Customer Reviews

Debussy: Snowflakes Are Dancing, Prelude, etc / Tomita

5 star:		(21)
4 star:		(5)
3 star:		(0)
2 star:		(1)
1 star:		(1)

 

 

In Tomita's music I have found serene beauty, relaxation, landscapes of wonder, mysterious spaces, thrilling excitement, inspiration, and some fun. He creates his music with more depth, color, imagery, feeling, and thought than any other synthesized music I have ever heard.

The big box set of all 11 CDs has finally been released! Considering that a number of Tomita CDs are over $30, and all the CDs in the box have been remastered, it is almost a bargain! So here is my list, improved and updated for accuracy (August 2009)... As a person who started collecting Tomita and lots of other electronic music when I was 19 in 1979, plus the original symphony orchestra versions of the classical music that Tomita used, I hope you consider me qualified to create the following list of Tomita albums and review them as well.

Note on the 1991 Surround Sound CDs (Snowflakes to Kosmos): Tomita originally mixed his albums for special Quadraphonic LPs and tapes, but for some reason, the rear channel sounds almost completely disappear, no matter what stereo equipment a person listens on.

SNOWFLAKES ARE DANCING 1974
(11 Debussy pieces)
Some say Snowflakes is Tomita's best CD. I think it is in his top three. I love the range of styles in this album, the relaxing beauty, the depth of colors. The Snowflakes album is very enjoyable. One of the few CDs I have that I like to hear again and again.

The newly remastered High Performance CD is audiophile quality and adds Prelude To The Afternoon of a Faun also by Debussy.

PICTURES AT AN EXHIBITION 1975 (Mussorgsky)
Also in the top 3. For this album Tomita created some of the most unusual, high quality electronic sounds ever heard. Then he used these sounds very effectively in good orchestrations. The listening is as enjoyable as it is bizarre; quite an accomplishment in itself. (Unlike other synthesized music, I have never gotten a headache listening to this or any other Tomita recording. Not even close. Not even when playing his music loud, which I love to do. )

FIREBIRD 1976
(Stravinsky: Firebird Suite. Debussy: Prelude To The Afternoon of A Faun. Mussorgsky: Night On Bare Mountain.)

Firebird is one of Tomita's best CDs. The Round of the Princesses is beautiful. The Infernal Dance of King Kastchei is exciting, scary, and LOUD - much more so than any performance by any orchestra. The Finale is so awesome; Tomita played it at the end of his live concerts.

THE PLANETS 1976 (Holst)
This one album is a completely different mood for Tomita. This is one Tomita album that is far better than any symphony orchestra performance could every be. Imagine Lord of The Rings before CGI. It is as if Holst was so far ahead of his time, that he composed The Planets for Tomita.

KOSMOS or COSMOS 1978
(Star Wars Title. Space Fantasy- R. Strauss: Thus Spake Zarathustra, Wagner: Ride of The Valkyries and Tannhauser Overture. Honnegar: Pacific 231. Ives: Unanswered Question. Rodrigo: Aranjuez. Grieg: Solveig's Song. Dinicu-Heifetz: Hora Staccato. Bach-Tomita: The Sea Named Solaris.)

This is a science fiction album without a theme, really. On this album: Star Wars is cute. The Space Fantasy is pretty good. Pacific 231 is exciting and fun, a quality piece. You can almost see the mechanical motions flying through space after the train leaves the tracks. Tomita's interpretation of the mystery and solitude of The Unanswered Question is far better than any orchestral performance of it! Hora Staccato is lots of fun. And Carl Sagan used the amazing Sea Named Solaris in his "Cosmos." The Sea Named Solaris is one of the greatest works of music every performed by anyone. Tomita fans and collectors should enjoy most of this CD.

THE BERMUDA TRIANGLE 1979 - A Musical Fantasy of Science Fiction
(Sibelius: Valse Triste. Williams: Close Encounters. Prokofiev: Romeo and Juliet, Scythian Suite, Symphonies 5 and 6, Violin Concerto 1.)

After nearly 30 years of listening to The Bermuda Triangle off and on, I have decided that it is my all time favorite record album, CD, concept album, and my all time favorite synthesized music.

Another reviewer is absolutely right... Turn off the lights, put the phone on silent, turn the volume way up, and sit down and listen! Really listen!! Because The Bermuda Triangle is an Experience; A Phenomenal, Powerful, Enlightening, Enjoyable Experience!! And it's fun too.

