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• Tomita

Isao Tomita in 1977
Background information
Native name
Born	22 April 1932 Tokyo, Japan
Died	5 May 2016 (aged 84) Tokyo, Japan
Genres	Ambient, classical, electronic, synth-pop, proto‑trance, space music
Years active	1950–2016 (his death)
Labels	RCA Victor
Website	isaotomita.net

Remembering Isao Tomita (1932-2016) Isao Tomita, a Japanese synthesizer pioneer who achieved world fame with his over 20 studio albums, has died age 84. He literally brought synths to Japan, and apart from his soundtrack work, his unique and even today unparalleled electronic re-imaginings of classical works made his name globally recognised. Flacmusic.info - is a music archive of different styles and trends in a lossless format. Music in lossless format - is an opportunity to listen to music with new sensations of the original sound in uncompressed and lossless quality.It is also to hear the deep breaths that a singer within a performance, how a guitarist runs his fingers over the strings of his beloved guitar, how a drummer.

Isao Tomita (冨田 勲Tomita Isao, 22 April 1932 – 5 May 2016),^[1] also known mononymically as Tomita, was a Japanesemusic-composer, regarded ^[2] as one of the pioneers of electronic music^[3][4][5] and space music,^[6] and as one of the most famous producers of analog synthesizerarrangements.^[7] In addition to creating note-by-note realizations, Tomita made extensive use of the sound-design capabilities of his instrument, using synthesizers to create new sounds to accompany and enhance his electronic realizations of acoustic instruments.^[7] He also made effective use of analog music sequencers^[3] and the Mellotron, and featured futuristic science-fiction themes,^[5] while laying the foundations for synth-pop music^[8] and trance-like rhythms.^[9] Many of his albums are electronic versions and adaptations of famous classical music pieces. He received four Grammy Award nominations for his 1974 album based on music by Claude Debussy, Snowflakes Are Dancing.^[5]

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• 1Biography
• 2Discography

Biography[edit]

1932–1968: Early life and composing career[edit]

Tomita was born in Tokyo and spent his early childhood with his father in China. After returning to Japan, he took private lessons in orchestration and composition while an art history student at Keio University, Tokyo. He graduated in 1955 and became a full-time composer for television, film and theatre. He composed the theme music for the Japanese Olympic gymnastics team for the 1956 Summer Olympics in Melbourne, Australia.

In 1965, Tomita composed the theme song and incidental music for Osamu Tezuka's television animated series Jangaru Taitei (Jungle Emperor), released in the United States as Kimba the White Lion (with a different theme by Bernie Baum, Bill Giant and Florence Kaye). In 1966, he wrote a tone poem based on this music, and an original video animation synchronized to this tone poem was released in 1991. With Kunio Miyauchi, he created the music for the tokusatsu science fiction/espionage/action television series Mighty Jack, which aired in 1968. The same year, he co-founded Group TAC.^[10]

1969-1979: Electronic music[edit]

In the late 1960s, Tomita turned to electronic music with the impetus of Wendy Carlos and Robert Moog's work with synthesizers. He acquired a Moog IIIsynthesizer and began building his home studio. He eventually realized that synthesizers could be used to create entirely new sounds in addition to mimicking other instruments.^[7] His first electronic album was Electric Samurai: Switched on Rock, released in Japan in 1972 and in the United States in 1974. The album featured electronic renditions of contemporary rock and pop songs, while utilizing speech synthesis in place of a human voice.

