Obituaries

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Isao Tomita (冨田 勲 Tomita Isao?, 22 April 1932 – 5 May 2016), often known simply as Tomita, was a Japanese music composer, regarded as one of the pioneers of electronic music and space music, and as one of the most famous producers of analog synthesizer arrangements. 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. He also made effective use of analog music sequencers and the Mellotron and featured futuristic science fiction themes, while laying the foundations for synth-pop music and trance-like rhythms. Many of his albums are electronic versions and adaptations of famous classical music pieces and he received four Grammy Award nominations for his 1974 album Snowflakes Are Dancing.

By the late 1960s, Isao turned to electronic music with the impetus of Wendy Carlos and Robert Moog's work with synthesizers. Isao acquired a Moog III synthesizer 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. 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. He then started arranging Claude Debussy's impressionist pieces for synthesizer and, in 1974, the album Snowflakes are Dancing was released; it became a worldwide success and was responsible for popularizing several aspects of synthesizer programming. 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. 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. In his early albums, he also made effective use of analog music sequencers, which he used for repeated pitch, filter or effects changes. Tomita's modular human whistle sounds would also be copied in the presets of later electronic instruments. 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 Japan, parts of his version of "Rêverie" were used for the opening and closing of Fuji TV'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).

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" 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. The album was withdrawn, and is, consequently, rare in its original vinyl form.

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.

https://en.wikipedia.org/wiki/Isao_Tomita