Lizst and his legacy

One of Tomoko’s favorite piano composers is Lizst.  His works enable the performer to showcase technical virtuosity and strong emotional interpretation.

Lizst’s life is certainly reflective in his writing. 

At age seven Lizst started piano lessons from his father, started composing at age eight, and started public performances at age nine. Lizst was a wildly popular performer because of his technical brilliance and intense delivery, which his compositions could showcase. His enthralled audiences led to Lizstomania – and enough income that he could gave away much of his profits to charity. 

Thus, because Lizst was first a performer, his compositions reflect natural hand motions, and are more natural to play. That characteristic enabled Lizst to create works that could maximize kinesthetic ability. Additionally, Lizst was inspired by the violinist Paganin’s technique, and wanted to be as excellent as him, so much so that he wrote a series of etudes based on Paganini’s own violin’s technically challenging compositions. As a result, his compositions are often used by piano teachers to improve students’ technical skills. In fact, Tomoko remarks: “Sometimes a child – or the parent – wants to choose a masterful piece of music, such as a Liszt étude. They want the status of playing such a composition, but it might not be appropriatea at their stage of development. “Their motivation may be to show off,” says Tomoko, “but they will be miserable.” Instead, Tomoko asks the student to try it for themselves. “Then they recognize for themselves what is really involved.” If they really want to put in the effort, Tomoko tells them, “I will prepare this piece for you.” Tomoko explains each part, and then they agree on doing the hard work together. 

Tomoko also likes Lizst for his philosophy and emotional power. Tomoko relates to his spiritual side. “Listen to Liszt’s compositions. His philosophy is so beautiful. He was a very religious man.” While Lizst is not known for religious compositions, he contemplated joining the Catholic clergy in his twenties (after a romantic break-up) and  in late life did join a monastery. 

Lizst’s compositions also capture human emotional life: adapting folk dances and translating human expression, including violence, into  his music. Tomoko asserts: “Lizst is great for pianists in their twenties because they don’t have to think so much as express lots of action.”

Tomoko herself has masterfully performed Lizst’s works over the years. In her 1964 television interview with UCLA Opera Theater director Herbert Jan Popper, Tomoko She Hungarian Rhapsody A minor #11 by Liszt on the show. Almost fifty years later, in 2012, on the show “The Piano Matters with David Dubal,” Tomoko played Liszt’s "Au Lac de Wallenstadt." 

Just as Lizst was inspired by his experiences, Tomoko and her students find inspiration in Lizst for their own lives.

Living the Dream

“Everyone has a dream,” contends Tomoko. She knows from experience. Tomoko has had many dreams, and she has made them real.

As a child, she dreamed of learning how to play the piano. Her parents enabled both Tomoko and her older brother to take lessons.

Tomoko dreamed of studying piano at the best university for music in Japan. Competing against 500 applicants, she was one of 18 who were accepted at the Tokyo National University of Fine Arts and Music: her dream university. She earned a Bachelor of Arts degree with highest honors, and was a post-graduate student. However, she left school to follow another dream.

Even as a high schooler, Tomoko wanted to venture abroad. From her school she could gaze at the Yokohama harbor. The port stood for activity and the open sea. “I will play the piano in freedom in America some day,” Tomoko promised herself.

Her dream of America came true because UCLA professor Dr. Herbert Jan Popper saw her piano performance in Tokyo. He was impressed with her talent, and told her about the U.S. and its opportunities. 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 SF because the paper work was relatively easy. Tomoko took his kind advice, and was able to live her dream in America.

Tomoko dreamed of winning a piano competition. While a student at the San Francisco Conservatory of Music, she won the San Francisco Symphony Foundation Audition program as well as a Young Adults Award sponsored by the Fresno Philharmonic Orchestra and the Junior League of Fresno. Leter she competed internationally.

Now as a teacher, Tomoko helps her piano students to dream, and helps them realize their dreams. “Giving a dream is important,” she says. Tomoko gives them a dream of a gift: the piano.

Traveling Music

Transportation has played an important role in Tomoko’s musical journey. Every week Tomoko drives into San Francisco to teach.“I love to drive!” Her love of travel started early; “I remember looking over the Yokohama harbor, and wondering where the ships were going.”

Tomoko took public transportation to get to her early music lessons and high school, and she traveled over an hour from Yokohama to the Tokyo University of the Arts (Tokyo Geijutsu Daigaku).

