Praising Easter through Music

When Tomoko was in college, she played the organ for Catholic masses. Easter is the most important event in Catholicism, and music has been an important part of Mass throughout the ages, including at Easter. Here are some representive samples of classical pieces for Easter.

Probably the most famous classical piece played at Easter is Handel's Messiah, particularly the “Hallelujah” chorus. The entire composition, which traces the highlights of Jesus's life, took Handel 14 years to finalize, in 1741.

Over a hundred years earlier, in the 1630s, Italian composer Gregorio Allegri set the Latin text of Psalm 51 to music, Miserere mei, Deus, for two choirs. Pope Urban VIII first used it for Holy Week services in the Sistine Chapel.

Bach's first major composition for Easter was St. John Passion, written in 1724 for that year's Good Friday Vespers service. Bach used John 18 and 19's account of Christ's crucifixion as the basis for his masterpiece.

St. Matthew Passion, also written by Johann Sebastian Bach, is often played at Easter because it is the story of Christ's suffering and death. It was performed only three times in the 18^th century, and not performed again until almost a hundred years later.

One more Bach piece, his Easter Oratorio, was first conceived as a cantata for Easter Sunday in 1725.

Even though Haydn was an Austrian composer, his orchestral work The Seven Last Words of Christ (which Haydn also approved in piano version) was written for the 1786 Good Friday service at Oratoria de la Santa Cueva in Spain.

Mahler's 1894 Symphony No. 2, Resurrection, evokes the beauty of that event. At the same time, this piece has both its light and dark moments.

Rimsky-Korsakov's 1888 Russian Easter Festival Overture evokes a grand Easter morning service.

While it is often associated with the American South, the song “Amazing Grace” dates back to 1779, written by John Newton: a clergyman in the Church of England. Poet William Cowper collaborated with him on this hymn.

The more contemporary hymn “How Great Thou Art,” often sung at Easter, was actually based on a traditional Swedish folk tune.

Japanese Candles

 

Candles are a part of several religions practiced in Japan. As Tomoko grew up in Japan, she experienced Protestant uses of candles in religious activities at her high school: Ferris Academy in Yokohama; she accompanied the student choir at these observences. Then during her college musical study Tomoko played the organ at the local Catholic church, which feature votive candles.

Japan has a long history of candles outside of Christianity, starting during the Nara Period in the 8^th century. These first candles were imported from China, and were very expensive. Those candles were molded in paper tubes, used rolled rice paper for wick, and dipped in wax made from whale fish or honey.

During the Muramachi Period (1336-1573) Japanese people started making their own candles, called warosuku. These candles continue to be made by hand by wrapping washi Japanese and then dried rush leaves around a thin bamboo stick. Next melted wax from sumac or haze trees is layered around the covered stick, which results in a cream colored candle. To finish the candle, the bamboo stick is replaced by a candle wick. These candle are part of Buddhist ceremonies; red candles are used for celebratory events such as births, marriages, and graduations.

Another Japanese candle-making technique uses rice. When rice is milled, rice bran wax can be extracted. This kind of wax is harder than paraffin so it burns longer. As with warosuku candles, the wax is painstakingly hand-coated layer by layer.

Candles also add a warm glow to musical performances. Nowadays candlelight concerts of classical music are held in churches in several countries, including Japan.

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European Influence on Japanese Music

Tomoko’s favorite piano music continues to be European classical compositions. That taste was started early in her life as she heard European classical music on the radio and the organ pieces that her brother played. These habits reflected the earlier Japanese interests in Western   (generally European) music.

Traditional Japanese musical tonality differed from its Western counterparts; it uses a Phyrgian scale of E-F-A-B-C-E instead of C-D-F-G-A. The Phyrgian scale is also used in modern blues minor keys. The oldest forms of Japanese music include Buddhist chant and orchestral court music. Traditional folk music included religious songs and songs for gatherings, work songs, and children’s songs. Typical instruments were stringed instruments, drums, flutes, bells. The first piano wasn’t heard until the opening of Japan, but by 1875 the Japanese were manufacturing their own pianos and other Western musical instruments.

Emperor Mutsuhito, who adopted the title Meiji – or Enlightened Rule – in 1867, pushed for modernization with an eye to the West to avoid becoming dominated by other countries. In 1868, the government issued the Charter Oath: a five-article document outlining the principles of the Meiji administration. It declared that “knowledge shall be sought throughout the world.” Meiji curiosity about Western culture included absorbing foreign classical and religious music. On the bureaucratic side, the Meiji government created the Music Study Committee, which encouraged Western music. They wanted Japanese composers to write in the Western style, and the committee required the German model of music instruction for all students. The committee also led to the founding of the Tokyo National University of Fine Arts and Music, which Tomoko attended. 

Combining Western and Japanese music could be challenging though. For instance, Christian religious tended to be Western based, which was sometimes hard for Japanese to intonate. And when missionaries tried to translate their hymns into Japanese, they found it hard to match the rhythm to Japanese text. 

