Where did classical piano composers get their training?

 

Classical piano composers received training through private instruction from experienced musicians, formal education at music conservatories and universities, mentorship from senior composers, and extensive self-study and practice, including analyzing and copying the works of other composers. The specific method varied, but a strong foundation in music theory, harmony, and composition, often through pattern-based exercises, was a common element across different training paths. Many composers attended formal institutions, such as the Paris Conservatoire or the Mozarteum in Salzburg, which offered structured programs in music theory, composition, and performance. In contrast, some composers initially trained by private tutors, often family members or established musicians. In many cases, these composers were child prodigies who began their musical education at a very young age. Here is a sampling of individuals’ instruction and apprenticeship.

Mozart received intensive musical training from his father, Leopold, who was a composer and violinist. It should be noted, though, while guided by his father, Mozart was a musical genius from a very young age and largely developed his own unique style. Furthermore, starting a performance career as a child (under his father’s management), Mozart’s early education involved traveling throughout Europe, where he observed and absorbed the different musical styles of the time.

Beethoven began piano lessons with his father, who was his first teacher. He then studied with other musicians in his hometown of Bonn before moving to Vienna to study with Joseph Haydn, who famously invited Beethoven to become his student. Beethoven also took composition lessons from the court organist Christian Gottlob Neefe. 

Chopin started learning the piano from his mother before the age of six. He was then trained by private tutors, such as Wojciech Zywny, who recognized and nurtured his unique talent. Next, Chopin studied at the Warsaw Conservatory, which refined his compositional skills. 

Liszt was taught piano by his father from the age of five. After his family moved to Vienna, he studied with renowned teachers like Carl Czerny, a former student of Beethoven, and the court composer Antonio Salieri. While touring as a piano virtuoso, Liszt was influenced by other composers and musicians such as Niccolò Paganini and Hector Berlioz. 

Of course, these and other piano composers only achieved greatness and renown because they understood, practiced and honed the training they received. Teachers can only teach; students have to do the learning.  

 

 

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.

Back to Bach

Bach’s music is timeless – and Tomoko has played his compositions much of her life.

Growing up in Japan, Tomoko heard Bach for several reasons. The Japanese government encouraged European classical music as the country was looking to modernize. As nationalism grew, the government would adapt European music, adding Japanese lyrics, and then teaching Japanese children those now patriotic songs.

Tomoko played Bach’s religious music in secondary school and college. Her school, Ferris Academy, was established by the Dutch Reformed Church. Their academic curriculum emphasized classical music training and performance. Tomoko frequently accompanied the school’s choirs during the school’s  religious gatherings. In college, Tomoko was an accompanist at the local Catholic Church, which also valued traditional European religious music such as Bach.

Another case of connecting with Bach occurred when Tomoko performed at the Carmel Bach Festival in 1967. The festival began in 1935, and featured four days of concerts. By the time Tomoko participated, the festival had transformed from an amateur to a professional venue. The whole town supported this event, and even hosted the musicians in their homes.

More recently, in 2013, Tomoko performed Bach’s Capriccio in Bb major on KBAQ (Tempe, Arizona) radio.

And even as a tourist Tomoko perform Bach. When she visited her friend in Florence, Tomoko went to a Medici house museum. There she spied an antique harpsichord. The owners let her play: Bach’s Prelude and Fugue in C sharp major. It felt as if the centuries melt away.

Now as a teacher, Tomoko recommends Bach for beginning students; “Bach is a good composer for younger students because of his structure and use of chords.”

Yes, Tomoko continuously goes back to Bach because of his rich and compelling work.

Begin with Music

It’s the beginning of the year, and music is a great way to start the year. 

Music can be a lifelong joy. And that joy can begin early in life. Tomoko knows.

Her father had played the violin in his youth, and her mother sang hymns as she cleaned the house. Her family had a record player, and listened to classical music. Tomoko liked listening to music on the radio too. 

Singing songs was part of the Japanese educational curriculum when Tomoko was growing up. There were textbooks all public and private schools had with songs for schoolchildren for each elementary grade. The government wanted to make sure everyone had a music education. Tomoko recalls: “When I was in grades 7-12 at Ferris Academy we had mass every morning and had to sing, of course. I enjoyed the singing, and all the students knew how to sing well.”

It’s never to early to begin the love of music in a child. Mothers and fathers can sing to their babies. Lullabies are very soothing, but folk songs and even modern songs can be pleasant to hear; the main point is for the singer to enjoy sharing the song. There are many nursery songs that children can learn, and when the family sings together it is special. Tomoko says, “It’s a good way to communicate.”  

Play music in the home, be it on the radio, on a DVD, or on the computer. Music is not only an esthetic experience; it is also educational. Listening to music helps children learn the concept of rhythm, which helps them learn language too.  Having a musical instrument is wonderful because children can see how music can be created, and explore the instrument’s physicality. Music and science go hand in hard. 

