Saggini: I see you are using a Moog Etherwave. Are you happy with it?
Illenyi: In all candor, my Moog Etherwave’s timbre and functionality are not as reliable as I would like. When performing on stage with the Moog theremin, I am always concerned whether it will work or not, which is very stressful for me before my concerts, and I do have a lot of performances. I tried other theremins, but unfortunately, all of them have the same problem. The volume range is much limited, and I am not able to express myself musically how I wish. The fact is that there are no concert-quality theremins available on the market today, which opens up an opportunity for an inventor. For now, though, all of us who play the theremin in concert, the problem remains unresolved. Somebody ought to invent a really, good reliable concert theremin. It’s time for it!
Saggini: Maybe the inventor is listening. Please, give him/her your detailed specifications.
Illenyi: For me, first of all, the timbre would be very important, and also a very high volume range is needed. These are the fundamentals if once a new theremin would be invented. There is another essential thing that should be solved: a good concert theremin must be reliable. Moog Etherwaves theremins are not reliable at all. I had plenty of strugglings, even on stage. You can never know whether your theremin will work or not.
Saggini: Is your Etherwave modified or factory? And do you use a pitch preview?
Illenyi: I have the module of Thierry Frenkel in my theremin, and it is fantastic. It has improved the sound as well as the range of pitch. Because I have perfect pitch, I do not need to use a pitch preview.
Saggini: As a professional musician and violin virtuoso, how did you find the theremin in terms of expressiveness: articulations, dynamics, extension, timbre?
Illenyi: The volume range of the theremin is much limited, and this affects everything. Musically, I have ideas, mental conceptions, and images in my mind of what I would like to convey to my audience, but due to the limitations of the instrument, expressing myself is a challenge. As a result, my repertoire is also quite limited, which really makes me sad.
Saggini: Do you think the theremin has added anything to the palette of instruments available to musicians and composers?
Illenyi: The theremin is very special and very unique. It is an extraordinary instrument that should inspire composers around the world to create music for it. People are always amazed by the theremin’s mysterious, ethereal sound. Today, outstanding thereminists Thorwald Jorgensen and Carolina Eyck work together with talented composers and inspire them to write music for the theremin and increase its repertoire.
Saggini: I read that you played Bohuslav Martinů’s Fantasia. What do you think of this piece in general and in terms of execution difficulties?
Illenyi: Martinů’s Fantasia was a challenge for me. First of all, technically, it is complex. There are parts in the music that took me a long time to learn because I had to figure out the best way for me to practice it so that it would be perfect. It is a piece that, no matter how many times I will listen to it, there is always something new to discover in the music.
Saggini: Is there a recording, audio or video, of your Fantasia performance that we can hope to see published one day?
Illenyi: Yes, we made a video recording of Martinu Fantaisie, and soon I will share it on Youtube. The concert was this year in February at the Franz Liszt Academy of Music in Budapest/Hungary.