Though he wrote and published many compositions throughout his life, “Snowflakes Are Dancing” primarily covers material published roughly between 18, material that has been said to reflect the ideologies and works of the impressionist and symbolist painters of the time. So it goes.Ī French composer, Claude lived from 1862 to 1918 and managed to become one of the world’s most prominent artistic figures, pushing the boundaries of tonality (“the use of conventional keys and harmony as the basis of a musical composition”) so as to articulate heightened sensory detail and color, musically. My knowledge spans little further than that of encyclopedia articles and conversations here and there, a travesty, I’m sure, in considering someone of such high regard. What can I hope to say with authority about Claude Debussy? Not a whole lot, I’m afraid. The record in question is Snowflakes Are Dancing and Christ, it’s an absolute gem.
Listening to Tomita’s 1974 realization of Debussy’s “tone paintings,” arranged masterfully on MOOG synthesizers is a lot like what walking on another planet must sound like. Thanks, however, are due not entirely to good old Debussy but additionally to Japanese synthetist Isao Tomita, a man who has utterly transformed my appreciation for the incredible potential of a pre-Scott Joplin landscape, one dominated, I think I may say, in popular memory by music for orchestras. I will not even pretend to know what compelled me to dig up this old 70s suggestion. The more I think about it, the more preposterous and uncharacteristic it seems that Claude Debussy, that impressionist heavyweight champ, might cure my hangover on a Monday morning. I can even faintly hear the sound of “fuck this kid” manifested by way of the angrily closed pages and aggressively typed comments to come. For some, I am certain my ignorance, my admittedly gargantuan gap of knowledge will discredit me. Barring Beethoven, some Mozart, some Tchaikovsky and a spot of Wagner, zilch, old sport. It is funny and at the same time rather absurd to think of how little those considered even fairly “knowledgeable” about music often know regarding what is generally referred to as classical.
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