It is a small world when you are
sitting in a coffee shop in Tokyo and a mutual friend introduces
you to a charming Japanese woman who not only plays oboe in one
of the world's finest orchestras, but also lived in Chicago for
a length of time studying with Ray Still of the Chicago Symphony.
This remarkable person is Yoko Kojima, principal oboist
of the Nihon Hoso Kyokai - better known as the NHK.
Born in Tokyo of a musical family, Yoko Kojima began playing oboe at an early age. Obviously very talented and precocious, she completed Tokyo Geijutsu Daigaku and went directly to her position as principal oboe of the NHK. In 1970, Kojima received a scholarship to spend one year studying oboe with Ray Still in Chicago. Kojima states: "I've studied with one of the best in the world and I'm very proud of that experience." She says: "Ray Still was the best for me because he gave me the chance to express my own playing." "Everyone is searching for what is the 'perfect' oboe playing," she continues, "and Ray Still showed me how to make my own playing reflect my own personality. "
The NHK, generally regarded as one of the best of the five major professional orchestras in Tokyo, is organized along a concept similar to the BBC (British Broadcasting Corporation) Orchestra in London. The NHK orchestra has no permanent music director and, in addition to regular subscription concerts, produces numerous radio and TV broadcasts. Kojima indicates that this arrangement is actually very good. She says that because the NHK has many guest conductors, the orchestra is very flexible and is quick to adjust to the demands of various situations. Kojima feels that the NHK orchestra is perhaps oriented toward European orchestral playing rather than American orchestral playing; and points out that the NHK does observe several European orchestra traditions - particularly in string bowing - and tunes to A 442-443.
Yoko Kojima plays a Dupin (Zurich, Switzerland) oboe. "This instrument provides me with the flexibility I need," she says. "I must add," she continues, "that I don't think there is just one good make of oboe." She indicates that other makes of oboes are, perhaps, more soloistic and have a slightly more colorful sound; but the Dupin oboe provides her with the intonation and flexibility she needs for the diverse demands of the NHK orchestra.
Concerning reeds, Kojima says that sometimes she gouges her own cane and sometimes she buys gouged cane from France. She uses a somewhat long scrape, adapted from Ray Still to the particular needs of the Dupin oboe.
Yoko Kojima is also a busy teacher, listed on the faculty of Tokyo Geijutsu Daigaku and Tokyo College of Music. She explains that the system of higher education is different here in Japan. Entrance into a University is extremely difficult. The students must pass a very rigorous battery of exams in all subjects. Once accepted into a college or a university, there is little, if any, transferring from one institution to another. Thus, the initial choice of a college or university is most important.
Kojima's approach to teaching is that music is an art. She states that it is important for the student to develop along individual lines and believes that the student should adapt and modify various methods for their own use and personal expression. "Basically, I let the students make their own schedule for each semester," Kojima says. Within some general suggestions of repertory, she permits the students to choose what repertory they want to play. For specific problems of tonguing or technique, she may assign a specific etude; but the basic pedagogical approach is that music is a form of personal expression. During each semester, she presents master classes in double tonguing, orchestral studies, special techniques, etc., to complement the student's individual progress.
Tokyo - like New York, London, or Berlin - is one of the centers of the world where, during the course of the year, numerous major orchestras from all over the world are heard in performance. Yoko Kojima expresses no preference for one major orchestra over another. "When I listen to other great orchestras, such as the London Philharmonic, the Chicago Symphony, or the Berlin Philharmonic, " she says, "I am impressed at just how wonderful they are. " Enthusiastically gesturing with her hand she says: "I like them all!" Concerning a preference for conductors, however, she wrinkles her nose and shrugs her shoulders in a gesture of polite indifference. "There are many types of conductor. Some talk too much, and some do not talk enough." She continues by saying: "My favorite conductors are the ones who make beautiful music."
In the course of a year, the NHK performs most of the major orchestral repertory. Kojima states a preference for early classical music, particularly Haydn and Mozart, along with a love for Brahms and Mahler. Regarding contemporary music, she has little sympathy for gimmicks. Kojima adds that some of the current attempts at mixing traditional Japanese music with western symphony music are not very successful. She indicates that the idea of the two cultures coming together in music is interesting, but she believes the way is yet to be found. "If the right composer has the proper aesthetic sensitivity," she states, "a way can be found of blending both cultures for a better understanding of each other."
Visiting with Yoko Kojima is a delight. Her gentle manner and engaging gestures describe a person who is sensitive and sympathetic to individual expression in music. She is a petite woman with lovely brown eyes who, in a few short minutes of conversation, can convince you that you have a very good friend in Tokyo.