Spring into Competition

 

When Tomoko was performing competitively in the 1960s, spring seemed to be a favored time.

In late March of 1985, the Philharmonic Orchestra and the Junior League of Fresno held a Young Artists competition, at which Tomoko won as the best pianist, garnering a $500 prize. At the winners’ concert in the town’s Roosevelt High School auditorium, Tomoko played her  praiseworthy Mozart concerto. The other performing winners were baritone David Tenbrook, who later sang in west coast operas, and violinist Varoujan Kodjian, who became a conductor in the states and in Europe.  

Later that spring Tomoko had her Peninsula debut at Foothill College in its Appreciation Hall. At this evening event, sponsored by the Santa Clara Japanese Speaking Society of America, she again performed a full program, which would largely overlap her post-graduation recital: a mix of Mozart, Brahms, Chopin and Schumann. A year later, in 1966, Tomoko again played under the sponsorship of the Santa Clara Japanese Speaking Society of America, this time at Mountain View High School in a piano and violin duo with Jack Ullom. The composers were again Mozart and Brahms, with Bartók added, but the pieces were naturally composed for two. And Tomoko wowwed the audience with her Mozart rondo encore. The press agreed: “The delicacy and precision of her runs and trills made this a particlar delight. A beautiful figure in yellow silk, she played with the greatest composure.” 

Even though Tomoko enjoyed performing in California live and in broadcasts, she yearned to perform in Europe. Tomoko had the chance to fly to Europe  in spring of 1967 for the Long-Thibaud International Piano Competition in Paris, which promoted classical music. This biennial contest was created in 1943, in the midst of World War II. Just a year before Tomoko participated in the competition, founder pianist Marguerite Long passed away. “I feel a little guilty having such a good time here, even though the contest has an undertone of sadness,” Tomoko recalls.

Tomoko ended up flying to the Continent the next spring for her most memorable international competition: the 1968 Queen Elizabeth International Piano Competition. Tomoko had to spend months ahead of time learning the required composition written for the competition and another piece by a Belgian composer as well as practice her own technique. As with other contestants, Tomoko had to pay her own expenses, but was housed by local arts enthusiasts. Even during the competition, the pianists practiced and conversed with each other; they were in it together, especially as they had to perform with the same orchestra and conductor. The competition was a city-wide event for Brussels, with journalists and photographers avidly following the musicians throughout the three rounds of competition, with the final round being broadcast on radio and television. When asked why she did such competitions, Tomoko replied, “Humans need competition. Pressure transforms to energy.” She continued, “Enjoy life with its challenges – then succeed.” 

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.

The American Experience

Since this weekend celebrates Independence Day, it seems appropriate to share Tomoko’s experience with the United States.

She decided to come to America by the time she was in college. “In Japan graduation is the end, in America it is just part of life,” Tomoko says. She wanted to continue to learn and grow professionally, and she has remained in the educational arena ever since.

She also came to the United States because of its culture and attitude about music. She recounts her career journey. “I wanted to get out of Japan. Europe was the cultural center, but the US was very welcoming to musicians such as Paderewski. I got an exchange student status. I wanted a Fulbright but was too old for that particular program. I had to have a job to pay tuition. Fortunately, UCLA had a special opera workshop, and a Japanese composer was there, so I was an accompanist for the program.” She also played at Stanford. “In 1965 I had to get a green card, and in five years I became a US citizen.”

Tomoko recalls her arrival in California. “When I came to California, I picked up a couple of California poppies, which they didn’t have in Japan, and put them in my book. I’ve never gone back to Japan.”

I ask her what she liked about America. “I love the freedcom. It is very comfortable, like a flowing painting. There is not tension and stress that I felt in Japan. It’s “high tech high touch.” People need a balance, and I feel that in the US you can maintain an equilibrium in life.”

Tomoko goes on to compare Japan and the US in terms of music choices. “When I was in Japan, I wanted to play Chopin, but they said I was too young. ‘You have no experience. You are not ready until you are a Junior.’” Tomoko contrasts that attitude to her own teaching. “For a concert, I assigned a Beethoven piece that was heavy for a 14 year old. I think it is better to start students early with substantial music, and have the experience rather than not have that challenge. Students need to be curious and courageous. How much they understand, we don’t know, but it’s better than to protect the student. They can always return to the piece later on, and bring in more interpretation based on their own lives. The technique is always there.”

Tomoko continues to compare music teaching methods, “Japanese music teachers focused on the rules of technique. There was a pattern to the teaching, which was a kind of military training because of the strong music competition; 80% was technique. The teachers also controlled more power, and pushed students down. Only after years of lessons would the teacher become more generous.” Tomoko compares her teaching in the US. “I love this country to teach – I can do anything.” Tomoko expands on her attitude. “In Japan, the results are more important than the process. However, the process is so complicated, and there are so many ways to reach your musical goal. And you cannot know the process of development for each child; you have to look long term. That is why
I think teaching should be custom-made to fit each student.”

Tomoko also notes her professional opportunities in the US. “I was the first Asian teacher at the San Francisco Conservatory of Music. The first non-white was a black woman who did jazz.” Tomoko mentions the diversity of the conservatory. “There are lots of Eurasian students now. It is good for them to connect with different cultures.” Tomoko concludes: “Without music you don’t see as much of the world, and you don’t see the challenge.”

Tomoko Hagiwara is a wonderful example of America: a land of immigrants who have contributed to this nation, making it richer in culture. So a fitting piece to celebrate such diversity is Schumann’s “Scenes from Childhood #1: From Foreign Lands and People,” which Tomoko performs on her album Baroque-20th Century, available at https://www.cdbaby.com/cd/tomokohagiwara5