German-born musician and composer Carolina Eyck is one of the world’s foremost theremin virtuosi. After her debut in the Berlin Philharmonic, she has been invited to the Bohuslav Martinu International Music Festival in Basel, the Davos Festival (Switzerland), the Konzerthaus Berlin, the Großes Festspielhaus Salzburg (Austria), the Teatro Nacional Lisbon (Portugal) and the Palace of Arts Budapest (Hungary). She has given concerts in Poland, the Czech Republic, Luxembourg, Sweden, Finland, Great Britain, Italy, Switzerland, Austria, Japan, Mexico, Portugal, Hungary, Pakistan, Turkey and the United States. These concert tours are also an occasion for Carolina to learn some words of the respective national languages.
During her concert tours, Carolina is especially inspired by meeting other musicians and ensembles. She has collaborated with Heinz Holliger, Robert Kolinsky, Gerhard Oppitz, Andrey Boreyko, Michael Sanderling, Gürer Aykal, John Storgårds, the Berlin Radio Symphony Orchestra, the Bern Symphony Orchestra, the Essen Philharmonic Orchestra, the Brandenburg State Orchestra, the Stuttgart Philharmonic Orchestra, the Lapland Chamber Orchestra, the Heidelberg Symphonic Orchestra and the Mozarteum Orchestra Salzburg. She was guest musician of the Hamburg Ballet performing “The Little Mermaid” by Lera Auerbach in Japan and San Francisco (USA). In 2012, Carolina played the theremin solo at the world premiere of the two symphonies “Mesopotamia” and “Universe” by Fazil Say. Finnish composer Kalevi Aho dedicated a theremin concert to Carolina which she performed for the first time in October 2012.
Besides her engagements in the area of classical and contemporary music, Carolina loves improvising and composing. She was winner of the International Competition for Composers arranged by Radio/TV Berlin-Brandenburg in 2006. Together with her duo partner, the jazz guitarist Vinzenz Wieg, she keeps on discovering new soundscapes and unconventional methods of play. For Carolina, music and painting belong together as she is not thinking in tunes, but in colours when improvising. She puts these colours down on paper whenever she can.
Carolina takes as her task to pass on her knowledge of playing the theremin. To aim that, she published the first extensive theremin method book entitled “The Art of Playing the Theremin”, and has since conducted workshops, lectures and master classes worldwide. Since 2010 she is the artistic director of the Theremin Summer Academy in Colmar, France.
Theremin Times question :
What prompted you to play theremin?
I started to play the theremin when I was 7 years old.
My parents heard about the instrument and introduced me to the theremin.
What were your first feelings when you heard the sounds of theremin and where did it happen?
I can’t really remember, because I was so young.
I know how I was practicing the theremin in my parents living room.
Lydia Kavina was giving me the first lessons.
What is your musical philosophy and what place it occupies a theremin?
When I play the theremin I can put my feelings directly into music. Every gesture ist music.
I love being surrounded by the sound.
Prospects for theremin and its place in modern music space – how you see them?
For what qualities you value this tool?
I think the theremin has great possibilities in modern music. It’s not just an instrument where you can play melodies on, you can paintyour pictures in the air and make them audible.
Which manufacturer of theremin do you prefer?
At the moment I play the Etherwave Pro.