In Classical Music
The ondes Martenot has been used by many composers, most notably Olivier Messiaen. He first used it in the Fête des Belles Eaux for six ondes, written for the 1937 International World's Fair in Paris and then used it in several of his works, including the Turangalîla-Symphonie and Trois Petites Liturgies de la Présence Divine. His opera Saint-François d'Assise requires three of the instruments. The composer's widow, Yvonne Loriod-Messiaen arranged and edited four unpublished Feuillets inedits for ondes Martenot and piano which were published in 2001. The ondes Martenot has also been used occasionally in transcriptions: Leopold Stokowski used the instrument in his ethereal orchestration of Buxtehude's Sarabande and Courante ("Auf Meinen Lieben Gott").
Other notable composers who have employed the ondes Martenot in their works include Charles Koechlin, Edgard Varèse (as a replacement for two theremin instruments in his work Ecuatorial), Arthur Honegger, Darius Milhaud, Cemal Reşit Rey, Maurice Jarre, Sylvano Bussotti, Giacinto Scelsi, Marcel Landowski, Karel Goeyvaerts, Pierre Boulez, Tristan Murail, Henri Tomasi, and Frank Zappa. André Jolivet wrote a prominent concerto for it in 1947. Bohuslav Martinů authorized the adaptation of his Fantasie to the use of the ondes Martenot when it proved difficult to perform on the Theremin, for which it was originally written.
Estimates of the number of works written for ondes Martenot vary. Hugh Davies reckoned there to be around a thousand works composed for the instrument. Jeanne Loriod's figures are the more widely quoted: she estimated that there were 300 pieces of chamber music, including 14 concertos. Jacques Tchamkerten's provisional catalogue of works for ondes, included in the current reprinting of Loriod's Technique, lists far fewer works than either of these figures.
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