Schumann and Tomoko's Turns in Life

Tomoko often performs pieces from the Romantic era, when music became more complex and expressive. This music’s themes typically touched on nature and the fantastic.  

German composers were the vanguards of Romantic music, and the Robert Schuman was considered one of the best German composers of that time.  Yet his life took several turns.

Even before formally studying music at age seven, Schuman was composing. Nevertheless, after his father died when Schumann was 16 years old, he studied law instead of music as part of the terms of his inheritance and because his surviving family did not support his musical dreams.

Schumann still took piano lessons, and his teacher thought he had a great future as a concert pianist. However, Schuman’s hand became afflicted so he focused on composing instead. There is a certain irony about Schumann’s affliction, as Tomoko points out: “Schumann can be hard to play because of the expertise needed by both hands.”

Schumann eyed blossoming pianist Clara Wieck when she was only 15 years old. Her father was strictly against their courtship, and it took almost six years of legal battling for them to marry. However, that delay motivated Schumann to write at least 138 songs in one year, inspired by his love to Clara during that delay. Clara proved to be a great business partner and confidante for Schumann. After he died at age 46, Clara performed professionally and became the main editor of his work. Tomoko praises Clara, “Schumann himself didn’t play the piano; his wife did. His wife was accomplished in everything.”

About his compositions, Tomoko explains, “ “His mind becomes the melody, but it is hard to teach a student to play his music. You need a lot of spirit and imagination.” Therefore, Tomoko recommends that players should be in their thirties before attempting Schumann.

For these reasons, it is not surprising that Tomoko performs Schumann since her fingers are agile and her own spirit is so expressive. And as Tomoko’s own life has taken many turns since she was born in Japan, it is fitting that one of her favorite Schumann compositions is “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

The Musical Soul of Europe

Tomoko has always had an eye on European music, which is not surprising. The Germans were particularly prominent in the early 20^th century, several of whom resided in Japan and lectured at the Tokyo School of Music. On their part, some Japanese composers were intrigued by Western art music, and incorporated those tonalities into their pieces.

Europe has always been part of Tomoko's musical soul. Even before staring school, classical European music was part of early family experience as her mother sang hymns, her father played violin, and they listened to classics on the radio.

As part of her schooling Tomoko remembered the importance of children’s songs. In the late 19^th century, the Japanese Ministry of Education reformed  music education by developing a music textbook that included Europe and American hymns and folk songs set to Japanese lyrics. Tomoko and her peers regularly sang these songs, which taught moral behavior and national pride.

During the war, Japan was largely isolated from the Western musical world, but the reputation of European music endured. Tomoko remembered attending a concert of Bohemian pianist Rudolph Serkin the early 1950s; “It was the most gorgeous feeling in the world.” Tomoko yearned to enter that society.

It wasn’t until 1967, though, that she had that opportunity. Her first flight to Europe was made possible through support of friends associated with the Conservatory of San Francisco. Tomoko took a chartered plan from Oakland to Frankfurt, where she performed and networked with musical illuminaries. Later that year she participated in the Long-Thibaud International Piano Competition and Paris, and in the following year she performed at the Queen Elizabeth International Musical Competition in Brussels.

Even after Tomoko curtailed competing internationally, she touristed in Europe, taking advantage of the long legacy of music. She visited Beethoven’s Viennese home, played an antique harpsichord in a Medici house, and perform Chopin’s Raindrops Prelude in Majorca in the museum dedicated to him.

Tomoko’s personal life also incorporated Europe. In Salzburg Tomoko married her husband, Desy Handra, who was an Hungarian medical doctor. And it was in Europe twenty years later that Tomoko helped her daughter navigate the international competitive skating scene.

Europe has served as a cultural gateway to music for Tomoko, which she passes onto her students, some of whom are Europeans themselves.

The Culture of Music

Continuing the spirit of countries, as reflected in the conversation about Independence day, Tomoko talks about culture’s impact on music. “I have a student from India. Each country has a traditional music. The people in each country meet for a unique reason. During their gatherings a special harmony is produced, and even the way to perform that ritual music is unique.” Tomoko then relates that national or cultural experience to art. You can imagine a museum in that country. Its art reflects the county’s geography, its lifestyles, its artistic sensibilities. So when you listen to the sound of a country, you are one step closer to its art. Both of these creative expressions reflect the country.”

Tomoko sees the importance of experiencing music through the lens of a country, and comparing those different expressions. She suggests: “Compare Christmas songs from different countries. They are a way to connect with culture.”

Tomoko relates some of her own musical experiences as she has traveled in different countries. “In a Korea donut shop you might hear cello sonata music. In Korea you find good singing performance. Koreans see singing as a discipline. In Japan they have high-class music. The rules of music are very important, just as the direction of kimono is important. In Japan people are not supposed to show their emotions; their expressions are like a mask. Similarly, their approach to music is more technical rather than emotional.”

Tomoko then compares how people relate to music in France. “In France each person has a chance to shine, to be individual. Musicians ask: Why should I perform music the same way as another person?” Tomoko perceives another attitude in German music. “The Germans have a proverb: The weed is stronger than the flower. The weak, the fragile, have to do more than show up when playing music; they cannot stay in their safe zone. Instead, German performers know that they have to practice repeatedly; constant discipline is needed. They are never satisfied until they are strong, overcoming any musical challenges.”

You can hear the feelings of the country in Tomoko’s performance of several piano pieces that were inspired by traditional melodies such as Chopin's Polanaise a A flat major and Glinka's Masurkas. Enjoy them on the Touria album, available at https://www.cdbaby.com/cd/tomokohagiwara13.