Out of This World Music

 

Some music is out of this world! Or maybe it sounds spacy. Many composers have written about outer space. Here is a sampling, all of which have been composed or arranged for piano.

Gustav Holst’s The Planets is the most obvious example. While it was composed as an orchestral suite with seven movements (one for each planet), piano arrangements for one and two pianos have be written.

Three centuries early, in 1648, Heinrich Schutz wrote a motet based on the Psalm 19, which begins “The heavens declare the glory of God.”

Over a century later, Joseph Haydn used the same Psalms in his 1798 oratorio The Creation. This piece too has been arranged for the piano.

On to the next century. In 1868 Josef Strauss (Johann’s younger brother) wrote the waltz  Music of the Spheres.

Back to the 20^th century. One of Hector Villa-Lobo’s most popular piano compositions is a set of three piano miniatures called “The Three Marys,” which refers to the three stars in the constellation Orion’s belt.

More recently, Bela Bartok (one of Tomoko's favorite composers) created a series of 153 piano pieces called Microkosmos. This six-volume set starts with simple etudes and progresses to advanced technical works. This “little world” of music is its own cosmology.

Celebrate August's Composers' Birthdays

 

While August may seem shy in terms of holidays – except for Europeans who take a month-long holiday-like vacation – August celebrates several distinguished piano composers who were born that month.

Chronologically, one of the first to remember is Antonio Salieri, born on August 18, 1750, in Legnago, Italy. At this point in history, he is probably most associated (sadly) with Mozart. Unlike Mozart, he was considered an important teacher (including of one of Mozart’s sons!) Salieri mainly wrote operas and orchestral works, but he also wrote piano and organ concertos.

One of Tomoko’s favorite composers, Claude Debussy, was born on August 22, 1862, in Saint-Germaine-en-Laye, France. He wrote 24 piano preludes and 12 études, and he was called an early impressionist composer because of his focus on nature’s beauty, represented by nuanced musical color and texture.  He was influenced by Chopin and, in turn, influenced Bartok, another favorite composer of Tomoko.

George Enescu was born on August 19, 1881, in Liveni-Varnav, Romania. He is considered one of the great musicians in Romania. Tomoko thinks most child prodigies may be harmed by early exposure, Enescu might be an exception. He composed his first piece, for piano and violin, at age vie, and was the youngest student admitted to the Vienna Conservatory – at age seven. He was productive as a composer, conductor and teacher all his life.  Much of his music was influenced by Romanian folk music (Bartok’s appreciation of Romanian folk dances).

A more recent composer, Leonard Bernstein, was born on August 25, 1918, in Lawrence, Massachusetts. Wildly popular for his musicals, he wrote in many genres, including piano pieces, and was an excellent pianist. Bernstein is also known for his teaching about classical music on television.

Any of their works can make your August special.

 

Christmas on the Piano

 

Some of Tomoko’s favorite composers wrote Christmas music for the piano.

Liszt, for example, composed a suite of twelve pieces: Weihnachsbaum (Christmas tree). Several of the pieces are based on traditional Christmas carols. He dedicated this work to his first grandchild Daniela von Bülow, who was born on Christmas Eve. This suite was first performed on Christmas Day, 1881, in Daniela’s hotel room in Rome.

Another composer who was inspired was Bartok, who heard regional traditional Romanian carols, called colinde, and transformed them into two series of piano pieces totaling 30 works.

It is not surprising that Cesar Franck composed four Christmas piano pieces. He was a major French Romantic composer and music teacher. In his thirties he became the organist for the Basilica of Sty. Clotilde in Paris, a position he held until he died in 1890. One of his most famous compositions was the communion anthem “Panis Angelicus,”  but he also wrote a set of four piano pieces specifically for Christmas, again based on traditional carols: “Christmas Carol from Anjou,” “Now Tell Us, Gentle Mary,” “Old Christmas Carol,” and “Whence Comes This Rush of Wings?”

Christmas traditions also inspired composers, such as Berlioz. In 1844 he composed “Rustic Serenade to the Virgin on the Theme of the Roman Pifferari” for the melodium organ, which was invented by an organ builder friend of his. The inspiration came from his time in Rome. While he did not enjoy Rome itself or think much of the music from there, he was impressed with the traditional oboe called a pifferi. The pifferari were rural wandering musicians who performed devout concerts before images of the Virgin Mary.

Another Christmas tradition moved Schumann. His miniature piano composition “Knecht Ruprecht” refers to St. Nicholas’s attendant. This character was a wild country foundling whom St. Nicholas raised, and helps give out presents – or punishments to naughty children. Schumann’s piece is part of his Album for the Young collection, written in 1848.

Mendelssohn also wrote piano works for children. His Opus 72, 6 Kinderstücke (Children’s Pieces), was original not tied to the holiday, but the 1847 English edition of the work was named Six Christmas Pieces.  He wrote this opus specifically for children and adapted his style to children’s musical development (e.g., using fewer accidentals and more familiar time signatures). At the time of this composition, Mendelssohn and his wife lived with a relative who had seven children.

