Casals and Tomoko

 

Tomoko recalls how Pablo Casals was performing at the age of 96. At that time, in 1972, one of Tomoko’s college friends was inspired by Casals, and flew to Arizona State University where he was playing a benefit concert to raise money for an International Cello Library. Tomoko went along with her friend, and met Casals at the airport. They spent a meal with him and his young wife, who was the same age at Tomoko. 

Casals’ musical education started at home in Catalonia, Spain; his parish organist father taught him piano, organ, violin and composition. After Casals saw a local musician play a cell-strung broom handle, Casals’ father built a crude cell for Pablo. At age 12, Casals enrolled in Barcelona’s municipal school of music, and he gave his first cello recital two years later. By his twenties, Casals was touring internationally. Before the age of 30 he had played at the White House and in Carnegie Hall. Over 50 years later, he again played in the White House – for President Kennedy. Casals also composed music, conducted orchestras, and gave master classes.

Tomoko was indeed fortunate to hear and meet Pablo Casals as he died the year after. However, he left an impressive legacy with his compositions (including “Hymn of the United Nations”), recordings, and the Casals Festival, which he founded in Puerto Rico. The Pablo Casals Museum in San Juan, Puerto Rico, showcases many of his original documents. His rich life is echoed in Tomoko’s lifelong love of music.

Friends for Life

Friends are important, as Tomoko well knows. She has made good musical friends, and continues to keep in touch with them throughout her life.

A case in point? Tomoko still connects with her high school friends, including at reunions that they hold to this day. “We were all in the same situation,” Tomoko recalls. “It was after the war, and materials were not available. We all made do.”

Tomoko didn’t know anyone in San Francisco when she arrived to study at the Conservatory, but she soon made friends through her classes. She was invited to their homes to celebrate holidays, and even flew one time with a couple of her classmates to Arizona State University to see Pablo Casals in person. “My friend was particularly inspired by him,”Tomoko notes. “We even met him at the airport, and shared a meal with him.”

Tomoko herself idolized Lili Kraus, an internationally famous pianist. In 1962 Tomoko and Lili were both practicing at the San Francisco Conservatory of Music, and started a professional conversation that bloomed into a long-time friendship. 

Several of Tomoko’s friends began as performance partners. For instance, Tomoko met violinist Ernestine Chihuaria in 1968 through the Peninsula Symphony. Ernestine needed an accompanist at the last minute, and Tomoko performed with her at the DeYoung Museum. They continued to perform together as a duet for thirty years, and Tomoko kept in touch with Ernestine until she passed in 2014. 

Tomoko also became a friend to many of her students and their families. George Duke, who become a jazz musician, was an early student of hers. She was very impressed with his dedication and his kindness. She performed Brahms and Prokofiev with him, and continued to keep in touch with him.

Tomoko’s friendships were certainly reflected in a recent recital that she arranged, and in which she performed with her current and former students. The audience was filled with her friends, who love her artistry – and her personality. It’s music to her heart.

Ageless Aspects of Music

Tomoko has loved music her whole life, and encourages people of all ages to enjoy music. She also has many examples of livelong engagement with music.

Tomoko has students who start taking piano lessons from her in their forties and older.  They are often working professionals, and they bring their work ethic to the piano. “They bring emotional maturity and dedication,”

Tomoko asserts: “Piano playing is good when you are 60 years old; you can even start after 70.  As long as you can move your hands, you can continue to play the piano. Tomoko remarks, “Playing also stimulates the brain, and keeps it younger.” Playing at an older age has other benefits too. “When you get older, you may find yourself repeating pieces,” says Tomoko. “They can be so beautiful, and give you warm memories as well as console you.”

Likewise, Tomoko knows musical performers and teachers who are in their nineties. Tomoko recalls Pablo Casals performing publicly at the age of 96. At that time, in 1972, one of Tomoko’s college friends was inspired by Casals, and flew to Arizona State University where he was playing a benefit concert to raise money for an International Cello Library. Tomoko went along with her friend, and met Casals at the airport. They spent a meal with him and his young wife, who was the same age at Tomoko.

 And even if people cannot play the piano, they can enjoy and appreciate piano performance throughout their lives. Tomoko remembers performing at the Carmel Bach Festival, and seeing many rich ladies sitting in the audience. One woman came up to Tomoko and said, "I am 95 years old, and I love music.”

Tomoko recalls another incident. “I remember an older lady who was a relative of the Gettys and on the San Francisco Conservatory of Music board. She enjoyed going to the  courtyard  at the old conservatory building and where she would trim the leaves and do a little garden maintenance. At the same time she enjoyed listening to all the music coming from the windows of the three sides of the building that overlooked the courtyard.”

