Yvonne Sound

[Cloris Sopha]

Commissioned in consortium by Trinity University (Gary Seighman, conductor), the University of the Incarnate Word (William Gokelman, conductor), and the Young Professionals Choral Collective (Danielle Steele, conductor), this new work aims to bring healing as we begin to gather again after the tough years of the COVID-19 pandemic. The score and parts were delivered after a journey of introspection, observation, and creation. Half of the text is original- themes of breathing, solitude, loneliness, uncertainty and hope penned by the composer interweave with anonymous submissions of words and memories by choir members, creating a plurality of voices.

The next consortium performance was by the Young Professionals Choral Collective, directed by co-commissioner Ms. Danielle Cozart Steele at the Christ Church Cathedral in Cincinnati, Ohio in June 28, 2023.

The inspiration for this album is how the voice of the cello may be enriched by the manifold options the electroacoustic world can bring. For Yvonne Freckmann, composing is the ideal way to explore ideas and sounds to engage the mind. For cellist Clara Rivire inspiration comes through experimentation with fresh ideas and living at the intersection of music, theater and multimedia performances.

UNDA Cellotrnica is the result of the four-year exploration of melding a classical modern cello sound with pre-recorded sounds that range from trains, to birds, to recordings of the cello itself. The album UNDA (in Latin, wave) is a compilation of the five exciting works to stretch your ears. We hope to present this project in concerts around the world.

One of the most delightful and fruitful projects of CASA (Composers Alliance San Antonio) is the Made in SA series of new music for new music musicians. A published series of books and also concerts by pianists in San Antonio, Texas have celebrated that special connection between composers and musicians. Most of the concerts have been hosted at the University of the Incarnate Word, and the new partner the DoSeum, and there were several all-digital concert releases during the pandemic. Check out the official trailer.

Thank you for your interest in my music! Contact me with any questions about scores, pieces, performances, or future collaborations! Also, please visit my store where you can browse and buy my scores and album.

I recently had the opportunity to chat with the lovely and talented Yvonne Lambert, multi-instrumentalist and front-woman for the Austin, TX based band The Octopus Project. Between touring and writing new music with the band, stitching together hand-made stuffed animals for their fan store, teaching theremin workshops, and doing demonstrations for kids' music camps, Yvonne Lambert is one busy woman!

YL: It's always hard to put the sound of The Octopus Project into words. I can only describe it as a loud and colorful rock/electronic hybrid. We started this band without any clear idea of what we were going to sound like. Our plan was to use every sound, instrument, prop, or toy we had within our grasp and make something new. The theremin was an obvious fit once we were able to get one. We all switch around and play various instruments within the band, sometimes these switches take place during a single song. I am the only lady in the band, but I'm not always the mama bird. As far as my role in the band... as far as any of our roles as band members, I think they change as often as we switch instruments. We take care of each other and see every song, record, tour, or challenge as another opportunity to play a new role.

YL: I discovered the theremin after seeing the documentary, 'Theremin: An Electronic Odyssey.' Josh and I both fell in love with the history of the instrument and the story of Leon Theremin's life. We ordered an Etherwave Standard from Moog shortly after and I just happened to be the one of us who took to it.

YL: I am not formally trained in any instrument. As a child, I had a choice between ballet lessons and piano lessons. I chose ballet and it fostered an early obsession with classical music. My grandmother gave me an organ when I was 5. My earliest memories of playing music feature me as a 5 year old, trying to make up the "saddest" song in the world and making myself cry in the process. Later, I went on to pick out and play many of my favorite classical songs by ear. Beethoven, Chopin, and Mozart were my favorites. I do not have perfect pitch, by any means. I do, however, count myself as very fortunate to have a decent ear for pitch. It helps when playing the theremin! I even think that all of those years of studying ballet helped me to be a better thereminist.

YL: I taught myself to play the theremin by listening and playing along to slow-moving classical music (mostly Beethoven) and Zhou Xuan, a famous Chinese singer and actress of the 1940's. To me, the sound and movement of Zhou Xuan's voice are very theremin-like.

