And All That Jazz

 

April is Jazz Appreciation Month. While Tomoko focused on classical compositions when she performed and taught, she appreciated a wide variety of music and musicians, including those associated with jazz. Two individuals stand out in terms of Tomoko’s Conservatory association with jazz: a colleague and a student.

Beulah Forbes-Woodard

When Tomoko started teaching at the San Francisco Conservatory of Music, there was only one other non-Caucasian faculty member: a Black woman Beulah Forbes-Woodard, whose specialty was jazz music. Born in Ellensburg (in central Washington state), Beulah Forbes grew up in a musical family. Her father played ragtime music for silent forms, and all of Beulah’s siblings worked in music or the theater.  

Beulah studied classical music at the Conservatory, and she was their first African American graduate. Upon her graduation, Beulah was asked to join the Conservatory as a teacher, thus becoming the Conservatory’s first Black faculty member. When she retired from the Conservatory after teaching there for almost fifty years, the Conservatory awarded her a doctorate of music. She also taught at the University of San Francisco and Lone Mountain College.  

An accomplished pianist, she played professionally with well-known musicians, headlining performances in the United States, Canada, and Europe. Beulah also performed the first jazz concert at the Conservatory, which led to jazz being incorporated into the curriculum. 

George Duke

One of Tomoko’s students, George Duke, became a jazz musician. If you have heard of The Mothers of Invention, then you know of George Duke – and that he became a famous jazz musician. George joined the rebirth of this rock band in 1970 as their keyboardist and vocalist.  

Thinking back to this musician, Tomoko remarks, “Maybe because his jazz influence or upbringing, he was very down to earth, not like many classical musician divas.” She concludes, “There is a big difference between the classical world and non-classical musicians. The latter are more easygoing. I also found that out when I was recording at Skywalker.” Her comments reflect George’s own feelings in that he switched from classical music to jazz because it was more freeing for him, and it allowed him to improvise.  

Tomoko’s Christmas Memories

 

As Tomoko demonstrates, Christmas certainly builds lifelong musical memories.

Tomoko attended Ferris Academy: an elite Dutch Reformed school for girls, located in Yokohama. “At Christmas time everyone memorized Bible verses and performed Christmas music,” Tomoko remembers.  

She also recalls: “The Dutch Reformed school received Christmas cards from the U.S., and the images showed a very rich and full Christmas. The teachers would cut the cards with zigzag scissors, and sell them at the school Christmas bazaar (an American tradition brought to the school). In Japan at that time, every scrap of paper was dear, so the cards were very popular. “

When Tomoko attended the Conservatory of San Francisco, she spent the Christmas break with her classmate. Tomoko remembers dressing in a pale flowered kimono, and playing a board game at her friend’s home.

Tomoko’s musical memory of Christmas also extends to her daughter Beata’s ’s piano playing. The little girl was  frantic one evening, when she told her mother, “Mummy, the school Christmas program is tomorrow, and I have to play “Up on the Housetop! I told the teacher that I couldn’t do it, and she said that you would help. Help! What am I going to do??” Tomoko thought to herself: “That’s too much pressure for a little girl.” To Beata, though, she said calmly, “Let’s go to the piano.” Tomoko sat down beside her. “Don’t worry. The most important thing is the rhythm. Now play middle G, and sing the song, tapping the key for each note.” Tomoko listened and observed closely, and gave Beata some encouraging suggestions. Beata practiced for the next half hour, with Tomoko’s gradual release of coaching. The next day, Tomoko asked Beata, “How did the program go?” Beata smiled, “The teacher didn’t even notice that it was just one note!” Tomoko wasn’t surprised, and hugged her daughter.

As a teacher, Tomoko advised parents: "Your actions speak volumes. And your musical investment of time can bring untold value to your children. You can share Christmas carols as a way to share your love of music with your children. You and your children can grow together through music.”

Tomoko also sees Christmas as a universal musical experience. 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.”

 

Graduating Twice

 

Tomoko graduated twice from college: with a music bachelor’s degree from Tokyo National University and a music bachelor’s degree from San Francisco Conservatory of Music.

In 1961 Tomoko felt prepared for her graduation and a music career. She put on her best Western-style dress and gloves for her graduation, and stood in the front of her class, exemplifying a modern professional Japanese woman. Tomoko was proud that she earned her Bachelor of Arts degree with highest honors. Her parents’ declaration, that whatever one pursued it should be done well, was personified in Tomoko.

The next year, Tomoko immigrated to the United States, and started her musical study at the San Francisco Conservatory of Music.  Four years later, she graduated again. And Tomoko was not leaving the Conservatory; she had been asked to join as a faculty member: the first Asian and only the second woman!

The morning of that second graduation Tomoko dressed up again as she did for her first bachelor’s, but now proudly wore the traditional black graduation gown and four-cornered cap. She hurried to the Conservatory where the ceremony would soon commence. Tomoko actively listened to the welcoming speech and the various speakers. At the same time she kept her own performance time in the back of her mind. When her name was called during the ceremony, Tomoko took a deep breath, calmly strode to the piano, seated herself with aplomb, and raised her hands gracefully. Then her intelligence, her emotions and her muscle memory merged as she played as she meant to: a true professional. The warm applause confirmed her own feelings of pride for her double accomplishment.

Tomoko American

Tomoko 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 freedom. 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.