Inexplicably, the U.S. CD releases stopped with Kosmos. The Bermuda Triangle is much better than Kosmos. I could type two pages on The Bermuda Triangle, and you can find many pages on various websites. But I will just say that the orchestrations and performances of the music itself all fit together masterfully to tell a story that is part thrilling science fiction and part impressionistic dream. I especially like the second half- the really good Prokofiev stuff. The sounds Tomita used in creating this album are his most sophisticated and fascinating yet, as innovative and high quality as Pictures At An Exhibition or more. The quality of the recording is bright, full, deep, clear, and clean. The whole experience is extraordinary. I am so grateful the album is on CD.

BOLERO or DAPHNIS AND CHLOE 1980
(Ravel: Daphnis and Chloe, Pavane for A Dead Princess, Bolero, Mother Goose Suite.)

This is a very good album with the best performance of The Mother Goose Suite that I have heard, by far. I love the range of musical styles in the Mother Goose Suite. You can actually hear the fairies in the Fairy Garden (they sound like hummingbirds). Plus, there are only two Daphnis and Chloes that I like better than this one. And the Pavane is very nice.

THE GRAND CANYON 1982 (Grofe)
(Bonus track: Syncopated Clock by Leroy Anderson)

Most music critics would say that this performance of The Grand Canyon Suite is not as good as a symphony orchestra's. But it is worth checking out, as parts of it are far more colorful, magical, and entertaining than any symphony orchestra version I have ever heard. Tomita's Painted Desert gives a feeling of flying low over vast mysterious, enchanted, moonlit sands. On The Trail is a lot of fun, although not as good as orchestra performances. And The Thunderstorm is exhilarating and even a little frightening, especially when turned up Loud. You can actually Hear the Lightning, Feel the Thunder, and then See a Rainbow at the end. Only Tomita could do that!! This is the shortest Tomita album. It would easily fit on a CD with Canon of The Three Stars.

CANON OF THE THREE STARS or DAWN CHORUS 1984
(Pachelbel: Canon. Rachmaninoff: Vocalise. Albinoni: Adagio. Bach: Jesu Joy of Man's Desiring. 4 pieces from Villa Lobos: Bachianis Brasileiras 2, 4, and 7.)

Sweet is the word I would use to describe pretty much this whole album. Some tracks are even cute, although at least one is solemn and another poignant. The quality of this album is not nearly as great as Snowflakes, Pictures, The Bermuda Triangle, or the Ravel Album. It almost seems that Tomita did this one in his sleep, but some tracks are very good, and since all the tracks are individual pieces it would be worth owning as a reference CD.

LIVE AT LINZ, AUSTRIA 1985 - THE MIND OF THE UNIVERSE
(Live concert with huge speakers on both sides of the Danube River and live soloists. Includes 7 pieces from previous albums- some with new arrangements and live soloists. Plus, Stravinsky: The Rite of Spring. Japanese Traditional: Cranes In Their Nest. Vaughn Williams: The Lark Ascending. Wagner: Tristan Und Isolde-Liebestod. Beethoven: Ode To Joy with full Choir and soloists.)

In my opinion, this is in Tomita's top five best albums. It contains some of the most beautiful and unique performances ever put on a disk. The live violin solo (Mariko Senju) of the Lark Ascending is by far the most captivating, lovely, and perfect I have ever heard; the best performance of The Lark Ascending that I know of. The same violinist does an outstanding job on Prokofiev's Violin Concerto No. 1: Moderato; Allegro Moderato. This is the part of The Bermuda Triangle near the end that gets so exciting, and with the live violinist and Tomita's magical orchestral creations, it is truly one of the most thrilling musical experiences I have ever enjoyed.

I also love the Wagner: Tristan Und Isolde-Liebestod (which first appeared on this album). So much depth and feeling, it is hard to describe how lovely it is. This album also has an extended version of Cranes In Their Nest, a very good performance by Goro Yamaguchi, on the Shakuhachi.

Of the two concert CDs, this one has more awe-inspiring moments, and more depth. It is also the longest Tomita album ever made, which is perfect, since it is so enjoyable.

Note on sound quality: I appreciate good sound quality. This CD does have imperfect moments, but over all it is very good. I listened on my pretty good car stereo system last night turned up very LOUD. The most important parts are clean. There is reverb at times, but it is natural, bouncing off things in the area. It could have been mixed better, but it is very hard for a huge concert like this to be recorded perfectly. Also, during The Conversation from Close Encounters and the first couple minutes of Ode To Joy you can hear the helicopter that was holding up a huge speaker during the show. Actually hearing a helicopter on a CD may seem silly... BUT, it is these things that make you Feel as if you are At the Live Concert, and this is a huge Plus.