Tomita then started arranging Claude Debussy's impressionist pieces for synthesizer and, in 1974, released the album Snowflakes Are Dancing; it became a worldwide success and was responsible for popularizing several aspects of synthesizer programming. It was the top-selling classical music album for that year. The album's contents included ambience, realistic string simulations, an early attempt to synthesize the sound of a symphony orchestra, whistles, and abstract bell-like sounds, as well as a number of processing effects including reverberation, phase shifting, flanging, and ring modulation. Quadrophonic versions of the album provided a spatial audio effect using four speakers.^[3] A particularly significant achievement was its polyphonic sound, created prior to the era of polyphonic synthesizers. Tomita created the album's polyphony as Carlos had done before him, with the use of multitrack recording, recording each voice of a piece one at a time, on a separate tape track, and then mixing the result to stereo or quad. It took 14 months to produce the album.^[11]

In his early albums, Tomita also made effective use of analog music sequencers, which he used for repeated pitch, filter or effects changes.^[3] Tomita's modular human whistle sounds would also be copied in the presets of later electronic instruments.^[12] His version of 'Arabesque No. 1' was later used as the theme to the astronomy television series Jack Horkheimer: Star Gazer (originally titled Star Hustler) seen on most PBS stations in the United States; in Japan, parts of his version of 'Rêverie' were used for the opening and closing of Fuji Television's transmissions; in Spain, 'Arabesque No. 1' was also used for the intro and the outro for the children TV program Planeta Imaginario (imaginary planet).^[13]

Following the success of Snowflakes Are Dancing, Tomita released a number of 'classically' themed albums, including arrangements of: Igor Stravinsky's The Firebird, Modest Mussorgsky's Pictures at an Exhibition, and Gustav Holst's The Planets. Holst: The Planets introduced a science fiction 'space theme'.^[5] This album sparked controversy on its release, as Imogen Holst, daughter of Gustav Holst, refused permission for her father's work to be interpreted in this way.^[14]

1978's Kosmos featured his renditions of Arthur Honegger's Pacific 231, Charles Ives's The Unanswered Question and the Star Wars theme.^[15]

While working on his classical synthesizer albums, Tomita also composed numerous scores for Japanese television and films, including the Zatoichi television series, two Zatoichi feature films, the Oshi Samurai (Mute Samurai) television series and the Toho science fiction disaster film, Catastrophe 1999, The Prophesies of Nostradamus (U.S. title: Last Days of Planet Earth) in 1974. The latter blends synthesizer performances with pop-rock and orchestral instruments. It and a few other partial and complete scores of the period have been released on LP and later CD over the years in Japan. While not bootlegs, at least some of these releases were issued by film and television production companies without Tomita's artistic approval.

1980-2000: Sound Cloud concerts[edit]

In 1984, Tomita released Canon of the Three Stars, which featured classical pieces renamed for astronomical objects. For example, the title piece is his version of Pachelbel's Canon in D Major. He credits himself with 'The Plasma Symphony Orchestra', which was a computer synthesizer process using the wave forms of electromagnetic emanations from various stars and constellations for the sonic textures of this album.

Tomita performed a number of outdoor 'Sound Cloud' concerts, with speakers surrounding the audience in a 'cloud of sound'. He gave a big concert in 1984 at the annual contemporary music Ars Electronica festival in Linz, Austria called Mind of the Universe, mixing tracks live in a glass pyramid suspended over an audience of 80,000 people. He performed another concert in New York two years later to celebrate the Statue of Liberty centennial (Back to the Earth) as well as one in Sydney in 1988 for Australia's bicentennial. The Australian performance was part of a A$7 million gift from Japan to New South Wales, which included the largest fireworks display up to that time: six fixed sound and lighting systems — one of those on a moored barge in the centre of a bay, the other flown in by Chinook helicopter — for the relevant parts of the show. A fleet of barges with Japanese cultural performances, including kabuki fire drumming, passed by at various times. His last Sound Cloud event was in Nagoya, Japan in 1997, featuring guest performances by The Manhattan Transfer, Ray Charles, Dionne Warwick, and Rick Wakeman.

In the late 1990s, he composed a symphonic fantasy for orchestra and synthesizer titled The Tale of Genji, inspired by the eponymous old Japanese story. It was performed by symphony orchestras in Tokyo, Los Angeles, and London. A live concert CD version was released in 1999 followed by a studio version in 2000.

