, and wrote a three-
volume book on the instrument, Technique de l'Onde Electronique Type Martenot.[6] A British pupil of
Jeanne Loriod, John Morton of Darlington (1931-2014), performed his own ondes instrument in works by
Messiaen, Milhaud, Honegger and Bartok, amongst others, at the Royal Albert Hall and elsewhere in the
1970s, as well as on television and radio.[32]
The English composer Hugh Davies estimated that more than 1,000 works had been composed for the
ondes.[6] Jeanne Loriod estimated that there were 15 concertos and 300 pieces of chamber music.[6] The
instrument was also popular in French theatres such as the Comédie-Française, the Théâtre National
Populaire and the Folies-Bergère. [33]

Thomas Adès's opera The Exterminating Angel features an ondes Martenot, which Adès says "could be
considered the voice of the exterminating angel".[34]

Popular music
The Guardian described Jonny Greenwood of the English rock
band Radiohead as a "champion" of the ondes Martenot. He first
used it on Radiohead's 2000 album Kid A, and it appears in
Radiohead songs including "The National Anthem", "How to
Disappear Completely" and "Where I End and You Begin".[13]
Radiohead have performed versions of their songs "How to
Disappear Completely" and "Weird Fishes / Arpeggi" using several
ondes Martenots.[2] On their 2001 album Amnesiac, they used the
ondes martenot palm speaker to add a "halo of hazy reverberance"
to Thom Yorke's vocals on the song "You and Whose Army?".[25]
In 2011, Greenwood composed a piece for two ondes Martenots, Jonny Greenwood playing an ondes
Martenot in 2010
Smear.[35]

The ondist Thomas Bloch toured in Tom Waits and Robert Wilson's
show The Black Rider (2004–06)[36] and in Damon Albarn's opera "Monkey: Journey to the West" (2007–
2013).[37] Bloch performed ondes Martenot on the 2009 Richard Hawley album Truelove's Gutter and the
2013 Daft Punk album Random Access Memories.[13] In 2020, the French composer Christine Ott released
Chimères (pour Ondes Martenot), an avant-garde album using only the ondes Martenot.[38]

Film and television

The ondes Martenot has featured in many films, particularly science fiction and horror films.[13] In 1934
Arthur Honegger used the ondes Martenot in his soundtrack for the 1932 French animated film The Idea
(French: 'L'Idée') by Austro-Hungarian filmmaker Berthold Bartosch, believed to be the first use of
electronic music in film. In 1936 Adolphe Borchard used it in Sacha Guitry's Le roman d'un tricheur,
played by Martenot's sister, Ginette.[39] It was used by composer Brian Easdale in the ballet music for The
Red Shoes.[40] French composer Maurice Jarre introduced the ondes Martenot to American cinema in his
score for Lawrence of Arabia (1962).[41] Composer Harry Lubin created cues for The Loretta Young Show,
One Step Beyond and The Outer Limits featured the instrument, as did the first-season Lost in Space (1965)
theme by John Williams. The English composer Richard Rodney Bennett used it for scores for films
including Billion Dollar Brain (1967) and Secret Ceremony (1968).[42] Elmer Bernstein learned about the
ondes Martenot through Bennet, and used it in scores for films including Heavy Metal,[43]
Ghostbusters,[44][45] The Black Cauldron,[45] Legal Eagles, The Good Son, and My Left Foot.[45]

Composer Danny Elfman used the instrument in the soundtrack to the comedy science fiction film Mars
Attacks!: he had originally intended to use a theremin, but was unable to find a musician who could play
one.[46]
Director Lucille Hadžihalilović decided to use the instrument in her film Evolution (2015) as it "brings a
certain melancholy, almost a human voice, and it instantly creates a particular atmosphere".[47] Other film
scores that use the ondes Martenot include A Passage to India, Amelie, Bodysong,[2] There Will Be Blood
(2007), Hugo (2011)[48] and Manta Ray.[49]

The ondes Martenot is the subject of the 2013 Quebec documentary Wavemakers.[50] It is used in a
performance of Messiaen's Quartet for the End of Time in an episode from the third season of the Amazon
series Mozart in the Jungle, where a musician plays the ondes Martenot to inmates on Rikers Island.[51][52]

