Tomita - Live At Linz (by request)

Pioneering Japanese composer and synthesizer expert Isao Tomita bridged the gap between note-by-note classical/electronic LPs like Switched-On Bach and the more futuristic, user-friendly interfaces developed in the 1970s. After creating one of the first personal recording studios with an array of top synthesizer gear in the early '70s, Tomita applied his visions for space-age synthesizer music to his favorite modern composers – Claude Debussy, Igor Stravinsky, Maurice Ravel – though his recordings steered a course far beyond the sterile academics of Wendy Carlos and other synthesists. Born in Tokyo in 1932, Tomita grew up in China as well as Japan, studying composition and music theory as well as art history at Keio University. After graduation in 1955, Tomita began composing film, television and theater music. He was awarded frequently during the 1950s and '60s, and became perhaps the most well-known contemporary Japanese composer.

By the early '70s, Isao Tomita was introduced to the seminal work of synthesizer gurus Wendy Carlos and Robert Moog, sparking his own interest in synthesized music. In 1973, he formed the electronic collective Plasma Music with musicians Kinji Kitashoji and Mitsuo Miyamoto, and spent more than a year stocking his home studio with electronics gear (including the Moog III used for Carlos' Switched-On Bach). Tomita's first album, 1974's Snowflakes Are Dancing, electrified the Japanese public and even translated to an American classical audience, where it was nominated for four Grammy awards. Successive albums Pictures at an Exhibition, The Firebird Suite and his masterpiece Holst: The Planets infused the classical-synthesizer fusion craze of the 1970s with genuinely exciting, futuristic music instead of the bland, note-by-note translations favored by less visionary musicians. The Planets re-invoked the connection between synthesizer music and science fiction first broached in the 1956 film Forbidden Planet.

Tomita began incorporating digital synth and early MIDI setups with 1982's Grand Canyon, and completely gutted his studio during the next two years during the transition from analogue to digital with his Casio Cosmo system. Though he recorded more sparingly than in the 1970s, Tomita made frequent appearances at enormous concerts, including his 1984 Austrian show Mind of the Universe before 80,000 people and at the Statue of Liberty centennial celebration two years later. Tomita was also awarded the honorary presidency of the Japan Synthesizer Programmers Association.



On September 8, 1994, Isao Tomita presented a live, outdoor concert on the shore of the Danube River in Linz, Austria, for an audience of 80,000 people. The concert was called "The Mind of the Universe", and through his interpretations of classical music, Mr. Tomita was attempting to describe the 15 billion year history of the universe. He employed 13 channels of sound, including one from a helicopter 1,500 feet above the river, multi-channels on either side of the river and on a ship that also carried the violinist, shakuhachi player and a chorus of 100 Austrian singers. Special lighting, lasers, fireworks and other visual effects enhanced the sound presentation. Tomita's "stage", where he controlled the sound, was a specially constructed pyramid suspended from a crane near the river.

Since this recording was made from the sound performed by the audience at this live concert, various extraneous noises and varying sonic perspectives will be evident. These are normally encountered at outdoor concerts. The selections on this record are among those presented at the concert.

Tracks:
1 Also Sprach Zarathustra: Opening (2:13)
2 The Planets: Saturn, The Bringer Of Old Age (3:49)
3 The Rite Of Spring: Dance Of The Young Girls (3:13)
4 Cranes In Their Nest (4:36)
5 Daphnis And Chloe Suite No. 2: General Dance (3:50)
6 The Lark Ascending (7:15)
7 Close Encounters Of The Third Kind (3:09)
8 Violin Concerto No. 1: Third Movement, Moderato (7:45)
9 Tristan Und Isolde: Liebestod (7:37)
10 The Planets: Mars, The Bringer Of War (7:10)
11 Symphony No. 9: "Ode To Joy" (18:36)
12 Firebird Suite: Finale (1:16)

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