Tomoko notes, “Emotion is the same, regardless of age. Spirit is timeless.”

The Blue Velvet Album

As can be imagined, Tomoko has hundreds of musical memories, some of which she stores in a small blue velvet photo album. Here is a sampling of those photo memories.

Tomoko is wearing a long organza white dress as she is seated playing a grand piano. A tall flower bouquet stands in the background of the stage where she is performing. This Tokyo concert took place soon after Tomoko graduated from the University of Tokyo as a music major. There were very few opportunities at that time for a young woman to have a concert performance. 

Tomoko is bundled in a heavy pale coat as she checks her airplane itinerary. She is leaving family and friends to go to the United States. She was able to work with the UCLA opera theater to get this opportunity. 

Tomoko is dressed in a pale flowered kimono, playing a board game at a peer’s home. It’s the Christmas break for the Conservatory of San Francisco where her friend and Tomoko attend.

Tomoko is being interviewed on KQED television by UCLA professor Herbert Jan Popper. She is talking about her musical background and dreams in the U.S. Later in the show she performs Liszt’s Hungarian Rhapsody A minor #11 on the studio piano.

Tomoko is talking with renown cellist Pablo Casals at Arizona State University, where a library is being dedicated to him. He was in his 90s at the time, and was still performing. Tomoko went with a couple of Conservatory girl friends to visit Arizona, and see him. 

Tomoko’s daughter Beata is a toddler, sitting at her mother’s piano at home. While Beata became a professional ice skater, she enjoys playing the piano, and performed at a concert honoring her mother’s piano teaching.

Tomoko and her violinist friend Ernestine Riedel Chihuaria  are accepting bouquets at the end of one of their concerts. Tomoko met Ernestine in 1968 through the Peninsula Symphony. Ernestine needed an accompanist at the last minute, and Tomoko performed with her at the DeYoung Museum. They continued to perform together for 30 years.

Tomoko is holding a resolution from the San Francisco Commission on the Status of Women, who recognized her cultural contributions to the San Francisco area.  On either side are her students, who are smiling at Tomoko’s honor. In their honoring speech, the commission concluded that Tomoko made it her life’s work to share the joy and serenity that music offers its listeners, include to homeless individuals in a Project Homeless Connect event.

Taking Opportunities

Tomoko retells a traditional Japanese story. “Once there was a young man who had no job and no money. On the side of the road he saw a piece of straw. He picked it up, and made a dragonfly out of it. A child came by the road with his grandma, crying bitterly. The young man gave the straw dragonfly to the grandmother and child, and the crying stopped. The grandmother gave the young man an orange as payment. Later a performer passed the young man, and said, “I’m so thirsty.” The young man give the thirsty performer the orange, and the grateful performer paid the young man money for the kind gesture.” Tomoko concluded, “Every culture has a similar story. The moral of the story is to take advantage of opportunities.”

Tomoko knows the power of opportunity, personally and professionally.

A UCLA professor, Herbert Jan Popper (who directed the UCLA Opera Theater),  heard Tomoko perform in Tokyo, and talked with her saying that she was very good. He told her about the US and musical possibilities. He was able to get her to be listed along with a group of Japanese singers for a Japanese opera that was going to be performed for UCLA. He advised her to apply to the Conservatory of San Francisco because the paperwork was relatively easy. Tomoko took his kind advice, and was able to spread her wings in America.

Tomoko’s husband also saw an opportunity to escape Communist Hungary, and come to America. He had been a professor at the University of Budapest, but when he arrived in the United States, he knew no one, spoke little English, and had no green card. He had so little money that he had to sleep in the park. Someone gave him $5 just to make it through, and he had a tough time for five years.  Even with his past experiences, he had to apply for five years residency at a hospital. Nevertheless, he became once more a successful doctor.

Tomoko recalls how Pablo Casals was performing at the age of 96. At that time, in 1972, one of Tomoko’s college friends was inspired by Casals, and flew to Arizona State University where he was playing a benefit concert to raise money for an International Cello Library. Tomoko went along with her friend, and met Casals at the airport. They spent a meal with him and his young wife, who was the same age at Tomoko.

Chances might come even late in life, as local concert opportunities are growing for mature and senior citizens who play piano. Not surprisingly, therefore, Tomoko tells her students to focus on building their musical discipline in their youth. She reminds them that they need to be prepared as opportunities open up later.