Especially as Tomoko enjoys her grandson Kai, she may well be playing some of these Christmas pieces for him.

 

For Freedom and Independence

 

In July several countries celebrate the spirit of freedom and independence: National Canada Day on July 1, the U.S. Independence Day on July 4, France’s Bastille Day on July 14, to name a few. Such patriotic fervor has long time roots. And it reverberates today as much as ever in our hearts.

 Tomoko places a high value on freedom and independence. She was a very brave young woman seeking opportunity when she left Japan for the United States, and she was worked hard as an independent woman, breaking ground as the first Asian woman teacher at the San Francisco Conservatory of Music, for instance.

Composers have also revered freedom and independence through their piano music.

One of Tomoko’s favorite composers, Frederic Chopin, was one of the first composers to incorporate nationalistic elements into his compositions: mainly through the folk idiom of his mazurkas and polonaises.

Another Polish composer, Ignacy Jan Paderewski, was also inspirited by Polish folk music such as his Polish Fantasy for piano and orchestra. Paderewski became a diplomat and spokesman for Polish independence.

The founder of the Russian national school of composition, Mikhail Glinka highlighted Russian culture in his subjects and melodies, as exemplified in his Capriccio on Russian themes for piano duet.

Czech composer Antonin Dvorak also drew on his native Slavic folk dance forms in his piano duet piece Slavonic Dances. Moravian and other Eastern European traditional music forms also inspired him.

Another one of Tomoko’s favorite composers, Franz Liszt, was known as a Hungarian nationalist. In that vein, he based his Hungarian Rhapsodies for piano  on traditional  art songs performed by Romani band.

Following Liszt’s model, Hungarian Bela Bartok, was inspired by Magyar folk melodies, which were well times with his society’s interested in traditional nature culture. An interesting example are 80 folk tunes collected in the two-volume set For Children.

Edvard Grieg helped create a national identity through his compositions, which were inspired by Norwegian folk music. Grieg recorded many of his own piano works.  

Finlandia is the ultimate patriotic song, composed by Jean Sibelius.

Tomoko enjoys the freedom and independence that are expressed in these European piano composers. In that respect, their value of traditional musical form expresses a sense of communal  culture and independence that transcends any nationalism.

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The Reality of Music Theory

“Piano reading skills is most important,” asserts Tomoko. But this reading goes beyond just following the notes, just as cooking transcends reading the recipe. Cooking follows certain protocols based on the science of food; so too does music follows the theory of music.  

Music reveals patterns of sound, and music theory codifies those patterns. Music theory covers not just the elements of composition, but also studies the writing of music. Over the ages, composers create new patterns, which shape music theory and makes it truly dynamic.

When Tomoko studied music, she had to take music theory along with instrumentation and composition. Her own students also complement piano lessons with music theory. Furthermore, Tomoko incorporates music theory into her lesson. “Students need to know the vocabulary of music and the inner workings of music in order to perform knowledgeably.” Tomoko says, “It’s like an English teacher explaining grammar.”

Tomoko also talks about composers and their music, including how they manifest music theory. How are composers identified by their musical forms? How does Bach’s compositions reflect mathematical knowledge? Why was Schoenberg’s twelve-tone technique so revolutionary? How does music theory inform Bartok’s use of folk melodies?

Like the master chef, the master pianist knows and appreciates the theory behind of music, and applies that knowledge to enrich the performance – and the listener’s experience.

Folk Music That Binds and Frees

Tomoko considers folk music as the soul of a culture, and a musical inspiration for composers.

Music comes form humans, and human emotion – like spirit – is the same over the ages. “The most important thing is the performers’ emotional communication with the audience,” Tomoko asserts. She recalls attending a balalaika concert, where the audience was so swept away, that they called for an encore. Tomoko remarks, “I felt sorry for the performers, forcing them to do more. They had poured out their emotions in their concert.”

“Real music is everywhere,” says Tomoko. In France the churches hold concerts. “These events promote community, and people think about the after life,” says Tomoko. Music brings a community together as a common emotional language. With music and dance a community celebrates traditions that reflect and unify them’ “People experience heightened feelings, and the music follows.” Tomoko adds, “And music can bring all ages together.” She says,“I remember attending a music festival, and a 95-year woman sitting next to me said how much she loved music.”

Much of folk music is carried on from generation to generation vocally and through instrumental performance. Composers draw upon those tunes to capture cultural and values. Both Chopin and Bartok based compositions on homeland dances, and shared their musical heritages with other nations. Tomoko points out, “The folk inspiration fostered music that came from the heart, and yet how the composers built upon that folk music helped them express their own individuality.”

Folk music brings about a feeling of belonging, and helps share our identity.  It both binds people together, and frees them to be themselves.

Listening to Music

Listening is the other side of the coin for music. While one can play for one’s own enjoyment, the power is in performance that others hear. Tomoko has many insights on this phenomenon.

One of Tomoko’s student’s mother was Indonesian and Baptist. She would stay at the Conservatory while her child took lessons because she “loved the beautiful music.“

Another student of Tomoko's studied at Tanglewood. “I am so surprised that people go to hear classical music. I didn’t know so many people were interested in classical music.”

