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I think the Ondes Martinot is a beautiful, mysterious instrument.
But I just don't care for the way that Cynthia Millar -- Bernstein's regular O.M. player -- performs it.
The great Jeanne Loriod (wife of Oliver Messiaen), or Barry Gray (who often performed it himself on his and others' scores) or Sylvette Allart (who performed it on Gray's Doppelganger) wrought wonderful, ethereal sonorities out of the Martinot.
But with all due respect to Cynthia Millar, I feel the O.M. sounds like a glorified slide whistle in her hands. Kinda cheesy and rinky-dink.
Paul's perspective on the Ondes (and on the people performing on this instrument) matches my own.
Here how the OM sounds in pre-1970s soundtracks, one of which is on pre-order now from the Kronos Gold Collection:
http://kronosrecords.com/KG14.html
The "Opening Credits" sample from Trovajoli's IL GIGANTE DI METROPOLIS demonstrates what McLean has said in this thread.
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