The British composer Barry Gray studied the instrument with Martenot in Paris, and used it in his
soundtracks for 1960s films including Dr Who and the Daleks, and Doppelgänger.[3] One of Gray's
instruments (a valve model 6 from 1969) was inherited and restored by film composer François Evans who
used it in Edgar Wright's first feature film: A Fistful of Fingers, and occasionally records with this
instrument in his soundtracks. Evans studied ondes Martenot under Pascale Rousse-Lacordaire, pupil of
Maurice Martenot and Jeanne Loriod.[53]

The ondes Martenot is sometimes reported as having been used in the original Star Trek theme; in fact, the
part was performed by a singer.[2]

Legacy
In 2001, the New York Times described the ondes, along with other early electronic instruments such as the
theremin, teleharmonium, trautonium, and orgatron, as part of a "futuristic electric music movement that
never went remotely as far as its pioneers dreamed ... proponents of the new wired music delighted in
making previously unimaginable noises".[6] The French classical musician Thomas Bloch said: "The ondes
martenot is probably the most musical of all electric instruments ... Martenot was not only interested in
sounds. He wanted to use electricity to increase and control the expression, the musicality. Everything is
made by the musician in real time, including the control of the vibrato, the intensity, and the attack. It is an
important step in our electronic instrument lineage."[13]

According to music journalist Alex Ross, fewer than 100 people have mastered the ondes Martenot.[4] In
1997, Mark Singer wrote for The Wire that it would likely remain obscure: "The fact is that any instrument
with no institutional grounding of second- and third-raters, no spectral army of amateurs, will wither and
vanish: how can it not? Specialist virtuosos may arrive to tackle the one-off novelty ... but there's no
meaningful level of entry at the ground floor, and, what's worse, no fallback possibility of rank careerism if
things don't turn out."[6]

The ondes Martenot's electronics are fragile, and it includes a powder which transfers electric currents,
which Martenot would mix in different quantities according to musicians' specifications; the precise
proportions are unknown. Attempts to construct new ondes Martenot models using Martenot's original
specifications have led to mixed results.[13]

In 2000, Jonny Greenwood of the English rock band Radiohead commissioned the synthesiser company
Analogue Systems to develop a replica of the ondes Martenot, as he was nervous about damaging his
instrument on tour. The replica, called the French Connection, imitates the ondes Martenot's control
mechanism, but does not generate sound; instead, it controls an external oscillator.[3]
A version called Ondéa was also created in the 2000s.[2] In 2011, Sound on Sound wrote that original ondes
Martenot models were "all but impossible to obtain or afford, and unless you can stump up 12,000 Euros
for one of Jean‑Loup Dierstein's new reproduction instruments, the dream of owning a real Ondes is likely
to remain such".[3] In 2012, the Canadian company Therevox began selling a synthesizer with an interface
based on the ondes Martenot pitch ring and intensity key.[54] In 2017, the Japanese company Asaden
manufactured 100 Ondomo instruments, a portable version of the ondes Martenot.[55]

References
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Loriod, Jeanne (1987). Technique de l'onde electronique type martenot (in French). Paris:
Alphonse Leduc. ISMN 979-0-04-626275-3.
Martenot, Maurice (1931). Methode pour l'enseignement des ondes musicales: instrument
radio-électrique martenot [Method for Teaching the Ondes Martenot: Martenot's Radioelectric
Instrument] (in French). Paris: Alphonse Leduc. ISMN 979-0-04-617828-3.

Further reading
Richard Orton and Hugh Davies: "Ondes martenot", The New Grove Dictionary of Music and
Musicians, 1st ed., edited by Stanley Sadie and John Tyrrell, London, Macmillan Publishers,
1980, pp. 237–242

External links
Media related to Ondes Martenot at Wikimedia Commons
Ball, Malcolm. "Ondes Martenot" (https://www.malcolmball.co.uk/ondes-martenot). Malcolm
Ball. Retrieved 23 August 2023. Ondes Martenot background and history and list and links to
some ondists.

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