It’s a Nice Film Soundtrack, but Is It a Symphony?

Among the millennial compulsions now upon us are interpretations of epic works of literature by electronic-media-minded composers. Last month for Houston Grand Opera, the venturesome Tod Machover chose Tolstoy’s turn-of-the-century novel “Resurrection” as his subject. In October, UCLA will present Laurie Anderson’s new multimedia opera based upon “Moby Dick.”

But nothing beats an actual millennium concept like Isao Tomita’s new symphony with film projections evoking “The Tale of Genji.” This classic 1,000-page Japanese novel comes from the first century of the millennium. The symphony, sponsored by Pioneer Electronics and utilizing its stunning wall of 48 high-definition video screens, was given its American premiere by the Pasadena Symphony at the Pasadena Civic Auditorium on Tuesday night. Tomita conducted.

Tomita’s greatest popularity in the West was in the ‘70s for his psychedelic albums of space-age synthesizer arrangements of popular classics, such as “Pictures at an Exhibition” and “The Planets.” And while he occasionally pops up here and there for special electronic installations, his continued popularity is limited to Japan, where he scores music for television, film and animation, a likely genre for the 70 minutes of “Genji” music. Amplification was used and traditional Japanese instruments were incorporated into the Western orchestra, but mostly this was standard orchestral fare and music mostly intent on providing background mood.

The visual imagery, too, rarely strove to do more than create a sense of the physical environment of Murasaki Shikibu’s novel about life in the imperial court. But Mitsuru Shimuzu’s film--with its pretty shots of cherry blossoms in spring, of flowing water and snowscapes--looked terrific on the video wall. Occasionally the travelogue came to life with the help of a diabolical masked figure, some minimal computer graphics and a hint of agitation in Tomita’s music, along with a surround-sound effect or two. It is a symphony that sets the stage for “Genji” rather than bringing it to life.

For the first half, Tomita offered a literal blast into the past with “Future Space Fantasy.” Manning the synthesizer, the stony-faced composer brought out his ‘70s bag of sound effects, which, in an era of modern computer music, were pleasantly nostalgic. Shots of a space shuttle launch and a trip into outer space played on the video wall; Holst’s “The Planets” and Ives’ “Unanswered Question” played on the synthesizer.

With Pioneer paying the freight, Tomita seems something of a Jetson carrying as much kitschy futuristic baggage into the next century as he can manage. But the video technology is news. The problem of stage light washing out color and softening focus, as is usually the case with film and live orchestras, is here solved. The Los Angeles Philharmonic might do well to cozy up to this electronics giant if it ever revives its Filmharmonic project.