2001–2016: Later years[edit]

In 2001, Tomita collaborated with The Walt Disney Company to compose the background atmosphere music for the AquaSphere entrance at the Tokyo DisneySeatheme park outside Tokyo. Tomita followed this with a synthesizer score featuring acoustic soloists for the 2002 film The Twilight Samurai (たそがれ清兵衛Tasogare Seibei), which won the 2003 Japanese Academy Award for Outstanding Achievement in Music.

The advent of the DVD-Audio format allowed Tomita to further pursue his interests in multichannel audio with reworked releases of The Tale of Genji Symphonic Fantasy and The Tomita Planets 2003. He also performed a version of Claude Debussy's Clair de Lune for the soundtrack of Ocean's 13 in 2007.

In 2012 Tomita performed 'Symphony Ihatov' in Tokyo, directing the Japan Philarmonic, an accompanying choir, and featuring cyber-celebrity/diva, Hatsune Miku, a digital avatar created by the Japanese company Crypton Future Media.^[16]

In 2015, a number of tracks from Snowflakes are Dancing were featured on the soundtrack to Heaven Knows What, an American film directed by the Safdie brothers. The same year, in recognition of his long career and global influence on electronic music, Tomita won the Japan Foundation Award, an award launched 'to honor individuals or organizations who have made a significant contribution to promoting understanding and friendship between Japan and the rest of the world through academic, artistic and other cultural pursuits'.^[17]

Death[edit]

After suffering from heart disease for many years, Tomita died of heart failure in Tokyo on 5 May 2016.

Discography[edit]

Studio albums[edit]

• Switched on Rock (1972) (as Electric Samurai)
• Snowflakes Are Dancing (1974) US #57Can #57
• Pictures at an Exhibition (1975) US #49Can #55
• Firebird (1976) US #71Can #88
• Holst: The Planets (1976) US #67
• The Bermuda Triangle (1978) US #152
• Kosmos (1978) US #115
• Daphnis et Chloé, also known as Bolero and The Ravel Album (1979) ^[18]US #174
• Grand Canyon (1982)
• Dawn Chorus (1984)
• Misty Kid of Wind (1989)
• Storm from the East (1992)
• Shin Nihon Kikou (1994)
• Nasca Fantasy (1994) (supporting Kodō)
• Bach Fantasy (1996)
• 21 seiki e no densetsushi Shigeo Nagashima (2000)
• The Planets 2003 (2003)
• Planet Zero (2011)
• Symphony Ihatov (2013)
• Space Fantasy (2015)

Live albums[edit]

• The Mind of the Universe - Live at Linz (1985)
• Back to the Earth - Live in New York (1988)
• Hansel und Gretel (1993)
• The Tale of Genji (1999)

Compilation albums[edit]

• Sound Creature (1977)
• Greatest Hits (1979)
• A Voyage Through His Greatest Hits, Vol. 2 (1981) ^[19]
• Best of Tomita (1984)
• Space Walk - Impressions of an Astronaut (1984) RCA Records, USA
• Tomita on NHK (2003)
• Tomita Different Dimensions (1997)

Soundtracks[edit]

• Jungle Emperor Symphonic Poem (1966)
• Prophecies of Nostradamus (1974)
• School (1993)
• First Emperor (1994) (as musical supervisor)
• Gakko II (1996)
• Jungle Emperor Leo (1997)
• Sennen no Koi Story of Genji (2001)
• Tokyo Disney Sea Aquasphere Theme Music (2002)
• The Twilight Samurai (2002)
• The Hidden Blade (2004)
• Black Jack: The Two Doctors of Darkness (2005)
• Love and Honor (2006)
• Kabei: Our Mother (2008)
• Isao Tomita Tezuka Osamu's Work Selection of Music (2016) (compilation CD release in Japan) ^[20]

See also[edit]

• Hideki Matsutake, Tomita's assistant and supporting member of Yellow Magic Orchestra

References[edit]

