Introduction by B. Galeyev to the following chapter from his book on Leon Theremin
(in commemoration of the electronic music pioneer's 100th anniversary )

Late in 1995, the book "Soviet Faustus" by Bulat Galeyev, director of Experimental Aesthetics Institute "Prometei", was published in Kazan, Russia. Author and book's hero, Termen, were close friends for a long time that's why it is mainly based on personal conversations with him. The book reveals lot of new facts. It is a pity but we have not suceeded yet in translating and publishing whole book in West. Here I would like to familiarize you with a chapter from the book, entitled "Soviet Faustus in the Land of Yellow Devil" devoted to Termen's staying in USA within 1928-38 years period. I would like to remind you that theremin was demonstrated to V.I.Lenin in 1922 and pragmatic leader of proletariat proposed using the device as Kremlin alarm system. A bit later Termen invented first Soviet TV set and decision was made to use it for secret aims in this case too. It was then that military "Mephistos" from secret services noticed him and he did not reject cooperating with them, in full compliance with "Faustus" plot. But he did not cease active work as inventor and performer in the field of music. Then his life was sudden change, this being the theme of the chapter we would like to call your attention to (translated by collaborator of "Prometei" Institute V.Chudnovsky).

Soviet Faust in The Country of the Yellow Devil* (a chapter from the book)

by Bulat Galeyev

International exhibition was to be held in Frankfurt am Main in summer 1927. Its theme had close relation to music. Delegation from Soviet Russia also took part in it. One would think: " With what could surprise representatives of young Soviet Russia satiate Europian audience? May be Russians could astonish it with traces and tears of total breakdown?". Here is the passage from the article from our beloved newspaper "Pravda" : "Concerts only became the success when Soviet inventor, professor Termen took the floor with his lectures". "Celestial music", "voice of angel" , "ethereal music" - such were the enthusiastic reaction of newspapers, firstly of German ones, then of other countries. Is not it the miracle conducting the music itself, not the orchestra, music emerging from nothing, from air literaly by means of "beck of hand"? There are no keys and strings in the instrument. Link between the instrument and "beck of hand" is evident. But the link is ephemeral, not tangible one. In a word, it is a real miracle! Termen's lectures provoked storm of applauses in concert halls of Dresden, Hamburg, Munich, Leipzig, and that of Berlin Philharmonic Society. The exhibition had finished long ago and had been forgotten but Termen's triumphal performances kept going - this time in famous London "Albert Hall" and Paris "Grand Opera". Many celebrities of those times attended his concerts , such as writers Gerhard Hauptmann and Bernard Show, musicians Bruno Walter, Moris Ravel and Ottorino Respigi. According to Lev Sergeyevich himself he gave consent to pose together with many of them for newspaper photographers. Physicist Albert Einstein expressed his admiration with phrase which became winged:"Freely emerging from space sound is new phenomenon". A.Ioffe, who returned from one of his regular business trips to West, shared with new complements in "Pravda": "Exceptionaly great success had abroad radio musical performances of L.S.Termen, collaborator of Physical and Technical Insitute. There was no such influx of spectators and such success in Grand Opera in 35 preceding years.

We found also evidence of the success in travel notes of Soviet writer Yefim Zozulya, who was in Paris in that period: " I had learned from three-column newspaper headlines that the great invention of the engineer Termen was to be demonstrated at the Grand Opera. Such epithets as "of genius" alternated with the words "miracle of nature". Paris old-timers will hardly recall the occasion when Grand Opera was given to somebody on any purpose... The Grand Opera is so conservative, starting with operas contents, that one can count our Bolshoi Theater for frolic, young, practically adolescent institution. And this Grand Opera cancel the spectacle and gives its auditorium for an evening to unknown Termen, Soviet citizen. What I heard at the Grand Opera was unforgettable. There were moments when the entire huge hall with all its circles gave out exclamations of amazement and delight. I heard my voice too in general boom, this one also spontaneously escaping me... I attended the concert on the eve of my departure from Paris and practically all my way to home my ears ringed with passages from majestic symphony of the world, which was retrieved by a man from the air. These passages superimposed in my head on rumble of car wheels.".

One can suggest that such positive estimations were due to the fact that "Pravda", Zozulya wrote about their compatriot. Our newspaper "Izvestia" commended Termen: "Termen's invention significance is practically equal to the significance of automobile for transporting. His invention will have the best perspectives". But the temperature of boiling water in foreign press was even higher: "Every listner understands clearly that something new, colossal, having best perspectives came to life" (quote from Berlin newspaper). Liberal Europe made , though flaunting slightly, a declaration of love to young Russia, bastard of its social-democratic ideas: "Lev Termen overclassed Trotzky himself during three months of his tournaments here : he made "world revolution" in music!" (this is also qoutation from those days German newspapers). This compliment is the highest one.

All ended in Termen business trip to America. America, obviously, also became interested in him due to enthusiasm he provoked in Europe. Our goverment was interested in his trip too. As a result, Termen Lev Sergeyevich left to America on board of celebrated capitalistic steamship "Majestic" late in 1927. Formaly, he was sent by People Commissariate on Education to USA. But he got second task from those with whom he paled up when carrying out secret works. I don't care when and how did he come in close contacts with secret services: whether it was before his visit to Europe or this trip to America was his trial! My care is to note that agreement between Soviet Faust and Mephisto was the accomplished fact to the moment.

