Icelandic Volcano

A Free Music composition for multiple theremins by Gordon Charlton

Composed on the 17th of April 2010. First performed at the Royal Festival Hall,
London on the 17th of April 2010. Inspired by the eruption of Eyjafjallajökull on the
14th of April 2010 and the ensuing ash plume.

The players are divided into four groups of approximately equal size, with a
minimum of four players in each group. The theremin sounds may be treated
electronically to enhance the desired effects. Each group represents one aspect of
the eruption.

The first group (“A Land Of Ice”) plays long notes in the midrange, without vibrato,
slowly rising and then falling in volume and pitch (pitch varying by a very small
amount,) evoking icy winds over the frozen tundra.

The second group (“The Furnace Beneath”) plays continuously in the lowest
registers, slowly rising and falling in volume and pitch, intertwining with each other
and evoking the roil and turbulence of boiling magma. Suggested treatment; fuzz or
other distortion, to increase the “growliness” of the timbre.

The third group (“Fireworks”) plays glissandi, with and without vibrato, over the full
range of the theremin, from low up to high over two or three seconds, starting loud
and diminishing in volume until the reach the high register, when the volume
increases abruptly and fades away as the pitch drops slightly, mimicking the
trajectory and explosion of a skyrocket. The fireworks should be played loudly and
with much variety in technique and treatments, evoking the violence and complexity
of a volcanic eruption.

The fourth group (“Drifting Ash Cloud”) plays long notes in the high register, with
very fast, very tight vibrato, initially adjusting their pitch closer to one another to
form a microtonal cluster drone, evoking a cloud. Suggested treatment; echo; to
enrich and thicken the drone.

Each group starts one after the other, fading in slowly (except for the third group,
which is initially loud but sporadic, and becoming more frequent over time) and with
sufficient time in between each group starting for the sound to become well
established in the listener’s mind. Once all four groups are established and
sufficient time has elapsed, the first three fade out slowly at the same time (the third
group becoming more sporadic rather than quieter) leaving only the fourth group,
which continues, slowly dissipating; the pitches wandering apart and becoming
quieter until the piece ends.

The performance should last a minimum of five minutes.