1. ^Kikuchi, Daisuke (8 May 2016). 'Isao Tomita, Japanese pioneer of synthesizer music, dies at 84'. The Japan Times. Retrieved 8 May 2016.
2. ^Kaye, Ben (9 May 2016). 'R.I.P. Isao Tomita, Japanese pioneer of electronic music, has died at age 84'. Consequence of Sound. Retrieved 13 January 2019.
3. ^ ^abcdJenkins, Mark (2007). Analog synthesizers: from the legacy of Moog to software synthesis. Elsevier. pp. 133–134. ISBN0-240-52072-6. Retrieved 27 May 2011.
4. ^Vishnevetsky, Ignatiy (9 May 2016). 'R.I.P. Isao Tomita, electronic music pioneer'. The A.V. Club. Retrieved 13 January 2019.
5. ^ ^abcd'Isao Tomita'. Billboard. Archived from the original on 13 August 2016. Retrieved 7 April 2016.
6. ^Holmes, Thom (2008). 'Live Electronic Music and Ambient Music'. Electronic and experimental music: technology, music, and culture (3rd ed.). Taylor & Francis. p. 403. ISBN0-415-95781-8. Retrieved 12 June 2011.
7. ^ ^abcTomita at AllMusic
8. ^'Snowflakes Are Dancing'. Billboard. Retrieved 28 May 2011.
9. ^Holmes, Thom (2008). Electronic and experimental music: technology, music, and culture (3rd ed.). Taylor & Francis. p. 214. ISBN0-415-95781-8. Retrieved 28 May 2011.
10. ^Clements, Jonathan; McCarthy, Helen (2006). The Anime Encyclopedia, Revised & Expanded Edition: A Guide to Japanese Animation Since 1917. Berkeley, California: Stone Bridge Press. p. 253. ISBN978-1-933330-10-5.
11. ^'Tomita'. Musician, Player and Listener. No. 8. Amordian Press. 1977. p. 40. Retrieved 28 May 2011.
12. ^Jenkins, Mark (2007). Analog synthesizers: from the legacy of Moog to software synthesis. Elsevier. p. 192. ISBN0-240-52072-6. Retrieved 27 May 2011.
13. ^'Intro for Planeta Imaginario'. YouTube. 16 February 2015.
14. ^'In Memoriam: Tomita - Electronic Music Pioneer'. The Colorado Music Business Organization. 12 May 2016. Retrieved 25 May 2018.
15. ^'Tomita: Kosmos'. isaotomita.net. Retrieved 13 January 2019.
16. ^Fox, Margalit (11 May 2016). 'Isao Tomita Dies at 84; Combined Electronic and Classical Music'. The New York Times. Retrieved 31 May 2018.
17. ^Kikuchi, Daisuke (10 January 2016). 'Isao Tomita's journey from snowflakes to holograms'. The Japan Times. Retrieved 1 February 2016.
18. ^'Tomita - The Ravel Album (Vinyl, LP, Album)'. Discogs.com. Retrieved 5 June 2016.
19. ^Tomita, Isao (1981). 'A Voyage Through His Greatest Hits, Vol. 2'. Internet Archive. Retrieved 10 January 2019.
20. ^'冨田 勲 手塚治虫作品 音楽選集'. Nippon Columbia (in Japanese). Retrieved 13 January 2019.

External links[edit]

• Tomita at AllMusic
• Tomita discography at Discogs
• Isao Tomita discography at MusicBrainz
• Isao Tomita - Last.fm
• Isao Tomita on IMDb
• Isao Tomita Interview NAMM Oral History Library (2014)

