When people are asked who are the most important composers
over time, Mozart is usually mentioned. Both Tomoko and her daughter found
inspiration in Mozart. In fact, when asked who would she like to meet in
heaven? Tomoko answers immediately: “Mozart!”
Tomoko studies composers as part of her preparation for
performing. So it is no wonder that she knows a lot about Mozart. She says, “Mozart’s
sounds was not of this world. His life was all dreams, and he was very holy. He
had a real connection between this life and the next life, perhaps because his
mother passed away while he was in Paris.” She also notes his analytical side. “Mozart
was a super mathematician, and his composition papers sometimes had algebra
notes on them.” Mozart also used musical
numerology, weaving masonic numerical symbols in his open The Magic Flute, such
as the number three (such as three-part harmony, characters in sets of three,
and key E flat major, which has three
flats.
Tomoko also considers the style of each composer when she
chooses pieces for her students. She notes “Mozart was first a performer, so
his works are more natural to play.” On the other hand, Tomoko asserts, “Mozart
is the most difficult composer for piano but also the most enjoyable because of
his use of both hands. Balance is hard, and Mozart succeeds in optimizing
even-handed performance.” She continues, “Mozart is easy for children but hard
for adults; just try his variations.” Tomoko says that many of her students
want to play Mozart. She responds to them, “If you want to play him, you have
to go through Stravinsky, Alban Berg, and other contemporary composers. Mozart
is complicated to learn.”
As for Tomoko herself? “I have a natural feeling about
Mozart.” She says, “I could play a piece of his twenty times, and not tire of it.” And Mozart has
helped Tomoko’s career. For instance, while at the conservatory student on a US
visa, Tomoko had to audition to prove that she was a serious music student. She
played a Mozart concerto as her audition piece, which showcased her expertise
and self-confidence; her performance enabled her to stay in the conservatory’s
program.
Mozart holds a special place for Tomoko’s daughter Beata
too. Considering the household she grew up in, it’s no surprise that Beata knew
classical music. On the other hand, “I didn’t know about pop music,” Beata
remembers. “And I didn’t want people to know that I liked classical music.” Mozart
was part of the life. Beata recalls, “I obsessed about the movie ‘Amadeus.’ It
was my secret life. I listened to Mozart
every night under cover.”
In the end, Tomoko says that, after playing different
composers, Tomoko likes to go back to Mozart: “The experience is pure music.”
