Tomita – Snowflakes Are Dancing

A beautiful version of this classic.. I wish the rest of his 70’s were given this treatment.

i was just thinking the other day that early synth covers of classical music (switched to bach, etc.) are very similar to dub remixes. they flatten some elements of the music, - in case of albums like Tomita´s Snowflakes are Dancing - they flatten the colour of the music and only leave the bare melody played on calculators. it does not play the palette of music, the size of it, so the music is really one dimensional and (sorry to say) boring. but hey, it´s freaking 1974 and this was max the synths could play! so respect. but dull anyway. maybe if i was a freak about debussy i might enjoy it more.

Dead-quiet pressing and awesome mastering. Everything you would want from a classical music pressing. Artwork is sturdy and the vinyl colour looks great.

It doesn't solve the original's brickwall issues, especially given the bass is very mushy, but most of this album is delicate, intricate and in the treble range, which is aided magnificently by this master to make it sound ever more crisp and immersive. It's also worth it for the gorgeous sleeve that improves on the original in every single way, and introduces continuity by having the Tomita logo that adorned every subsequent release. Altogether an amazing package.

I have avoided buying this album for so many years, concerns that it would be a rather cheesy affair (as almost every popular Moog album from this time is). But I got into vintage electronic music several years ago, and coming across this album for the 20th time at a thrift store finally had me made the plunge. Honestly, I don't think I would have been ready for this album before this time. The Moog system was a terribly unruly instrument for its time and that's typically why any album that relied on it came off sounding underdeveloped or dated. Tomita in this case was not only a clear expert of the instrument but also rarely fell into the trappings of his time. Yes, there are some "cheesy" sounds here and there, but they are surprisingly brief. He manages to create a timeless sound for the most part and one that clearly informed everything that came after it, including into the 1980s and into the synth revival period of today. It's a landmark album and holds up extraordinarily well. I'm so glad I was now ready to come to it with open ears.

In reference to a third variant, dot matrix RCD 14587 2A3 5Y. This early edition's dynamics are shocking. An excellent transfer that reveals all, including hiss. So, how was this format inferior? If one is interested in electronic interpretations of Debussy, or simply Debussy, seek and watch Portrait of Jennie. Dimitri Tiomkin and Jester Hairston adapted 4 pieces for this haunting film and the use of electronics is eerily prescient. "...the novachord-violin timbre poses an aural ambiguity."

In reference to an arvato pressing, 09026635882 + + IM84502 IFPI LB41, hub IFPI 1005. Most likely this is identical to the other U.S. releases. A superb remaster that doesn't replace the original CD but is definitely a worthy purchase. The addition of Prelude to the Afternoon of a Faun is intuitive and appreciated, but one should still have The Firebird. If one is interested in electronic interpretations of Debussy, or simply Debussy, seek and watch Portrait of Jennie. Dimitri Tiomkin and Jester Hairston adapted 4 pieces for this haunting film and the use of electronics is eerily prescient. "...the novachord-violin timbre poses an aural ambiguity."

Have a RCA Red Seal, 1974, "Manufactured in " for RCA UK, Named by Dave's RCA - Number ARL1-0488-A/B-4E

Truly gorgeous sounding record filled with richness and detail. Very dynamic, which is what you want from classical music played on electronics.

One of my favorite records ever. Beautiful and otherworldly. . .