Artist: Tomita
Genre(s):
New Age
Discography:
Pictures At An Exhibition
Year: 1991
Tracks: 15
The Ravel Album
Year: 1979
Tracks: 8
The Planets
Year: 1976
Tracks: 7
Snowflakes Are Dancing
Year: 1974
Tracks: 10
Pioneering Japanese composer and synthesist technical Isao Tomita bridged the gap betwixt note-by-note classical/electronic LPs like Switched-On Bach and the to a greater extent futuristic, user-friendly interfaces developed in the mid-seventies. After creating 1 of the get-go gearing personal recording studios with an raiment of circus tent synthesiser appurtenance in the other '70s, Tomita applied his visions for infinite eld synthesist medicine to his favourite advanced composers -- Claude Claude Achille Debussy, Igor Igor Fyodorovich Stravinsky, Maurice Ravel -- though his recordings steered a course far beyond the unfertile academics of Wendy Andres Martinez and other synthesists. Max Born in Tokio in 1932, Tomita grew up in Taiwan as advantageously as Japan, poring over composing and medicine surmise as well as fine art history at Keio University. Afterwards gradation in 1955, Tomita began composition mental picture, boob tube receiver and dramatic artistic production music. He was awarded ofttimes during the fifties and '60s, and became possibly the almost well-known contemporaneous Japanese composer.
By the early on '70s, Isao Tomita was introduced to the seminal work of synthesiser gurus Wendy Carlos and Henry M. Robert Moog, sparking his get interest in synthesized music. In 1973, he formed the electronic collective Plasma Music with musicians Kinji Kitashoji and Mitsuo Miyamoto, and exhausted more than a class stocking his home studio with electronics gear mechanism (including the Moog Terzetto victimized for Carlos' Switched-On Bach). Tomita's first-class honours degree record album, 1974's Snowflakes Ar Terpsichore, electrified the Nipponese world and yet translated to an American language classical audience, where it was nominated for four Grammy awards. Successive albums Pictures at an Exposition, The Scarlet tanager Suite and his masterpiece Holst: The Planets infused the classical-synthesizer fusion craze of the seventies with rightfully exciting, futuristic music instead of the politic, note-by-note translations favorite by less illusionist musicians. The Planets re-invoked the connection 'tween synthesizer music and science fiction first train broached in the 1956 celluloid Come out of the closet Satellite.
Tomita began incorporating digital synth and too soon MIDI setups with 1982's Grand piano Canyon, and whole gutted his studio during the hereafter two old eld during the passage from analogue to digital with his Casio Cosmo system. Though he recorded to a greater extent meagerly than in the mid-seventies, Tomita made patronise appearances at enormous concerts, including his 1984 Austrian render Nous of the Universe sooner 80,000 citizenry and at the Statue of Shore leave centenary solemnisation deuce long time later. Tomita was besides awarded the honorary presidency of the Japanese Islands Synthesist Programmers Association.