Tomoko remarks about the quality of the piano as an instrument.  “Part of the discipline of piano performance is to know the instrument, which requires close listening.”

Reinforcing that idea, Tomoko remembers having her students play at San Francisco’s City Hall. “There were 200 people listening, many of whom were homeless. One of the homeless men asked if he could play, and we let him. He played very well, and it made his day.” Tomoko remarks, “I like homeless people more because of that musical connection.”

The space in which the piano is performed impacts the listening experience. Tomoko especially likes the European cathedrals in which concerts occur, emphasizing the community experience.

More generally, Tomoko explains how music brings people together. “Music isn’t just for society ladies, not just for the elite.” She points to the nationalism of Chopin’s work, and the folk songs that Bartok drew upon. “Music is a natural urge, and a way for people to express their commonalities and celebrate.”

So, in the final analysis, listening to music is a way to confirm and reinforce our humanity.

Humming a few notes about Tomoko

I met Tomoko in the fall of 1984 at San Domenico School. We were both new faculty members; she taught piano, and I was the library director. Over lunch we began chatting about music, and she asked me to name my favorite composer. I said, “Bartok,” and that impressed her. 

A while later, she asked me if I would write program notes for her piano recital, which I happily did – it sharpened my music research and analysis skills. As a gift of thanks, she gave my husband and me two tickets for a concert of Yo-Yo Ma, just as he was starting to gain fame. I attended a few of her concerts, and appreciated her mastery of technique and interpretation. I also entered her daughter’s world: tutoring her a bit for SATs, and transcribing oral histories of her St. Moritz Ice Skating Club.

Even since I moved to Southern California, we have kept in contact. When Tomoko started creating CDs of her performances, I wrote short notes about each piece while enjoying listening to her nuanced recordings. She then approached me about writing a blog about her musical life, which led to several long interviews about her upbringing in Japan, her immigration to the States, and her professional and personal journey. What a rich and soulful life she has shared with me and the world – something I have tried to capture at least a little bit in this blog.  We are also in the process of writing a book about her life; incredible, no?

I feel so honored to be part of Tomoko’s life. I consider her a special friend; she continues to make a positive difference in my life.

Unique Tones of Composers

Even though each composer impresses the same processes, each one has a unique sound. “I respect every composer and their style,” says Tomoko.

Tomoko suggests Bach as a good composer for younger students because of his structure and use of chords. “He was very mathematical.”

Tomoko notes how Bartok’s compositions often built on folk music, particularly Rumanian folk dances. The communal spirit of dance responds to the spirit of the music. “Music and dance are natural parts of human community celebrations such as weddings.”

“I like Schubert. He is peaceful, and his quality of tone is memorable,” remarks Tomoko.

Similarly, “Chopin is very quiet. You hardly touch the keyboard, but he was a good pianist,” Tomoko advices, “Chopin’s Etude  Opus 25/ #1 and #2  is good to give to young  pianists. They can enjoy the melody first.” As for herself, I have been playing Chopin’s Nocturne Opus 27 #2 all my life. It’s a great piece for weddings, and I always play it for encores.”

“ In contrast, Liszt has lots of action,” Tomoko says. “Interestingly, Liszt was a very religious man,“ says Tomoko. She adds, “ Liszt didn’t find his inspiration in nature; instead, he focused on man’s creations and imagination.”

“Beethoven’s strength was also internal, but he was very human in his approach,” notes Tomoko. “His emotions were strong inside, and his mind could orchestrate.” She continues, “Consider his Fidelio; it is very powerful, but it is all balanced. “

Tomoko’s favorite composer is Mozart. “I could play a piece of his twenty times.” She adds, “I have a natural feeling about Mozart. His music is so beautiful, and bridges this life and the next.”  

The Dance of Music

When Tomoko was a child, she saw her mother dance to music as she worked around the home. She remembers dancing at a party with a Hungarian young man, who would become her husband. And Tomoko has watched her own daughter dance to music as she skates during practice and in the Olympic ring. In short, dance and music have always played an important role in Tomoko’s musical life.

Tomoko notes how Bartok’s compositions often built on folk music, particularly Rumanian folk dances. Chopin and Liszt also used folk dance tunes. The communal spirit of dance responds to the spirit of the music. “Music and dance are natural parts of human community celebrations such as weddings.”

Performance involves the whole body, much like dance, asserts Tomoko. “The music starts from the heart and comes out through the fingers.” She continues, “Like the neck in singing, the wrist is very important; the fingers follow the wrist action.” Of course, performance requires high eye-hand coordination. The whole body needs to be in a good position ergonomically to play optimally.

In addition, dance, like piano performance, involves practice and discipline. “Look at Dancing with the Stars.” They spend hours and days training and practicing so that it looks natural and easy when they perform on TV.”

Dance and music combine artistry and discipline. Both build upon pattern, yet offer variations. Both come from the heart and express individuality. And both bring people together. You can hear Tomoko’s piano performances that can make your heart dance – at http://www.tomokohagiwara.com/recordings.html