Adolph Baller, Yehudi Menuhin, and Tomoko

           Tomoko personally knew Adolph Baller and Yehudi Menuhin, who exemplify different approaches to early talent. As a piano teacher, Tomoko does not like the idea of child proteges; “They may have technical skill, but not the experience.” She also feels for the child; “They are controlled by adults who are focusing on money, and they throw out the child when he is burned out.”  

Adolph Baller was born July 30, 1909 in Brody (now in western Ukraine). At age eight he was sent to Vienna to study the piano, and he debuted with the Vienna Philharmonic Orchestra at age thirteen. In 1938 the Nazis beat him up because he was a Jew, and crushed his hands when they realized that he was a pianist. He and his fiancee escaped to Budapest, and immigrated to the States. His hands healed, and he restarted his performance career, included forming the Alma Trio with Gabor Rejto and Roman Totenberg, and teaching at Stanford, the San Francisco Conservatory of Music, and Dominican College. 

Yehudi Menuhin was born April 22, 1916 in New York City. He started violin instruction at age four, and was a solo violinst with the San Francisco Symphony Orchestra at age seven. He played in Carnegie Hall at age 11, and had his first concerto recording at age 15, in London. As a young adult he seemed to stall in his musical growth, being protected from everyday life. That changed. 

In the early years of World War II Baller played for a New York radio station, where he met Menuhin. Together they performed for U.S. troops around the world, including in the Aleutian Islands. Experiencing the life of men his age and younger in army bases opened his world, and gave him more self-assurance.  

The two Jewish musicians continue to tour together after the war, and Tomoko met them when she studied with Adolph Baller at the San Francisco Conservatory of Music. Baller was impressed with her playing, and asked if she would serve as a page-turner for his own performance; there she also met Menuhin. Not only did Tomoko have the opportunity to see the back stage of world-reknown performers, but she was able to earn money as a page-turner to help pay for her own studies at the Conservatory. And her experiences with these two grand names in music informed her own piano teaching.

Baller, Menuhin and Tomoko

Tomoko personally knew Adolph Baller and Yehudi Menuhin, who exemplify different approaches to early talent. As a piano teacher, Tomoko does not like the idea of child proteges; “They may have technical skill, but not the experience.” She also feels for the child; “They are controlled by adults who are focusing on money, and they throw out the child when he is burned out.”

Adolph Baller was born July 30, 1909, in Brody (now in western Ukraine). At age eight he was sent to Vienna to study the piano, and he debuted with the Vienna Philharmonic Orchestra at age thirteen. In 1938 the Nazis beat him up because he was a Jew, and crushed his hands when they realized that he was a pianist. He and his fiancee escaped to Budapest, and immigrated to the States. His hands healed, and he restarted his performance career, included forming the Alma Trio with Gabor Rejto and Roman Totenberg. He also taught at Stanford, the San Francisco Conservatory of Music, and Dominican College.

               Yehudi Menuhin was born April 22, 1916, in New York City. He started violin instruction at age four, and was a solo violinist with the San Francisco Symphony Orchestra at age seven. He played in Carnegie Hall at age 11, and had his first concerto recording at age 15, in London. As a young adult he seemed to stall in his musical growth, being protected from everyday life. That changed.

               In the early years of World War II Baller played for a New York radio station, where he met Menuhin. Together they performed for U.S. troops around the world, including in the Aleutian Islands. Experiencing the life of men his age and younger in army bases opened Menuhin's world, and gave him more self-assurance.

The two Jewish musicians continued to tour together after the war, and Tomoko met them when she studied with Adolph Baller at the San Francisco Conservatory of Music. Baller was impressed with her playing, and asked if she would serve as a page-turner for his own performance; there she also met Menuhin. Not only did Tomoko have the opportunity to see the back stage of world-reknown performers, but she was able to earn money as a page-turner to help pay for her own studies at the Conservatory. And her experiences with these two grand names in music informed her own piano teaching.

Getting to Know Composers and Performers on a Personal Basis

As much as she loves music, Tomoko loves people. “I enjoy other people’s lives and challenges.”

Tomoko also has a strong familiarity with piano composers, noting each one’s characteristics.

“You respect every composer. They have their idea what is best for them. Each composer  has a  different sound and interpretation. It is very complicated.”

“Chopin was a good pianist; both he and Liszt started as performers.”

“Schumann can be hard to play because of the expertise needed by both hand. He himself didn’t play the piano; his wife did. His wife was accomplished in everything.”

“Bernstein was also a good pianist; he has a wonderful touch.”

“Beethoven’s emotions were so strong inside. He couldn’t reach their full depth. Even though he became deaf, his mind could orchestrate.”

“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 has inside knowledge of musical performers.

“I met Pablo Casals when he was performing in Arizona in celebration of a library being dedicated to him. He had a young wife, but there was no problem with the age gap.”

“Yo Yo Ma was a math major. He didn’t practice forty hours a week in college, but did play noon concerts while at Harvard. After he graduated then he become a professional musician. That break was a smart idea.”

“Andre Watts was fantastic at one time. He is known for the polished quality of his tone. He had a deeper interpretation than other performers. However, he burned out after starting so young.”

Tomoko comments on the difficulties of performing early. Menuhin was a protégé, and then collapsed. In contrast, Isaac Stern lasted a long time because he delayed professional performance while he was young.”

“Did you know that Horowitz sang? He made mistakes when he performed on the piano, but he was all natural in his approach so it worked. “

“Claudio Arrau was a child protégé, but played even in his late eighties. He played the Emperor’s Concerto almost 2000 times. He is a great inspiration.”

Tomoko concludes, "I meet so many people, and learn from them.It's my education."