Isao Tomita: '[I]n painting the artist is free to use whatever color or material he may choose. In other words the medium for his expression on the canvas is free and unlimited. There are plenty and abundant mediums, whereas in music we have had to use very limited means: the musical instruments. In painting one could use unlimited variety in color, but in music only certain numbers of timbres were available to express composers' ideas and feelings [..] My doubt was, should music be always like this? Couldn't it get some new source of sound beyond existing musical instruments? That was my doubt and at the same time my dream.' After having spent the formative years of his childhood with his father in China during the 1930s, Tomita returned to the place of his birth, Tokyo, eventually studying Art History at Keio University during the early 1950s while also taking private lessons in Music Composition and Orchestral Theory in order to pursue his overriding passion for music. Having already paid his dues by regularly composing for local orchestras in order to fund his education, by the time Tomita graduated, he had amassed an impressive amount of experience and skill, which allowed him to quickly transition into a career scoring films, television and theatre, something he pursued for the next 15 years until hearing Walter Carlos' groundbreaking Classical work on the Moog synthesizer. Tomita: 'In 1969 I happened to listen to a record titled Switched on Bach which opened a new world to me and triggered a revolution in my musical life. At the time I saw on the jacket of the record, behind Bach, a synthesizer, which is to say a palette of sound. For the first time I discovered that the synthesizer is not an instrument to compose music by using the sounds of existing instruments, but is a new instrument or a new machine which creates unlimited sound sources.'

Walter Carlos tending to his Moog III

Inspired by Carlos' groundbreaking work, Tomita purchased a Moog III synthesizer (identical to the one pictured on the Switched on Bach album cover) and built a recording studio in his home shortly after forming a music collective called Plasma Music with several other Electronic-minded musicians. After a false start in the form of a largely forgettable album of Moog renditions of contemporary rock songs, Tomita turned his attention to the work of French composer Claude Debussy, and, in contrast to Carlos' emphasis on note-for-note transcription as well as the recreation of traditional acoustic sounds using the new Electronic medium, Tomita's work, perhaps due to his extensive experience as a composer, focused on re-conceptualizing the source material using the infinite array of new musical possibilities inherent in the new Electronic medium. The result was Snowflakes Are Dancing: Electronic Performances of Debussy's Tone Paintings, an album that proved to be both a revolutionary step forward in synth-based programming and a considerable commercial success. Tomita on the approach and response to the album: 'I never expected that so many albums would be sold, but to tell the truth I was expecting something different and I had, if I may say, some revolutionary intention or theory when making this music [..] Walter Carlos' emphasis when realizing Debussy was on the level of mere description and depicting [..] My emphasis was more on the timbre or color of the music [..] it was kind of an experiment for me. I experimented with my theory to create first the color of the sound which the conventional instruments never could bring out [..] The intention of my playing was that with a synthesizer I could break the limitations of such instruments and go into the unlimited world, and I started with the color of the sound, and the result was this piece. But we are going beyond even the color; we are going to the form of music composition and finding new aesthetic rules and creating a new world of music.'

Isao Tomita relaxing in front of his Moog III

The most obvious difference between the work of Tomita and that of earlier attempts to re-interpret Classical pieces within an Electronic context is Tomita's ability to create a polyphonic sound despite the fact that polyphonic synthesizers were not commercially available when he recorded his most innovative work. He did this by painstakingly recording every part separately and meshing these parts together to lend his Electronic arrangements a symphonic depth missing on albums such as Switched on Bach. In addition, Tomita, especially on later albums such as Pictures at an Exhibition, Firebird, and his interpretations of Holst, avoids any conventional sense of reverence in his approach to the source material, as he treats them more as starting points for his exploration of new musical possibilities than monuments to be draped in synthetic raiment. Tomita: 'In this kind of situation, music and, for instance, painting are different. There is one painting, one masterpiece, say. If another painter adds color or a line to this original painting, it is destroyed. But it is quite different with music. In music there may be one original score, but there may be thousands of scores of the same composition, and there will be hundreds and thousands of other composers and arrangers who may rearrange the original music; who may add something to the original, who may extract something from it [..] I don't think it's a problem which endangers or destroys the original score [..] If one plays a score, each player will interpret it differently and each conductor performs it differently, and you cannot limit or tell the conductor exactly how the original composer imagined it. The music score itself is loose.' For Tomita, music cannot be mathematically reduced to a finite set of relationships between notes and between tones. As such, every composition potentially points the way to what he calls the 'unlimited world,' which, as with the act of interpretation, is infinite.

Tomita