Tomita lists all the equipment used on this album on the back cover. It is a pretty extensive list. It was hard to pick a sample as I do not like posting anything longer than 5 minutes let alone That excluded Debussy and Mourssorgsky. As a student at Keio University in Tokyo, where he studied literature, he took private lessons in piano, music theory and Western compositional technique. Tomita told The Los Angeles Times in He scoured the world for one — he could find none in Japan — and in the early s imported a Moog from the United States.
Then his troubles began. Its the sheer hard work that gives the work its soul, absent from much of modern electronic music. Reply Notify me 4 Helpful. I was introduced to Stravinsky's Firebird Suite through this recording by Tomita and although there must be other great recordings by renowned orchestras, Tomita's is just as valid an interpretation as any other and a very imaginative and quality one at that.
I'm actually convinced that if Stravinsky would have had access to the equipment and techniques of Tomita he would have put them to use as well and who know's to what effect?
Tomita's sounds are well thought out and never does any one sound take away from the balance in the mix or from the overall composition. Classical purists might cringe hearing Tomita's rendering of these compositions but who cares? Amordian Press. The Colorado Music Business Organization. Retrieved 25 May The New York Times. Retrieved 31 May Retrieved 1 February Retrieved 5 June Internet Archive.
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Track Listing.Equipped with a warehouse of component Moog equipment, four phase shifters, a Roland space echo unit, a sitar (!), and other period electronic gear, Tomita re-enters the Russian classical repertoire with his take on Stravinsky's Firebird Suite ( version).Brand: Imports.
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