LIVE IN NEW YORK 1988 - BACK TO THE EARTH
(Live concert with live soloists. Includes 7 pieces from previous albums- some with new arrangements and live soloists. Plus Dukas: Fanfare. Mahler: Symphony 3 in D Minor - 5th Movement. Traditional: Chinese War Lord Going Home. Gershwin: Rhapsody In Blue. Fisher-Dvorak: Goin' Home.)

The Live In NY music is less demanding than Live At Linz, which makes it more suited for playing in the background. It is almost as good as the Live At Linz concert (above). But it has fake reverb all the way through, and is not as bright and clear as the other Tomita CDs. Not the best, but worth having.

These last two CDs are my all time favorite live concert albums.

BACH FANTASY 1996
10 separate Bach pieces, which include two tracks from previous albums. (Part of The Sea Named Solaris is mixed different.)

This Tomita CD has found its way into my top 5.

A rare, expensive CD, that is not included in the big new Box Set. This CD features some new sounds and musical styles for Tomita Classical, a really wide variety of them. Several of the tracks are most enjoyable. The popular Toccata and Fugue is a very good, virtuoso straight performance on very cool Synth Organ. My subwoofer liked it too! This is a perfect finale for the entire Tomita Classical Line.

IN CONCLUSION
Other reviewers on Amazon have done a more eloquent job than I of describing Tomita's amazing musical style, but I have enjoyed creating this guide. I hope you enjoyed it too. Thank you.

Is Tomita a sound magician or the ultimate in retro moog cheese? I wouldn't worry too much about the answer as you listen to these electronic "realizations" of famous Debussy pieces. Just (as I do) indulge yourself in lots of great early Moog synthesizer sounds and fascinating arrangements (at times embarrassing, but only briefly). Tomita is much more of a colorist than his Moogmate Wendy Carlos, and his early work is more interesting than Wendy's, drawing on a much broader palette of sounds. One Tomita recording is probably enough, and this excellently remastered classic is The One. By all means don't get rid of your Debussy piano recordings, but make room in a hidden drawer for "Snowflakes Are Dancing."

If you happen to be a spaniard, you're born between 1975 and 1980 and you're reading this, you probably already know that 'Arabesque no 1' is the amazingly sad music that we heard everyday after the school as the opening title of 'Planeta imaginario'. So, yes, this is the song you do need to hear again and probably the one that made us all to love the sound of synthesizers. Now, for the rest of the album (and of course for the rest of the people), this was the first lp of japanese's synth virtuoso Idao Tomita, and also one the first -and finest- works ever recorded using only this kind of instruments. Many classic composers have been translate into synthesizer's language, including Bach or Beethoven by Walter Carlos or Holst and Mussorgsky by Tomita himself, but nothing fits so good with this hypnotic, colourful and nostalgic sound than the impressionist melodies of Claude Debussy. Anyway, if you're not accustomed to this kind of music it will probably take a few more listenings to be fond of the sounds: although electronic music seems to be everywhere nowadays, the fact is that nobody uses these spacey and old fashioned arrangements anymore. A shame, because they still sound great. Companies liked them when a modular synth was more expensive than a house and you couldn't compete with them at you're home. Now everyone can do this sounds at a low cost, so it won't be a good bussiness to promote this kind of recordings, as they'll have to fight with thousands of amateurs for their piece of market. Needless to say, very few of them will be able to display the genius of Tomita, not to talk about Debussy. By the way, I think there's been a terrible misunderstanding with some previous reviews. The High Performance release contains a great remaster -not a remix- of the original production by Tomita and, although finding the original vinyl shouldn't be very hard, I recommend this version. Of course the volume is very dynamic, so could wake up the neighbors if you try to enjoy it at night without your headphones. But this is not a disadvantage. In fact, it works quite good and makes the music more similar to the classical performances of Debussy, while it maintains every nuance of Tomita's awesome synth playing.

Released in 1974, this all electronic adaptation of works by Claude Debussy is really quite good and showcases Isao Tomita and his flair for synthesizer wizardry. I think that Isao more or less captures the dreamy and haunting mood of Debussy's compositions and also adds a bit of his own (humorous) flair here and there with some "light-hearted" synth sounds.

