Composing in the Autumn Years

 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 at the time. 

In that vein, some composers started late in life.

Austrian composer Anton Bruckner starting playing the organ as a child, and gave organ lessons as an adult. He didn’t start composing seriously until almost in his 40s, and was not widely recognized until his 60s. Most of his piano works were written for teaching purposes. 

French composer Alexis-Emmanuel Chabrier played the piano mainly as a hobby because his family did not approve of a musical career for him. Instead, he would as a civil servant. As did Bruckner, Chabrier started full-time composing as he reached 40. He is sometimes associated with Debussy with his tender emotional piano pieces. Some of those worked served as the core inspiration for his later orchestral versions. He also created duet piano works.

Considered a major modernist composer, American Elliott Carter Jr. most the most productive after the age of 80. 

In that vein, while some piano composers died earlier in live, such as Mozart, others led long and productive lives. As with Chabrier, Carter’s family did not encourage music, although they let him take piano lessons. Amazingly, the man who sold insurance to Carter’s family was Charles Ives, later to become a renown composer. Ives encouraged Carter’s love of music, which led to Carter earning a doctorate in music. In his 40s, Carter edited Ives’ music and only then started composing, which he then did daily until his death in 2012. Most of his piano works were concertos.  

Several other composers lived to their mid eighties and nineties: Randall Thompson, Richard Strauss, Ralph Vaughan Williams, Charles-Camille Saint-Saens, Cecile Chaminade, Igor Stravinsky, Aaron Copland, and Jean Sibelius.

As the autumn days grow shorter, it is comforting to know creating, playing and listening to piano music certainly is a lifelong joy, and can even keep one younger in spirit. Just ask Tomoko.

Time Matters

Time is a central motif in music, not only in composing and interpretation but also in developing musical competence. Tomoko has several insights about various aspects of time within the construct of music.

A key element in music compositions is timing; the notes and measures impact the pace, the rhythm, the tone, and even the physical playing of that composition. Most composers also indicate timing in their pieces textual (such as largo versus presto). This latter timing element is somewhat open to interpretation, and is reflected in different treatments by the performer. Glenn Gould is particularly noted for his unique interpretations, which included variations in timing.

Timing can also be applied to learning how to play the piano. Tomoko asserts that “you can start learning how to play the piano at any age.” However, she does suggest that a good time for children to start is five years old because fine motor coordination usually develops between ages 5 and 7. On the other hand, it is good for the beginning student to be mature enough to read music, and have some cognitive and emotional development. At the same time, Tomoko very much enjoys adult learners: “They bring experience, self-motivation, and musical appreciation.”

Tomoko also believes that timing affects performance. “I do not like proteges; they may have the technique but they seldom have the experience to interpret the piece deeply.” Tomoko is also concerned that children who perform the piano professionally are exploited to some degree. “You need to have a balanced life as you are growing up,” she says. “It is better to delay professional competition and performance until you are an adult.”

Tomoko also chooses piano pieces based on developmental timing. “Mozart can be easy for children but hard for adults,” she asserts. “Because Mozart was first a performer, he wrote music aht is natural to play.” She cautions, “However, Mozart was also a super mathematician and used musical numerology, so he can be very complex.”

Tomoko also notes the amount of time that one should devote to practicing the piano. “You should practice every day, at least one solid hour. Don’t move from the piano bench,” she counsels. “A second hour each day is also good, but you can break it a bit.”

Tomoko realizes that there can be a time for silence. “At some point you might feel depressed and not way to play or hear music. You have to be quiet.” That can be a good time to be quiet in nature, to feel the rhythm of life. It has its own timing.

Off to a Good Start

“The piano is an excellent instrument to play,” asserts Tomoko. “It’s widely available, flexible, and offers so many opportunities to play great music. It’s like an orchestra in one instrument.” 

Parents may want their child to learn how to play the piano. But the interest should come from the child – or whoever is considering starting to learn. Here are some ways to expose you and your child to piano playing:

• Listen to piano music on the radio or online.
• Watch piano performances on TV or online (such as YouTube).
• Go to a music store that sells pianos, and have the staff talk about, and demonstrate, the piano – and the pieces of music to choose from.
•  Find a relative, friend, teacher, or classmate who enjoys playing the piano, and share that experience.

When is a good time to start taking piano lessons? Tomoko recommends age 5 because children develop their small motor skills between ages 5 and 7. Tomoko also says, “At this age, children have no fear.” On the other hand, one can start at any age. "Interest, willingness, and perseverance are the main considerations."

As for talent, Tomoko says, “All students have talent. They just grow at different rates.” 

What should you expect? Tomoko knows that the beginning time is crucial: “The first experience needs to be fun. The teacher needs to be welcoming.” Of her own approach, Tomoko says, “I open the door. I am their passport to visit the country of pianos.” At the same time, first year piano is a learning process. Tomoko cautions: “The piano is not easy to play; you need a long time and patience. It’s a long-term investment.” 

Tomoko also states that learning how to play is a physical process; “The brain and the body need to be coordinated.” Tomoko uses this analogy: “Young children don’t know how to use pencil. Some teachers say you can’t be sloppy; try to be neat and clear. Where finger should be positioned? Posture is important. All those details need to be considered when starting out.”

Right from the start, students need preparation and discipline. They should practice at least ten hours a week. “Every lesson should have a challenge; you need to improve and grow,” claims Tomoko. “It is better to stretch than relax.” At the same time, Tomoko cautions, “Too much challenge is not good. I encourage students to try; I want them to keep their confidence.”

With a strong start and a trusting relationship with a knowledgeable and caring piano teacher,  beginning piano students can look forward to a lifelong skill and love of music that enrichens them.

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.”