{"id":1370,"date":"2023-08-16T07:17:11","date_gmt":"2023-08-16T07:17:11","guid":{"rendered":"https:\/\/www.handmadesound.com\/il-sintetizzatore-ondes-martenot-storia-e-caratteristiche\/"},"modified":"2025-01-02T11:06:19","modified_gmt":"2025-01-02T11:06:19","slug":"ondes-martenot-synthesizer-history-characteristics","status":"publish","type":"post","link":"https:\/\/www.handmadesound.com\/en\/ondes-martenot-synthesizer-history-characteristics\/","title":{"rendered":"The Ondes Martenot Synthesizer: History and Characteristics"},"content":{"rendered":"\n<p>The Ondes Martenot is one of the earliest <a href=\"https:\/\/www.handmadesound.com\/en\/synthesizers-history-evolution-characteristics-of-synths\/\" target=\"_blank\" rel=\"noreferrer noopener\">electronic synthesizers<\/a> in history, invented by Frenchman <strong>Maurice Martenot in 1928<\/strong>. Martenot was a cellist and a radio telegraph technician who, during World War I, experimented with sound interference between radio oscillators. Inspired by the theremin, another electronic instrument invented by Russian Leon Theremin, Martenot aimed to create an instrument capable of expressing the sensitivity and expressiveness of a string instrument, combined with the timbral and melodic possibilities offered by electronics.<\/p>\n\n\n\n<p><strong>The first model of the Ondes Martenot was presented to the public in 1928 in Paris<\/strong>, during a performance at the Paris Opera. The instrument consisted of a box with two high-frequency generators, one fixed and one variable, producing a frequency difference perceived as sound. The pitch and intensity of the sound could be modulated using two devices: a movable ring along a metallic wire, which enabled glissandos and microtonal intervals, and a movable keyboard along a guide, serving as a reference for the notes. The timbre could be altered using filters that modified the harmonics of the fundamental sound.<\/p>\n\n\n\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_82_2 ez-toc-wrap-center counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<div class=\"ez-toc-title-container\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<span class=\"ez-toc-title-toggle\"><\/span><\/div>\n<nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/www.handmadesound.com\/en\/ondes-martenot-synthesizer-history-characteristics\/#A_Hit_Among_Composers\" >A Hit Among Composers<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/www.handmadesound.com\/en\/ondes-martenot-synthesizer-history-characteristics\/#Technical_Developments\" >Technical Developments<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/www.handmadesound.com\/en\/ondes-martenot-synthesizer-history-characteristics\/#How_the_Ondes_Martenot_Synthesizer_Is_Built\" >How the Ondes Martenot Synthesizer Is Built<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/www.handmadesound.com\/en\/ondes-martenot-synthesizer-history-characteristics\/#The_Ondes_Martenot_in_Music\" >The Ondes Martenot in Music<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/www.handmadesound.com\/en\/ondes-martenot-synthesizer-history-characteristics\/#Useful_Resources\" >Useful Resources<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"A_Hit_Among_Composers\"><\/span>A Hit Among Composers<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>The Ondes Martenot immediately gained popularity and piqued the interest of many composers, including <strong>Arthur Honegger, Darius Milhaud, Andr\u00e9 Jolivet, Jacques Ibert, Edgard Var\u00e8se, and Olivier Messiaen<\/strong>. The latter was one of the instrument&#8217;s strongest advocates, incorporating it into several works, including his celebrated Turangal\u00eela-Symphonie (1949). Messiaen was also the mentor of Jeanne Loriod, one of the most renowned Ondes Martenot performers, who married his brother, Yvonne Loriod.<\/p>\n\n\n\n<p>The instrument was also used by other musicians across various genres, including popular music, film scores, and experimental music. Notable examples include the soundtracks of <strong>Lawrence of Arabia<\/strong> (1962) and <strong>Ghostbusters<\/strong> (1984), composed by Maurice Jarre and Elmer Bernstein, respectively; Radiohead\u2019s tracks How to Disappear Completely (2000) and Where I End and You Begin (2003), played by Jonny Greenwood; and Daft Punk\u2019s songs Touch (2013) and Giorgio by Moroder (2013), performed by Thomas Bloch.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Technical_Developments\"><\/span>Technical Developments<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>Martenot continued to refine his instrument in the following years, introducing several modifications and improvements. Among the most significant were the addition of a functioning keyboard in 1930, the option to choose between different sound diffusers in 1938, and the replacement of thermionic valves with transistors in 1974\u00b9. <strong>The final model produced by Martenot was the seventh, made in 1975<\/strong> in limited quantities. After his death in 1980, production of the instrument continued, thanks to some of his students and collaborators.