When Tomoko left Japan for the U.S. she saved her money, and flew across the Pacific. Professor Herbert Jan Popper facilitated her immigration by listing her along with a group of Japanese singers for a Japanese opera that was going to be performed for UCLA. She was also able to get exchange student student to help her stay in the U.S.

As a student at the San Francisco Conservatory of Music, money was tight for Tomoko. She tried for a San Francisco Foundation award that would help finance her studies. Tomoko remembers, “ That morning was rainy, and I had only one dollar, not even enough to take a taxi.” Instead, Tomoko took a bus, holding her umbrella to keep her nice outfit dry. She thought to herself: “I am going to make it.” When she got to the auditorium, a competitor arrived in a Cadillac, and someone held out an umbrella over her head. After Tomoko played the required selection, the judges liked her performance so much that they asked her to play another solo piece. The competition took all day, and Tomoko had to go home alone on the bus at 8pm, when there were few buses at that hour. Two days later she found out that she won.

Tomoko had always wanted to visit Europe because of its long musical tradition. When she graduated from the Conservatory, Tomoko also wanted to compete internationally. Her friends helped pay her flight, and they connected her with other musical supporters. After her competition, “I traveled around Europe -- Rome, Firenze, Nice, Cannes, Munich, Zurich, Sweden -- on a Eurail pass for two months.” Tomoko adds, “I always thought this would be my last trip to Europe.”

Since then, Tomoko has traveled several times to Europe: for other piano competitions, to support her daughter’s skating competitions, and to visit the homeland of her Hungarian husband.

And she still loves to drive around Europe….

Musical Thanksgiving

Thanksgiving is a very American holiday: sharing abundance as a community. The first Thanksgiving also acknowledged the importance of interdependence and benefits of diversity:  values that Americans continue to seek and support. 

It should be noted that giving thanks is a universal value, one that Tomoko appreciates and practices. Throughout her life, she has been helped to realize her dreams, and she has helped others to realize their own dreams.  Not surprisingly, a central theme is music.

Tomoko was thankful that her family home was filled with music, especially their regard for the classics. Music enabled Tomoko to be accepted into the prestigious Ferris School in Yokohama. The school’s singing ensembles, in turn, were thankful that Tomoko accompanied them on the piano. Likewise, Tomoko’s musical gifts and her years of practice led to her successful  competition to enter the University of Tokyo; she was both thankful for her own efforts and for her opportunity to learn at the nation’s best university for music.

Tomoko was thankful for Professor Jan Popper, who found a way for her to emigrate to the United States – as part of his opera  program.  Dr. Popper also advised her to apply to the San Francisco Conservatory of Music, which resulted in her successful studying and teaching there for fifty years. Tomoko was thankful for the widow who let Tomoko share her home, and the homeowner was thankful in turn for Tomoko’s assistance. Tomoko was also thankful for James H. Schwabacher. At one point in her college career, Tomoko didn’t have enough money to pay for her tuition. At this critical time James Schwabacher, a board member of the school, provided Tomoko with the scholarship money so she could continue at the conservatory. Tomoko showed her thankfulness in her hard work and musical success.

And Tomoko has given of herself and her music throughout her life, for which thousands have been thankful to her. Her concert performances have touched so many audiences. Her expert and caring teaching has helped so many students grow in their knowledge and love of music, and helped their own personal and professional growth.

We can all be thankful for music.

Gifts of Music

Music – and friends of music -- brought Tomoko  to the United States – and kept her there.

About the time that Tomoko graduated from the Tokyo University for Fine Arts and Music, she played a noteworthy recital.  UCLA  Opera Theater Director Jan Popper was impressed with Tomoko’s performance, and figured out a way for her to join a group of Japanese singers traveling to California.

Once she arrived, Tomoko applied and auditioned  successfully for the Conservatory of San  Francisco.  She worked hard; even a B+ could mean the end of her student visa. But hard work and academic excellence were not enough;  tuition was a struggle. At one point, Tomoko felt as if she were in the middle of the ocean. She had come so far, but was afraid she would need to return to Japan. So she was so excited and relieved when she was informed that one of the Conservatory’s board members, James Schwabacher, would pay her tuition. At the time, Tomoko didn’t know who he was. In addition, a widow let Tomoko reside at her house for two years.

After graduating from the Conservatory,  Tomoko started teaching, largely for Japanese families in their homes, growing her clientele through positive recommendations based on her teaching. She also worked with the Japanese Consulate.  Tomoko then became the first east Asian teacher at the Conservatory, where she continues to instruct and mentor. Over the years, Tomoko has more than  given back to her community through her expertise and dedication. We have all benefited from her musical gifts.

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.