The music on this album was recorded entirely with a moog synthesizer although the sweeping and majestic sound of a mellotron with string setting pokes through the mix on occasion. As a big synthesizer fan, I thought it was interesting that the various settings on the moog were listed as "equipment" including things like oscillators and lowpass filters etc. This particular synthesizer was pretty versatile and a virtually infinite number of sounds could be generated, as is amply demonstrated by Isao on this album.

In addition to the works originally included on Snowflakes are Dancing, the last track was taken from his Firebird album (1976) and is another work composed largely on the moog synthesizer although other keyboards were used including a Fender electric piano and a Hohner Clavinet C.

The sound of this high performance CD is excellent and trust me, the changes in dynamics virtually leap out at you.

All in all, this is an excellent recording of electronic music by an excellent electronic composer. Highly recommended along with his 1976 adaptation of The Planets (by Gustav Holst).

During the seventies, the prog music of Yes, (early) Genesis, Renaissance, and especially Emerson, Lake & Palmer cast a hypnotic spell over legions of high school nurds such as myself. Much of what held it together was a fascination with the sounds eminating from the still somewhat new Moog Synthesizer. It wasn't long before my high school art room pals & myself began looking for anything Moog, and found quite a bit outside the rock music pantheon, most notably the 'Switched On Bach' recordings of Walter/Wendy Carlos. They were interesting, but nothing quite prepared us for the release of Tomita's 'Snowflakes Are Dancing'. Perhaps it was because the timing coincided with a 'high' point in our collective psyhedelic experimentations.... Debussy's music is already an alternative, ethereal experience in the classical world, and Tomita's choice of sounds & production techniques put this recording in a class by itself (umm... especially with a pair of good headphones). I am happy to report that, upon listening to this well produced CD release with nothing more than a cup of herbal tea, I was happily transported once again. It is one delightfully Bizarre recording. 'Highly' recommended.

These are all Debussy tunes. Tomita mostly used the Moog on this recording, and occasionally a Mellotron for the choral and string effects (especially on The Engulfed Cathedral). The tune choices are mostly the standard Debussy classics, but include Golliwog's Cakewalk, which is really nerve-racking on synthesizer. And the added track, Prelude to the Afternoon of a Faun, which is over 10 minutes long, can get a little boring. Really the last 17 minutes of the CD is a drag, but the first 30 minutes are some of the best synthesizer music ever (and this was recorded in 1974!).
Unfortunately, M. Wood was correct in that the remix here is really bad. The volume levels are too high in some places and too low in others. And I don't just mean a little. I mean they are WAY off. I also bought the LP in the 70's, and I know it didn't have this problem. They tried to make the highs and lows more dramatic, but ruined it. Tomita didn't endorse this re-issue, and I could see this being the reason. It's practically unbearable.
And I don't think you need a 3600 watt system like tobor642 to play this music! :D I have a high performance stereo system (which I don't think is appropriate to brag about here), but the stereo system is not the issue. The problem is that the volume level is way too soft in some places and way too loud in other places, and you would have that problem no matter what stereo system you use. For example, the problem is still there if you just listen through headphones.
My recommendation is to buy one of Tomita's other CDs, such as Planets or Kosmos, which are every bit as good, and hope that Sony remixes this CD.
For a great piano version of these classics, I highly recommend Debussy: Piano Works, performed by Pascal Roge. Or, for more general piano classics, you may enjoy The World's Favorite Piano Music, performed by Van Cliburn, which includes a great, but different Reverie.
For other synthesizer music, you may enjoy Kitaro's CDs, which mix modern synthesizer music with traditional Japanese music. Kitaro's music is more like New Age, but definitely more interesting than most New Age music. The new CDs, Sacred Journey of Ku-Kai 1 & 2, are both great.
And, for guitar synthesizer, you ought to try Allan Holdsworth's Sand or Atavachron. The level of playing is way above anything any other player has ever done on guitar synthesizer.

Tomita's 'Snowflakes Are Dancing' is a wonderful interpretation of Debussy's music, produced entirely on a synthesiser. When I first heard this, way back when L.P.s were still the norm, I was a not convinced that it would work. Being a huge fan of Debussy I didn't think the music would sound right played on anything other than a piano...goes to show how wrong you can be. Featuring some of the composers best loved pieces such as 'Girl With the Flaxen Hair', 'Golliwogs Cakewalk' and 'Arabesque' this is a fantastic addition to any collector of classical music.

Readers, I couldn't believe this when it fell on me. When Amazon blunders, they really go the full way, and don't hesitate to smear egg all over their face, hair and body.