YL: I was too excited about the new sounds and possibilities of the theremin to do much practicing in the beginning. I used the theremin in The Octopus Project right away! I had no idea what I was doing, but I knew I loved it.

YL: I think the theremin holds a special place in the band. We neither want to over nor under use it in our songs. I think it's important to try and keep it balanced with the other instruments we use, which are many. I also try and use it in a variety of way to keep it fresh and interesting. I'll use it dry or with a delay, play distinct melodies, demonstrate the crazy spacey sounds, record quadruple harmonies, etc. It may be the focus of a song or it might play a small incidental part. We are all aware of the "crowd pleasing" effect of the theremin. We occasionally meet people who come to our shows just to see the theremin played, so we never play a show without at least a few songs featuring theremin.

YL: We once played an outdoor show just off of a beach in Taiwan. It was hot, humid, and a little rainy. My theremin was in a backstage tent for most of the day. When I got up on stage to try and play, it was uncontrollable. I could only get a singular high pitched squeal out of it. Luckily, there was another thereminist on the bill and I was able to borrow one. To date, this has been the only time we have shared a bill with another band who has a theremin. I still cannot believe my luck that day!

YL: My stance started out as absolute necessity. I am in a band with 3 guys who stomp, move and thrash around when we play live shows. Sometimes I have to do everything I can to steady the theremin into a playable position. I always have my right foot on the stand to keep it steady. If I have to, I will even use my knee against the base of the instrument. I've learned to adjust my playing for shaky stages, rowdy crowds, tiny spaces, and thrashing band members. I sometimes play the theremin with my right foot on the stand even if I don't need to. It's comfortable. It makes me feel a little more in control.

TW: We saw you performing on a Moog Etherwave Pro in Chapel Hill. Do you use any of the special features of this theremin in your performances (compared to the Etherwave Standard or other models)? Do you have a backup model now that the Pro is no longer being made?

YL: I used the Etherwave Standard for years and loved it! Now that I have the Etherwave Pro, it is the only theremin I want to play. The only features of the Etherwave Pro that I use are 2 of the preset sounds. Otherwise, I use it in much the same way as I did the Standard. I tried using the tuner output on the Etherwave Pro in practice a couple of times and it didn't work for me. It was distracting. I prefer to feel what I am playing over seeing what I am playing. I trust my intuitive correctness over being able to physically see that I am on perfect pitch. I was lucky enough to find 2 Etherwave Pros, so I have a backup for my Pro. I hope to play them forever!

YL: I tried a Paia kit theremin once but preferred the playability of the Etherwave Standard I was using at the time. I also had the opportunity to play a 1920's RCA theremin that was tenderly rebuilt by a genius friend of ours in Tuscon. I have no words for how it felt to play the RCA. It was beautiful. As far as what I like about the Etherwave Pro, I say everything. It's reliable, it's easy to tour with, and it plays and sounds like butter.

Well there you have it! A big Theremin World thanks to Yvonne Lambert for her time! Be sure to check out The Octopus Project's website to learn more about the group and to hear Yvonne's theremin magic in action. You can also buy their albums directly from iTunes.

This is my mothers middle name and I know what I think it should be pronounced like because that is how I learned it and when learning the alphabet a Y sounds like Ya, so it would be pronounced Ya'vonne however a lot of people tend to think it is Evonne. What do you think?

I would really like to get contact info for Ms. Popplewell. She did my make up for graduation back in 2015 at SAM. I absolutely loved the time I spent with her and the end result. My make up was flawless and just amazing.

Yvonne Popplewell was the first pro makeup artist to do my makeup in 1988. I went to her home to get it done and she was so gracious and welcoming. When I saw her finished work, I was in awe. She is an artist and an exceptional human being.

Hi Denise. Thank you for your comment and for sharing one of your stories about Yvonne. Actually it sounds like very good advice! I will keep it in mind for the future. I also count myself lucky for having met her. Thank you again and all the best !!

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