On today’s date in 1928, a French musician and inventor named Maurice Martenot gave the first public demonstration of a new electronic instrument he had created which produced eerie-sounding tones reminiscent of the human voice, but without the human limitations of voice range or lung power.

Martenot was also a savvy promoter of his new instrument, which he took on a world tour, with his sister serving as its first virtuoso performer. The instrument came to be called the “Ondes Martenot”—which translates into English as “Martenot Waves.”

A number of 20th century composers were quite enthusiastic. Arthur Honegger suggested the Ondes Martenot might replace the contra-bassoon in symphony orchestras, writing: “The Ondes Martenot has power and a speed of utterance which is not to be compared with those gloomy stove-pipes looming up in orchestras.”

Well, contra-bassoonists needn’t worry: their stove-pipes still provide the low blows in most modern orchestras, but the Ondes Martenot does figure prominently in several major 20th century scores, including the monumental Turangalila Symphony of the French composer, Oliver Messiaen.

And, following Martenot’s death in 1981, the French even formed an official society with the grand title of “L’Association pour la Diffusion et le Développement des Ondes Martenot.”

Olivier Messiaen (1908 – 1992) Turangalila Symphony Tristan Murail, Ondes Martenot; Philharmonia Orchestra; Esa-Pekka Salonen, conductor. Sony 53473