There are so many ways to bring music and harmony into people’s lives. Begin now!

A Day in a High School Life

One of the big breakthroughs for Tomoko was her experience at Ferris Academy, a music-rich private junior high and high school in Yokohama. She auditioned to be accepted, and was highly regarded for her musical ability.

Imagine Tomoko as she experienced a day in Ferris.

Before daybreak Tomoko would fold up her futon, slip on her school uniform, and fix her breakfast. Tomoko liked the early morning hours. She felt fresh and ready to start the day, and the train was slightly less crowded at that time in the morning. 

When she arrived, Tomoko would admire the gothic looking school building with its pointed-arch windows and buttresses. Even though it was relatively modern, constructed after the 1923 earthquake, it looked formidable and old, maybe because of its dark slate like stone walls. In reality, Ferris really was relatively old: started in 1870, it was the first mission-sponsored school in Japan and the first higher education institution for females.

             Tomoko would enter the practice room long before school was to start. She would pull out her music, warm up with musical exercises, and settle down to practice in peaceful solitude. This was the best time to play; Tomoko didn’t have to worry about waking up the family or the neighbors, and as she moved her fingers deftly across the keyboard she also quickened her mind. By the time the morning school bell rang for assembly. Tomoko would mentally ready to learn.

Assembly time often included singing. The girls’ voices, which were already good, sounded even better with that room’s natural sound effect. Tomoko’s mezzo-soprano voice was well suited to the range of most hymns sung at school, so she could relax and sing freely. Sometimes the sensation reminded her of her mother singing hymns around the house as she cleaned. 

The school curriculum included physical education, including rhythmic gymnastics. Tomoko enjoyed it, not only because it was usually done to music, but because it was graceful. It combined creativity with discipline, which challenged Tomoko in a positive way.

Musis was a priority of Ferris, and it showcased Tomoko’s native talent. Not long after entering Ferris, Tomoko was asked by her teacher, “Would  you accompany the school’s chorus?” Although the teachers knew how to play, they were busy teaching and conducting the singing groups. On her part, Tomoko hadn’t been trained in this task before, but she eagerly agreed. It validated her expertise, and gave her status among her peers. 

On the other hand, English was hard for Tomoko. She practiced it with her classmates as part of recitation, but it wasn't spoken around the house. Yet Tomoko knew that English was important because it helped her get around since the United States started occupying Japan. It should also be noted that since the school was founded by American missionaries, such of the curriculum already reflected American values. For example, students were encouraged to think for themselves, and to make individual contributions to improve the community, which philosophy was not lost on Tomoko.  

Furthermore, Tokomo knew that English -- and music -- would help her leave Japan. She could see the Yokohama harbor from school, and said to herself: I will play the piano in America some day." 

And so she did. 

The High Stakes of Performance

This weekend the U.S. will be broadcasting the Super Bowl: a high stakes football game. Although not was highly showcased, pianists also have their own high stakes competitions.

Even at a young age, Tomoko experienced competition as she waited with other piano students for lesson instruction. She would hear the playing through the walls and feel the need to play better. Tomoko did not compete professionally at that time, not does she encourage youngsters to complete at a young age. "They need to build a strong foundation first."

Tomoko's first important competition was her application to the University of Tokyo. She chose the University of Tokyo because it was the best university for music: “Always strive for the best” The university had 500 applicants, and accepted only eighteen students. The audition process took four days. All students had to arrive at 8:30am and were given a number; Tomoko was assigned #21. The applicants first were asked to play a short selection; Tomoko was the last person in the morning set. At the end of the day, the list of first cuts was posted, and Tomoko made that list. On the second day the remaining 74 applicants did music dictation; Tomoko had studied dictation in high school so that exercise was easy. Another post indicated that Tomoko passed, among 34 others. On the third day, applicants took exams on academic subjects to ensure that they were academically prepared. The final set of applicants were interviewed, and Tomoko was one of the fortunate eighteen accepted. 

As she was beginning her professional career, Tomoko competed in a number of performance competitions, from getting into the university to professional venues, including:

1965 Young Artist Award sponsored by the Fresno Philharmonic and Junior League of Fresno

1965 San Francisco Symphony Foundation winner

1967 Long-Thibaud International Piano Competition in Paris

1968 Queen Elizabeth International Competition in Brussels

Tomoko's daughter Beata competed professionally as an adult ice dancer, all the way to the Olympics. Tomoko was able to give her competitive advice. Like sports competition, piano performance competition involves technical skill, discipline, and psychology.Detail to attention is needed to be prepared before and during competition. In addition, judges can also add pressure and challenge competitors. "Be proud of yourself. Don't talk, but act professional."