I was surprised that my review didn't get posted. I inquired with Amazon as to why. This is their response. Prepare yourselves:

"Hello Discophage,

I'm sorry to hear you have repeatedly submitted your Customer Review and it has not been accepted. I read your recent review of "Debussy: Snowflakes Are Dancing, Prelude, etc / Tomita" and found it violated our guidelines. We don't allow profanity in Customer Reviews."

Profanity? Oh my God, what had I done? Had I been obscene commenting on Tomita and Debussy? Where? How? Why? Well, read on.

"Your review couldn't be posted on Amazon.com as written. I would recommend submitting your review again, restricting your comments to the item. Specifically, the following parts cannot be posted on Amazon.com:

"Colliwoc's Gakewalg"

[I've exchanged here the Cs and the Gs so that my new post would get past Amazon's iron-wall censorship]

We understand this is a title of a track on "Debussy: Snowflakes Are Dancing." However we rely on automated filters to help identify content that may fall out of guidelines. A Customer Review containing this title will not be accepted by Amazon.com. I apologize for the inconvenience this will cause.

We hope to see you again soon."

Sure you will. So, you've read it: mentioning the title of Debussy's sixth and concluding piece from Children's Corner is "profanity". In fact, I wasn't even aware of the racial implications that the word has assumed - years after Debussy had died. It is only as I researched what might have been viewed as profanity in a word that seemed inconspicuous to me (didn't even know if they took exception with that or with "cakewalk") that I happend on the Wikipedia entry that explained it (great and detailed entry, thanks again Wikipedia, wellspring of free knowledge available in two clicks). Well, I've certainly learned a new subtelty of the American language. So, in the name of a misplaced political correctedness, Debussy is now censored. How long must we wait before they decide to ban all sales of Children's Corner on this website?

I've protested back to Amazon. I indicated that that *Colliwoc* was a character invented by Florence Kate Upton in her 1895 Children Fiction "The Adventures of Two Dutch Dolls and a *Colliwocc*" and that there was nothing profanatory about that. I also pointed out that not only the track listing of the present entry, but also no less than FOUR previous reviews had mentioned the Debussy piece with its full title, and that I was merely commenting on those reviews: so why did I get censored while they had full exposure? I've asked Amazon to reinstate my review. Well, they refused to budge. Anyway, I was so incensed as well as dumbfounded by the way Amazon and its asinine filters have made utter fools of themselves, that I didn't wait for their answer, but instead decided to go on with this new post and let everybody share.

Here was my review, profanity and all. It was titled

"Debussy + Space = Tomita"

and it went:

"I don't have much to add to the title, or to the 25 previous reviews.

Funny that many of the reviewers should so rave about Arabesque n° 1. What happens starting at 1:20 is downright comical: you think you are hearing Daffy Duck imitating Bing Crosby. And why does *Colliwoc's Gakewalg* seem to incense some other reviewers? it is only Daffy's return on a larger scale, and it is hilarious. There are many such touches in the Faun Prelude as well. Tomita obviously has a great sense of humor, and that is to his credit. I also find that he has a rich timbral imagination, his arrangements are always clever, imaginative and evocative, and he commendably avoids the saccharine. So much so in fact that, even when you know the Debussy originals very well, you almost forget Debussy entirely. Usually the enjoyment of transcriptions derives from the fact that they enable you to hear the old warhorses in a new and ear-catching timbral guise, adding new thrills to the old routine (like having your wife show up wearing a new sexy lingerie). But here the novelty, unexpectedness and eeriness of the new sonic attire in which Tomita clads Debussy almost make the works sound like original compositions. Surprising (and somewhat disappointing even, in view of how entertaining the rest is) that he didn't do more preludes, some of them, like Brouillards, being so atmospheric. Or the complete La Mer."

Profanity my foot. "Amazon + Robotic Filters = Asinine"

I have been trying to find out who did the theme tune for PBS Star Gazer which used to be Star Hustler. I have been watching Star Gazer for over 20 years. I finally got it on Pandora Radio. I ordered it as soon as I found out. This is top notch synth sounds. I would definitely buy more by Tomita. I love Debussy music anyway.

Thanks!!

Tomita was one of the early pioneers of electronic music. This CD, originally released in the 70's, was at the time a masterpiece. That was in the days of patch cords and laborious manual over dubbing, so not every cut is up to today's standars. Still, the finer pieces on this CD stand with anything ever done in the genre: luminous, melodic, and even entrancing. At its best, a magical CD highly recommended not only for the connoisseur, but for anyone who enjoys synthesized music.