Page 40 - Phil opening night program digital final

Meet

Caroline Scruggs

Riding the Wave of Sound
What happens when a classically trained singer discovers an instrument that has no keys, strings,
or buttons—and that you play without ever touching it? For Caroline Scruggs, the answer was
transformative.
A trained classical vocalist who originally envisioned a career in opera, Caroline discovered the
theremin during a trip to the Musical Instrument Museum in Phoenix, Arizona. She was
immediately captivated by its otherworldly sound and its seemingly impossible way
of being played. Almost a decade later, she has made the theremin a central part
of her musical life, using it not only as an instrument, but as a tool for creativity,
exploration, and self-discovery.
On November 7, Caroline joins the Phil for The Question of Sound. We spoke with her
about discovering her instrument, letting go of perfection, and what happens when
you learn to listen not only with your ears, but with your whole body.

You first discovered the theremin after studying whatever is happening in that moment. That’s what I love
classical voice. What drew you to it? about it.
I went to school for music and trained in classical voice The theremin is almost an ethereal alter ego. It can do
with the intention of becoming an opera singer. Then, on things that my human voice can’t. I was raised in classical
a trip to Phoenix, Arizona, I visited the Musical Instrument music, where there are so many rules, and sometimes
Museum. They had a room where you could actually try those rules can bog me down. The theremin is my creative
some of the instruments, and there was an older model wild child. It’s everything classical music is not.
theremin, a “Moog Etherwave”. When I perform, I try to ride the wave and see where it
It was the most counterintuitive instrument I had ever goes. I have to lay down my ego, embrace the moment,
encountered. I was completely enamored. It sounded like and trust where the music is taking me. There’s a lot of
a second voice—this weird, ethereal, alien voice—and I rehearsal and a lot of tuning into the subtleties, but when
had this moment of, “This is my instrument.” I perform, I have to let go.

I envisioned getting really good at it. I asked for a theremin
for Christmas and spent hours and hours teaching myself. Your work also includes singing, songwriting,
There were very few thereminists at the time, so I watched teaching, and creative education. How do these
videos of Carolina Eyck from Germany and studied her different parts of your musical life influence one
hand positions. After about six months to a year, I felt like another?
I was actually making “music” with it. I’ve created an ecosystem that is my creative ground and
my creative playground. I believe that if you follow your
The theremin responds to incredibly subtle passions and your gifts and go after them wholeheartedly,
movements, and there’s no physical contact with it will pay off—and I’ve proven myself right.
the instrument. What does it feel like to play? The theremin is a big part of that journey. It draws people
You can’t really perfect it, and you have to go with in because it’s so head-turning. People see it and ask,

38 ~ Plymouth Philharmonic Orchestra