The tension between Western and Japanese music and their currents continued to flow through Tomoko’s families. During World War II at school Tomoko’s class sang nationalistic music with Japanese lyrics set to European music. Tomoko’s mother played and sang Christian songs, and Tomoko’s brother became a composer in the more Japanese mode. 

Nevertheless, Tomoko brings her Japanese sensibility as she performs music from around the world.

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.

Living Music Religiously

Religious music has inspired Tomoko throughout her life. 

Tomoko’s mother was an active Protestant, and loved church music. Tomoko head her mother sing “Jesus loves me” while cleaning house. Tomoko recalls: “Instead of ‘Our Father,’ my religious memories are musical."

Tomoko attended a Dutch Reformed Protestant supported secondary school. There the students, all girls, performed religious music. Tomoko both sang and accompanied these performances. One of the highlights of that time for Tomoko was learning the Hallelujah chorus. 

Religious music also played a significant role in Tomoko’s college life. Behind the college was a cultural center. One of the buildings was the Tokyo Cathedral, which was Dominican. The church’s Fr. Henri taught Gregorian chant; Tomoko and her classmates would go to the church to hear and learn this music genre. Tomoko also played the organ for the church. Close to the time that she graduated, Tomoko became a Catholic, and was baptized at the time. Furthermore, one of the Dominican priests helped her leave Japan after graduation.

When Tomoko arrived in the U.S., religious music again influenced her life. Soon after she began her studies at the Conservatory, Tomoko heard a charming melody floating outside a church door one Sunday morning. Intrigued by the music, Tomoko entered, and was warmly greeted. Parishioners asked, “Would you like to come to lunch?” Later they socialized at a member’s home, where one of the guests mentioned, “My daughter wants so much to have music lessons.” That desire led to Tomoko’s teaching piano in the community. 

As Tomoko has traveled abroad, she has seen how religious music has brought people together, especially as much of religious music is universal.

“In France, concerts are often given in churches.” Tomoko remembers listening to a noon concert in London noon. Brown bag concerts were held at that venue, regardless of the weather. “I went to Old St. Mary Church, and heard a former assistant professor perform with Russians. I hadn’t seen him in 40 years when I introduced himself at the event.” Tomoko thought that the noon concert was a fantastic idea; “People were passing by, and listened in, just 10 minutes away from their problems.”

Religious experiences are often the most profound when shared. Religious music facilitates that communion, Tomoko believes. “That emotion is experienced jointly by the audience, so they have a feeling of belonging. By sharing music, people feel connected and less alone.”

At the end of the day, Tomoko reflects, “God is guiding me.” One could also say that religious music guides her as well.

Lizst and his legacy

One of Tomoko’s favorite piano composers is Lizst.  His works enable the performer to showcase technical virtuosity and strong emotional interpretation.

Lizst’s life is certainly reflective in his writing. 

At age seven Lizst started piano lessons from his father, started composing at age eight, and started public performances at age nine. Lizst was a wildly popular performer because of his technical brilliance and intense delivery, which his compositions could showcase. His enthralled audiences led to Lizstomania – and enough income that he could gave away much of his profits to charity. 

Thus, because Lizst was first a performer, his compositions reflect natural hand motions, and are more natural to play. That characteristic enabled Lizst to create works that could maximize kinesthetic ability. Additionally, Lizst was inspired by the violinist Paganin’s technique, and wanted to be as excellent as him, so much so that he wrote a series of etudes based on Paganini’s own violin’s technically challenging compositions. As a result, his compositions are often used by piano teachers to improve students’ technical skills. In fact, Tomoko remarks: “Sometimes a child – or the parent – wants to choose a masterful piece of music, such as a Liszt étude. They want the status of playing such a composition, but it might not be appropriatea at their stage of development. “Their motivation may be to show off,” says Tomoko, “but they will be miserable.” Instead, Tomoko asks the student to try it for themselves. “Then they recognize for themselves what is really involved.” If they really want to put in the effort, Tomoko tells them, “I will prepare this piece for you.” Tomoko explains each part, and then they agree on doing the hard work together. 

Tomoko also likes Lizst for his philosophy and emotional power. Tomoko relates to his spiritual side. “Listen to Liszt’s compositions. His philosophy is so beautiful. He was a very religious man.” While Lizst is not known for religious compositions, he contemplated joining the Catholic clergy in his twenties (after a romantic break-up) and  in late life did join a monastery. 

Lizst’s compositions also capture human emotional life: adapting folk dances and translating human expression, including violence, into  his music. Tomoko asserts: “Lizst is great for pianists in their twenties because they don’t have to think so much as express lots of action.”

Tomoko herself has masterfully performed Lizst’s works over the years. In her 1964 television interview with UCLA Opera Theater director Herbert Jan Popper, Tomoko She Hungarian Rhapsody A minor #11 by Liszt on the show. Almost fifty years later, in 2012, on the show “The Piano Matters with David Dubal,” Tomoko played Liszt’s "Au Lac de Wallenstadt." 

Just as Lizst was inspired by his experiences, Tomoko and her students find inspiration in Lizst for their own lives.