Scarlatti’s Impact

One of Tomoko’s piano albums, “Baroque-20^th Century,” displays the range of styles over three centuries. The earliest selection is “Follia” by Alessandro Scarlatti, an Italian baroque composer.

Scarlatti was born in Palermo 1660 into a musical family. His children also carried on the family musical tradition. Fortunately, when his family moved to Rome, Scarlatti had many opportunities to enter the musical sphere. Soon thereafter he gained the patronage of Sweden’s Queen Christina. He also produced several operas for the viceroy of Naples and the Romans. Indeed, his operas constitute his major musical heritage, although he also contributed significant compositions in church music and instrumental music, including piano composition. In terms of financial recognition, Scarlatti experienced early acclaim, but suffered lifelong financial setbacks.

Tomoko performed “Follia,” which form probably started as a 15^th century Portuguese folk dance. The generic ferm “folia” applied to a Baroque template for variations of songs and dances that could be rendered into instrumental music. The form was recognized by its chord progressions, metric patterns, and rhythms. Scarlatti was credited for his piano adaptations of folia, composed in 1715.

Tomoko recognizes Scarlatti’s musical contribution as it informs her performance and background to share with her students.

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Gleaning Glinka

On her CD Touria, Tomoko plays a mazurka composed by Mikhail Ivanovich Glinka. Not as well known as other Russian composers, Glinka significantly influenced the famous Mussorgsky and Rimsky-Korsakov, and later Tchaikovsky.

Mikhail Glinka was born in 1804 to a noble family who lived near Belarus. He grew up listening to local folk songs, church choirs, and serf orchestras. While at boarding school in St. Petersburg, Glink studied piano and violin, and he networked with orchestral musicians. Glinka entered civil service, but due to an illness, his doctor recommended spending time in Italy. That time extended to three years as Glinka became more acquainted with Italian opera and began composing operatic airs. From there he traveled to Berlin and Vienna, discovering his need to write in his own Russian musical vernacular. Thereafter, Glinka returned to Russia, where he was commissioned to write a Russian opera, which featured peasant folk song motifs. The opera’s success led to his appointment at the Court Chapel Choir, during which time he composed church music, a set of twelve songs, incidental music, and piano pieces. In 1842 he composed his second opera Ruslan and Lyudmila, which had a magical theme and tone that became an evocative mainstay up to Stravinsky’s Firebird. Later, Glinka would travel to Paris where he worked with Berlioz and then to Spain where he was influenced by that country’s folk music.  He continued to travel in Europe, dying in 1857.

Glinka’s musical legacy consists of laying the groundwork for Russian musical nationalism. He soaked up a variety of European techniques and assimilated them into a Russian idiom. 

Glinka’s “Mazurka in C minor” was influenced by Chopin, one of Tomoko’s favorite composers. This piece, written in 1843, is more refined and intimate than his earlier mazurkas, with its sinuous sensibility. His lifelong thread of songs and music for solo piano plays well to Tomoko’s own predilections.

The Musicality of Salzburg

Tomoko and her husband Desy wanted to get married in his native country of Hungary, but it wasn’t safe for him so they decided to wed in Salzburg. And as Tomoko says, "I wanted to get married in Europe because I love Europe, especially Austria, and it was close enough to Hungary for my husband's sake." Musically, it was a wonderful choice. Here are a few reasons.

Probably the best known aspect of musical Salzburg is its annual festival, featured in the 1965 film Sound of Music.  The summer festival was officially established in 1920, and is held at Cathedral Square. Operas and dramas, orchestras and chamber music have all been performed at this festival. And this festival is just one of the many musical events that happen throughout the year in Salzburg.

There is a long tradition of music in Salzburg. The first opera performed north of the Alps happened in Salzburg – in 1617: Monteverdi’s “L’Orfeo.” It was considered the first opera ever, and took place in a former quarry that was transformed into a rocky theater.  The opera tells the story of Orpheus and his descent into Hell to bring back his dead wife.

It might not be a surprise that Mozart was born in Salzburg: in 1756. He grew up there, and stayed in Salzburg until he was 25 years old. Two museums are now dedicated to Mozart, and the most extensive Mozart library in the world is in Salzburg.

Salzburg’s most famous Baroque building is the Salzburg Cathedral, where Mozart was baptized. As a court organist and concertmaster, he composed sacred music to be performed there. Tomoko’s wedding was held at St. Gilgen's, where Mozart's mother was baptized. It might well be that Tomoko could feel the spirit of Mozart, certainly of music, as she and Desy exchanged their wedding vows.

The Blue Velvet Album

As can be imagined, Tomoko has hundreds of musical memories, some of which she stores in a small blue velvet photo album. Here is a sampling of those photo memories.

Tomoko is wearing a long organza white dress as she is seated playing a grand piano. A tall flower bouquet stands in the background of the stage where she is performing. This Tokyo concert took place soon after Tomoko graduated from the University of Tokyo as a music major. There were very few opportunities at that time for a young woman to have a concert performance. 

Tomoko is bundled in a heavy pale coat as she checks her airplane itinerary. She is leaving family and friends to go to the United States. She was able to work with the UCLA opera theater to get this opportunity. 

Tomoko is dressed in a pale flowered kimono, playing a board game at a peer’s home. It’s the Christmas break for the Conservatory of San Francisco where her friend and Tomoko attend.

Tomoko is being interviewed on KQED television by UCLA professor Herbert Jan Popper. She is talking about her musical background and dreams in the U.S. Later in the show she performs Liszt’s Hungarian Rhapsody A minor #11 on the studio piano.

Tomoko is talking with renown cellist Pablo Casals at Arizona State University, where a library is being dedicated to him. He was in his 90s at the time, and was still performing. Tomoko went with a couple of Conservatory girl friends to visit Arizona, and see him. 

Tomoko’s daughter Beata is a toddler, sitting at her mother’s piano at home. While Beata became a professional ice skater, she enjoys playing the piano, and performed at a concert honoring her mother’s piano teaching.

Tomoko and her violinist friend Ernestine Riedel Chihuaria  are accepting bouquets at the end of one of their concerts. Tomoko met Ernestine in 1968 through the Peninsula Symphony. Ernestine needed an accompanist at the last minute, and Tomoko performed with her at the DeYoung Museum. They continued to perform together for 30 years.

Tomoko is holding a resolution from the San Francisco Commission on the Status of Women, who recognized her cultural contributions to the San Francisco area.  On either side are her students, who are smiling at Tomoko’s honor. In their honoring speech, the commission concluded that Tomoko made it her life’s work to share the joy and serenity that music offers its listeners, include to homeless individuals in a Project Homeless Connect event.