Adolph Baller, Yehudi Menuhin, and Tomoko

           Tomoko personally knew Adolph Baller and Yehudi Menuhin, who exemplify different approaches to early talent. As a piano teacher, Tomoko does not like the idea of child proteges; “They may have technical skill, but not the experience.” She also feels for the child; “They are controlled by adults who are focusing on money, and they throw out the child when he is burned out.”  

Adolph Baller was born July 30, 1909 in Brody (now in western Ukraine). At age eight he was sent to Vienna to study the piano, and he debuted with the Vienna Philharmonic Orchestra at age thirteen. In 1938 the Nazis beat him up because he was a Jew, and crushed his hands when they realized that he was a pianist. He and his fiancee escaped to Budapest, and immigrated to the States. His hands healed, and he restarted his performance career, included forming the Alma Trio with Gabor Rejto and Roman Totenberg, and teaching at Stanford, the San Francisco Conservatory of Music, and Dominican College. 

Yehudi Menuhin was born April 22, 1916 in New York City. He started violin instruction at age four, and was a solo violinst with the San Francisco Symphony Orchestra at age seven. He played in Carnegie Hall at age 11, and had his first concerto recording at age 15, in London. As a young adult he seemed to stall in his musical growth, being protected from everyday life. That changed. 

In the early years of World War II Baller played for a New York radio station, where he met Menuhin. Together they performed for U.S. troops around the world, including in the Aleutian Islands. Experiencing the life of men his age and younger in army bases opened his world, and gave him more self-assurance.  

The two Jewish musicians continue to tour together after the war, and Tomoko met them when she studied with Adolph Baller at the San Francisco Conservatory of Music. Baller was impressed with her playing, and asked if she would serve as a page-turner for his own performance; there she also met Menuhin. Not only did Tomoko have the opportunity to see the back stage of world-reknown performers, but she was able to earn money as a page-turner to help pay for her own studies at the Conservatory. And her experiences with these two grand names in music informed her own piano teaching.

The Benefits of Challenge

Sometimes success comes too easy or too soon. There’s a price to pay, in fact several. “Some people become instantly popular. That is not good.” That is not Tomoko’s way.

For instance, Tomoko doesn’t believe in proteges. “They may have technique but they do not have the heart of life experience.” She mentions several proteges who peaked too soon or burned out early. “Think about the champion chess player Bobby Fischer,” she is reminded.

On the other hand, it isn’t necessary to start learning how to play the piano as a child. One of her students started when he was in his 40s; in eight years he was playing Messian. Tomoko adds, “There is a big trend for international competitions among people over 35 years old. These performers are professions, real musicians, even though their day jobs are different.”

Nor is it always good to have an easy time in learning. Tomoko recalls, “I am not gifted . I was the last student in a big class when I was 12. I had to start from the ground up.” She feels, “ It is better to be in a big school and be the worst because it challenges you to do better and learn more.”

Tomoko asserts that one of the best aspects of her teaching is challenging her students to stretch themselves in playing. “Development is important, especially when you are young.” She continues, “It’s better to try a hard piece and do a B+ performance than to go for the easy A.”

Tomoko concludes: “The piano is a lifetime pursuit. It is an idea and a mind set.