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"How_the_Ondes_Martenot_Synthesizer_Is_Built\"><\/span>How the Ondes Martenot Synthesizer Is Built<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p><strong>The Ondes Martenot is an electronic musical instrument<\/strong> that generates sound electronically by producing an audio signal that drives an acoustic speaker. The instrument operates on the heterodyne principle, combining two high-frequency signals\u2014one fixed and one variable\u2014to generate an audible frequency difference perceived as sound.<\/p>\n\n\n\n<p>The instrument comprises several components: a <strong>console<\/strong> with main controls, a <strong>movable keyboard<\/strong> along a guide, a <strong>movable ring<\/strong> along a <strong>metal wire<\/strong>, a <strong>main diffuser<\/strong>, and <strong>optional diffusers<\/strong>. The console houses two high-frequency generators\u2014one fixed and one variable\u2014that produce the sound signal, a valve or transistor amplifier to amplify the signal, filters to alter the timbre, switches to select the diffuser and sound type, potentiometers to adjust volume and dynamics, and buttons to activate or deactivate the sound\u00b3.<\/p>\n\n\n\n<p>The keyboard consists of a series of movable keys along a metal guide, enabling chromatic scale notes with quarter-tone precision. <strong>The keyboard is touch- and pressure-sensitive<\/strong>, allowing for vibrato and dynamic sound variations. The ring is an alternative to the keyboard, comprising a metal ring connected to a taut wire between two endpoints. Moving the ring along the wire varies the sound frequency continuously, producing glissandos and microtonal intervals\u00b9. The ring features a button to activate or deactivate the sound.<\/p>\n\n\n\n<p><strong>The main diffuser is a conventional loudspeaker that reproduces the instrument&#8217;s sound<\/strong>. Additionally, the performer can select from four optional diffusers, each offering distinct sound characteristics: the palm diffuser, a cabinet with a flexible membrane producing a soft, warm sound; the m\u00e9tallique diffuser, a cabinet with a metal membrane producing a bright, metallic sound; the r\u00e9sonance diffuser, a cabinet with suspended springs creating a reverb effect; and the gong diffuser, a cabinet with a metal gong producing a percussive effect.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"A guide to the Ondes Martenot\" width=\"1160\" height=\"653\" src=\"https:\/\/www.youtube.com\/embed\/ZdnQtOrivV8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">Guide to the Ondes Martenot Synthesizer &#8211; Video by Philharmonia Orchestra<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">The Instrument&#8217;s Range and Notation<\/h3>\n\n\n\n<p>The Ondes Martenot has a range of <strong>six and a half octaves, from C2 to G8<\/strong>. Its musical notation follows the conventions of traditional keyboard instruments. However, specific symbols are used to indicate unique techniques such as glissandos, vibratos, timbral, and dynamic variations. Additionally, the type of diffuser to be used for each piece or section is specified.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"The_Ondes_Martenot_in_Music\"><\/span>The Ondes Martenot in Music<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<h3 class=\"wp-block-heading\">Classical Music<\/h3>\n\n\n\n<p>The Ondes Martenot has captivated the attention of <strong>many classical composers<\/strong>, particularly in the 20th century. Early adopters included French composers Arthur Honegger, Darius Milhaud, Andr\u00e9 Jolivet, and Jacques Ibert, who used it in works such as Pacific 231 (1923), Suite pour Ondes Martenot et piano (1933), Concerto pour Ondes Martenot et orchestre (1947), and Escales (1922). Belgian composer Joseph Jongen also wrote a Symphonie concertante for Ondes Martenot and organ in 1926.<\/p>\n\n\n\n<p>However, the instrument&#8217;s most prominent advocate was <strong>Olivier Messiaen<\/strong>, who discovered it in 1930 and was immediately captivated. Messiaen used it in several works, including F\u00eate des belles eaux (1937), Trois petites liturgies de la Pr\u00e9sence Divine (1944), Turangal\u00eela-Symphonie (1949), R\u00e9veil des oiseaux (1953), Oiseaux exotiques (1956), Chronochromie (1960), La Transfiguration de Notre Seigneur J\u00e9sus-Christ (1969), and Saint Fran\u00e7ois d&#8217;Assise (1983)\u00b9. Messiaen also taught Jeanne Loriod, one of the most famous Ondes Martenot performers, who married his brother Yvonne Loriod. Loriod collaborated with Messiaen on many works and wrote a treatise on the Ondes Martenot in 1987.