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.

The Many Musical Faces of Freedom

Tomoko asserts that music is freedom. She has many examples to prove it.

Freedom is very personal for Tomoko. After World War II, Japan was occupied by the United States. In a way, that situation gave Japan freedom to appreciate art more and see its importance. Yet in terms of music, Japanese piano technique was very disciplined, and students did not have much freedom in how they played. Tomoko left for the United States to find the freedom to seek the personality of the piano. Even though she knew little English, she could be understood through the international language of music; the piano gave her freedom to communicate.

In the 1960s Tomoko traveled to Europe, and later she met her future husband: a Hungarian who witnessed his country’s revolution in 1956. Hungary was behind the Iron Curtain, and freedom was limited. In 1972 Tomoko married this refugee in Austria, and they were able to come to the U.S. for more freedom.

Tomoko notes the voice of freedom expressed in folk music. Bartok and Chopin, for instance, drew upon the national musical spirit, which enabled people to express their sense of inner freedom.

For freedom also lives in the mind and heart. For instance, Tomoko says, “Your music is your own; no one can steal your heart.” Tomoko continues, “I love Mozart so much. I repeat it 20 times. It gives me freedom.”

It should be recognized that freedom does not mean lack of discipline. For instance, Tomoko states: “When I give a recital, preparation is most important. The performer is not free if not prepared.” Tomoko knows that having the freedom of showing personality requires careful choice. Music has lots of vocabulary, so the more knowledgeable the performer, the more clearly the personality can be expressed freely.

With age also comes freedom. “All my recordings are after I reached 65 years old,” Tomoko states. “You are free.” Feel free to enjoy the fruits of Tomoko’s freedom as expressed in her dozen of CDs.

The Olympics and Tomoko

The Sports Olympics holds a special place in Tomoko’s heart. Did you know that Tomoko’s daughter Beata competed ten years ago in the 2002 Olympics?

Beata started skating at age two as a way to keep active and fit, but she became serious at skating herself at age six. She kept up with her skating practice, but she didn’t compete until the U.S. Nationals. Real competition started after age 20 for her. She started as a solo figure skater, but teamed up with Charles Sinak, whom she married the next year in 1996. Along the way she has experienced both disappointment and success, but she continues as a professional pairs skater with her husband, and also teaches figure skating.

Beata’s attitude mirrors her mother’s in terms of discipline, perseverance, dedication, and patience. And Tomoko has modeled good parenting practices in actively supporting her daughter’s interests, and expecting high standards from her daughter.

Tomoko thinks that youngsters should start by focusing on their technical skills, be it in playing a musical instrument or skating. They should delay serious competition until they are grown up; otherwise, they can burn out. Tomoko also believes that performance – be it on ice or on the keyboard -- involves interpretation, emotion, and spirit. Being surrounded by music has also helped Beata choose fitting music for her performance – and move in consort with it effectively.

Tomoko feels that music gives her freedom, and, no doubt, Beata feels the same about her figure skating. And their freedom has come because of the years of hard work and sacrifice.

Those years of effort pay off for the listener’s ear in appreciating Tomoko’s exquisite performance. You can listen as Tomoko’s fingers glide over the keyboard on her album of Bach, Beethoven, Chopin, and Schumann’s music: https://www.cdbaby.com/cd/tomokohagiwara2

Metaphors of Music

Music is more than a literal experience. For Tomoko, music takes on metaphorical meaning. Here are a few of her analogies.

Tomoko compares the piano to a garden. “The keyboard is a garden. Each key is a unique flower that needs to be cultivated. Together, the keys create a bouquet.” Of course, one difference is that the combination of those 88 keys offers much more variety because they constantly change; “How many pieces does a scale play?”

When talking about learning a piece of music, Tomoko compares it to climbing up a hill: “Each piece is a little challenge. You need to keep moving.” As the performer gains more confidence, “then you can look back to see your progress. And when you have mastered the piece, it is like reaching the mountain peak. You feel a great accomplishment, and can see a far distance.”  In this same analogy, Tomoko points out the role of the teacher. “The student should go straight ahead, but sometimes he needs direction. That’s the biggest job of the teacher.”

Another metaphor is carpentry. “Music education provides tools for the pianist, like a carpenter. Each one draws upon his own experience using those tools to craft a beautiful performance.” Tomoko continues, “What is the difference in how the music sounds? Each composer is creative with his tools.”

And since Independence Day is forthcoming, a final metaphor is most timely. “Music is freedom.” Tomoko thinks of Mozart in this regard, “I love Mozart so much, I can repeat it 20 times because it gives me freedom.” She concludes “That is my main job, that spiritual idea of extending more freedom through music.”

Feel free to listen to Tomoko’s creative expression as showcased in her Mozart album: https://www.cdbaby.com/cd/tomokohagiwara7