These facts were unknown to questioners, who made interviews with him in 60's and 70's. I also did not know about all this , at first. It was unknown a fortiriori to Termen's fellow traveller in his trip on "Majestic", noted violist I.Sigeti, who intentionaly met with Termen in Moscow Conservatory and had, as fate willed, to accompany descendant of albigo on his way to New World. I ask your permission to break all literary standards of direct quoting in written text and use documentary cinema standards, combining merely actual facts relating to the epoch I have in my disposal.

Here are the reminiscences of J.Szigeti published in New York in 1947 : "Our loungings in the winter garden of the ship, during which the Soviet inventor indulged in the romantic pastime of composing little Russian poems in the form of anagrams, were every so often interrupted by wireless messages bearing some of the biggest industrial and commercial names in America, offering Theremin Caruso-like fees (I distinctly remember one offer of $5000) for the privilege of a "preview" of the invention during a soiree in their homes, or, in the case of a cable signed by the owner of great department store, in auditorium of that store.

As Theremin and his secretary spoke no English, my wife and I had to convey to him the meaning of all this competition between Chicago's Mr.S., Detroit's Mr.F., and Philadelphia's Mr.W. But all we succeeded in conveying to him was names and figures, which did not seem to interest the young Soviet scientist; we could not get across any of the excitements that we felt - vicariously - at these cable offers, which to us seemed pretty fantastic. (My own fees had not then gone beyond the modest three-figure stages).

However, Theremin, imbued with the socialistic ideology, was calmly emphatic in his refusal to consider any of these offers and stuck to his original plan of giving the first presentation free of charge in the presence of press, of noted musiciancs, scientists, radio engineers, and the like... he always remained the researcher who tried to perfect his invention before thinking in terms of marketing. It was all very instructive for me..."[1. p. 225-226].

Well, Lev Sergeyevich! Is it possible to make such things? I think such behavior is inadmissible for professional secret service man. Termen's reaction was inexcusably natural and spontaneous. It was reaction of naif albigo, of Soviet man.

Separate book could be written about American period of his life, the American being its author. It was special, brilliant epopee.We will limit ourselfs to bringing together some of Termen's sparing, partial reminiscenses and quotations from American press.

He had flabbergasted from the very beginning journalists, who suceeded to get on board of "Majestic" on its way to New York, notifying them about devices he brought with him besides theremin:" Yesterday, as he sat explaining it workings he told of other insturments he had with him , based on similar principles - a bulgar alarm which can give a signal by means of impulses in the air; another which establishes sound connection between a flying airplane and a watcher below; still another , which reproduces and magnifies sounds from within the earth" (Dec.22, 1927, p.22). I swear I don't know what he told about. I quote the newspaper... But the main point was the "radiomusic", indeed.

The newspapers reaction was really an explosion. Eager for sensations America was astonished, touched and taped the envoy of Soviet Russia on the shoulder. Reviews style ranged from total immersing in the euphoria of general admiration and adoration to bluff cowboy humor! Let us listen attentively again to whisper of old newspapers, American ones this time: "Having tuned by a process which to a layman could only be compared to that of a man testing the heat of the boiler with his naked hand, he gave us, to begin with, Schubert's "Ave Maria"" says the Telegraph... "always his hand trembled like that of a violin player or mesmerist. His left hand meanwhile was occupied in pushing up and down an invisible vertical pump..." (New York Times,Jan.1 1928).

But there was a storm,typhoon of glowing accounts in the majority of cases :" Most prominent musicians of America had come to unanimous conclusion ,hearing the amazing insrument,that Termen's invention is the greatest achievement" (New York Times, 27 December 1927).

"Famous musicians, who listened with the greatest attention and seriousness to the performance were unanimous in praising it as a great scientific achievement" (New York Times, 25 January 1928). Kreisler, Rakhmaninov were among attendants of the first recital. And Toscanini volunteered trying the instrument personally. By the way,it was this concert Termen used also his light device at.

Triumph!... Termen performed concerts in most prestigeous concert halls of America: "Metropolitan Opera", "Carnegi Hall". 12 theremins ensemble performed the overture to R.Wagner's "Loengrin".Famous conductor Leopold Stokovsky took part in the concerts. Leading orchestras of USA competed for the right to perform together with Termen. Though, reporters chaffed slightly , made venomous remarks: " there will be no necessity in conductors in this case - Termen will be waving hands instead of them"

In any case, Termen was fascinated by American businessmen enterprise and quick response to novelties. Such firms as General Electric, Westinghouse, RCA begun producing serialy the theremins, total output being several thousand devices. Termen was asked to help instructing sellers of the new product. As a result,many of sellers became unexpectedly his " competitors" who left their counters for stage. 700 represetnatives of new profession "theremin player" were registered in musicians trade-union.His most talented, among favorite, apprentices, or, more precisely speaking, apprenticesses were Luci Rosen and Clara Rockmore.

He told me :" I earned lot of money and bought black suit, Cadilac. I moved from hotel to own house". Termen had rented five-storey house in New York for 99 years where he organized musical and choreographic studio. Termen recalled necessarily, with some wily coquetry, his precise New York adress (on "54-th Street") and even phone number, when telling about his life in America. He and his studio visited great Soviet film director S. Eisenstein , musicians - Gershvin, Ya. Heifetz, Ye. Menukhin and, naturally, all representatives of American elite.Charlie Chaplin have ordered original version of theremin for his films after visiting Termen.

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