<\/p>\n\n\n\n<p>Other composers who wrote for the instrument include French composer Edgard Var\u00e8se, who used it in his Deserts (1954); Italian composer Giacinto Scelsi, who incorporated it in his Uaxuctum (1966); Japanese composer Takashi Yoshimatsu, who featured it in his Atom Hearts Club Suite No. 2 (2000); and English composer Thomas Ad\u00e8s, who used it in his The Exterminating Angel (2016).<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Ondes Martenot demonstration by Genevi\u00e8ve Grenier I OFF THE SCREEN I Exploratorium\" width=\"1160\" height=\"653\" src=\"https:\/\/www.youtube.com\/embed\/TrBUMZ7aNBQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">An in-depth look at the Ondes Martenot synthesizer by Exploratorium<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Popular Music<\/h3>\n\n\n\n<p><strong>The Ondes Martenot has also gained traction in popular music<\/strong>, particularly in film scoring and rock music. Early examples of its atmospheric potential include Maurice Jarre and Elmer Bernstein&#8217;s film scores for Lawrence of Arabia (1962) and Ghostbusters (1984)\u00b3. Ennio Morricone also used it in works such as Il deserto dei Tartari (1976) and Mission (1986).<\/p>\n\n\n\n<p>In <strong>rock music<\/strong>, one of the instrument\u2019s notable users is Jonny Greenwood, guitarist and keyboardist for Radiohead. Greenwood became fascinated with the Ondes Martenot after hearing Messiaen\u2019s Turangal\u00eela-Symphonie and acquired one in 1998. He has since used it in several Radiohead tracks, including How to Disappear Completely (2000), Where I End and You Begin (2003), Nude (2007), and Burn the Witch (2016). Greenwood has also composed works for Ondes Martenot and orchestra, such as Smear (2004) and 48 Responses to Polymorphia (2011).<\/p>\n\n\n\n<p>Other artists who have used the instrument include Daft Punk, featuring it in the songs Touch and Giorgio by Moroder from their album Random Access Memories (2013), played by Thomas Bloch\u00b2; Stereolab, featuring it in Narco Martenot from their album Dots and Loops (1997); and Vinicio Capossela, who incorporated it into several tracks on his album Marinai, profeti e balene (2011), played by Nadia Ratsimandresy.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Olivier Messiaen - In\u00e9dit pour Ondes Martenot &amp; Piano, IV (Christine Ott)\" width=\"1160\" height=\"653\" src=\"https:\/\/www.youtube.com\/embed\/dp4n8lqX944?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption class=\"wp-element-caption\">An unpublished work by Olivier Messiaen &#8211; video by Christin Ott<\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Useful_Resources\"><\/span>Useful Resources<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>If you want to delve deeper into the Ondes Martenot, check out the following links:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Ondes Martenot &#8211; Wikipedia: <a href=\"https:\/\/en.wikipedia.org\/wiki\/Ondes_Martenot\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/en.wikipedia.org\/wiki\/Ondes_Martenot<\/a><\/li>\n\n\n\n<li>Ondes Martenot Functionality | Documents | Electronic Sound: <a href=\"http:\/\/www.suonoelettronico.com\/ondemartenot_03.htm\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/www.suonoelettronico.com\/ondemartenot_03.htm<\/a><\/li>\n\n\n\n<li>Ondes Martenot &#8211; History: <a href=\"https:\/\/120years.net\/the-ondes-martenotmaurice-martenotfrance1928\/ \">https:\/\/120years.net\/the-ondes-martenotmaurice-martenotfrance1928\/ <\/a><\/li>\n\n\n\n<li>Ondes Martenot artist: Nadia Ratsimandresy &#8211;<a href=\" https:\/\/www.realarts.eu\/Nadia-Ratsimandresy\"> https:\/\/www.realarts.eu\/Nadia-Ratsimandresy<\/a> <\/li>\n<\/ul>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Ondes Martenot is one of the earliest electronic synthesizers in history, invented by Frenchman Maurice Martenot in 1928. Martenot was a cellist and a radio telegraph technician who, during World War I, experimented with sound interference between radio oscillators. Inspired by the theremin, another electronic instrument invented by Russian Leon Theremin, Martenot aimed to&#8230;<\/p>\n","protected":false},"author":1,"featured_media":1178,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"content-type":"","footnotes":""},"categories":[42],"tags":[],"class_list":["post-1370","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-amplification"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Ondes Martenot Synthesizer: History and Characteristics - Handmade Sound<\/title>\n<meta name=\"description\" content=\"Discover the history and characteristics of the Ondes Martenot synthesizer. 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