Thanks to James Schwabacher

 At one point in her life as a student at the San Francisco Conservatory of Music, Tomoko wasn’t sure she could continue her studies because she lacked the funds to pay her tuition. James Schwabacher, who served on the conservatory’s board, awarded her a scholarship because of her talent and potential. The room in which Tomoko teaches has a plaque honoring him, which she thinks is a very appropriate and special symbol.

 

James Schwabacher was a lifelong San Franciscan, born in 1920 and died in 2006 in the city. His Jewish family was well to do, due to the banking and office supplies enterprises. Music was also an interest in his family: from a composing grandmother and singing father. James started playing the piano at age 5, and began a singing career in college, performing as a soloist with the University of Berkeley chorus.

 

After returning from WWII, where he was an army first lieutenant, he joined a company of singers under the leadership of Jan Popper, known as the Opera Man of the West Coast. The same Popper facilitated Tomoko’s immigration to the United States.

 

Because of multiple surgeries, James had to forego his singer career for teaching. He took part of the Carmel Music Festival, at which Tomoko competed. He interviewed professionals for the San Francisco Opera radio show, and served as a guest speaker at the Carmel Music Festival, at which Tomoko competed. James also founded the Merola Opera Program: the nation's oldest training program for young singers and considered one of the nation's finest.  He also supported young musicians, and Tomoko was one of his beneficiaries.

His love of music and support of musicians lasted his whole life, and Tomoko follows in his dedicated footsteps. 

Sol Joseph and Tomoko

When Tomoko was a student at the San Francisco Conservatory of Music, she studied music theory including composition analysis, harmony, and counterpoint with Sol Joseph.

Sol Joseph was born in 1912 in Chicago, and was a Phi Beta Kappa music scholar at the University of Chicago. At the age of 24, Sol Joseph married Belle Rosenstein, and they had two sons. During World War II Sol served in the U.S. Army.

Mr. Joseph’s connection with the Conservatory started in 1948 after he and his family moved to California. Local classical musicians encouraged him to apply, and he became a professor of music There he taught music form and analysis counterpoint, harmony, and music literature for almost thirty years. Sol Joseph also conducted the Conservatory orchestra for a while. 

Sol Joseph’s teaching venues also included the University of California Extension an San Francisco’s Community Music School. In addition, Sol served as Congregation Sherith Israel’s organist and as the Jewish Folk Chorus of San Francisco’s pianist and later their conductor. Over the years Sol also conducted the San Francisco chorus and the Berkeley/Richmond Jewish Community Center Yiddish Folk Chorus. 

Sol Joseph died at age 90 in 2002, and Tomoko remembers him and his teaching to this day.

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The Golden Spring of 1965

Spring 1965 was a golden season for Tomoko in her musical life.

In February she was featured on KTVU television channel, playing one of her winning pieces from the San Francisco Symphony Foundation Audition program. She was chosen by Maestro Josef Krips for her impeccible performance.

In the same month she made her Peninsula debut at Foothill College in Appreciation. She was sponsored by Japanese Searking Society of America.

In March she performed with the Fresno Philharmonic Orchestra in Roosevelt High School's auditorium. She won the 1965 Young Artists Award, along with baritone David Tenbrook and violinist Kodjian). These awards were made possible by the Fresno Philharmonic Orchestra and the Junior League of Fresno.

In April Tomoko performed with two violinists, Kathleen Lenski and Linda Ashworth in San Francisco's Auditorium. Their concert was one of the musical series sponsored by the San Francisco Symphony Orchestra and its Association Foundation for its members.

Then in June Tomoko played at her own graduation, followed by her graduation recital two weeks later.

This season was indeed propitious, and foretold Tomoko's energy and dedication to the piano. Her spirit has not faded over the years.

Hurray for Haydn

Tomoko’s first commercial album includes a piece by Haydn. It was a good starting choice for Tomoko.  Haydn laid the groundwork for so many musicians, just as Tomoko’s first CD album led to ten more CDs of her performances. Several points in Haydn’s life also resonate for Tomoko.

To start with, Haydn was born in Rohrau, Austria, which bordered onto Hungary. Tomoko and Desi wed in Austria, and Desi is Hungarian. 

Haydn’s family was musical. His father was a folk musician, and the family sang together. Tomoko’s father played the violin as a hobby, and Tomoko liked to sing. Tomoko’s brother played organ and piano, and Tomoko followed eagerly.

Haydn started his career as a freelance musician as did Tomoko. He was a music teacher, played the organ at a chapel, and was an accompanist. Likewise, as a high schoolers Tomoko accompanied singers, she taught piano early on, and she played the organ for the local Catholic church while in college. 

When Haydn was building his musical reputation, he gained aristocratic patronage. While studying at the San Francisco Conservatory of Music, one of the board members paid Tomoko’s tuition at one point so she could continue her studies. 

Haydn’s concerts were very popular, as are Tomoko’s. Unlike Haydn though, Tomoko’s concerts include performances with others – as well as solo playing by her friends and students. 

While he lived in Vienna, one of Haydn’s friends was Mozart, and was very impressed with Mozart’s work. Tomoko too was very influenced by Mozart and it’s one of her favorite composers to perform. 

Later, Haydn met and taught a young Beethoven. Similarly, some of Tomoko’s students have become professional musicians and composers in their own right. As for Beethoven himself, Tomoko also considers him one of her favorite composers. 

No wonder that Tomoko is in harmony with Haydn.