http://www.trumpetherald.com/forum/viewtopic.php?t=92628 (The Mysterious Nameless Hornist)

ADDENDUM: Thanks to my many friends who have pointed out that the “Mysterious Nameless Hornist” is the very famous horn virtuoso Frank Lloyd; not a surprise considering the level of virtuosity displayed on this web page.

Over the last years, since I started writing articles for TubaNews, Pipers Magazine and my own blogs, I’ve talked many times about the amazing growth of the tuba both in virtuosity and repertoire. A similar growth has taken place, with the leadership of Christen Limburg, with the trombone. However, the trumpet and horn community quite simply have not evolved in that same way. Why? Both trumpet and horn are blessed with abundant repertoire and a long tradition of style. This is especially true of horn; every tuba player has encountered a little jealousy over the extraordinary repertoire of the horn, which they frequently borrow and perform as their own solo repertoire. Tubists and trombonists in the mean time have spent the passed several decades expanding their technique to accommodate the challenges of the new repertoire.

On April 29, 2007 I wrote an Article titled “Exquisite” about a CD of the same name made by Hollywood studio trumpet player Malcolm McNab, which featured Mr. McNab in a stunning performance of the Concerto in D Major for Violin and Orchestra, Op. 35 by Tchaikovsky. Above and beyond the fact that this performance both technically and musically lives up to the name of the album, it raised the bar to a higher level, it presents a new level of playing that future generations will accept as normal.

Because of the extraordinary horn repertoire of truly great music, horn players, in their quests to master and preserve the tradition of this abundant repertoire, have not been motivated to move very far beyond their enviable comfort zone.

Perhaps this example of virtuoso horn playing that I encountered on U Tube yesterday http://www.trumpetherald.com/forum/viewtopic.php?t=92628 is a significant step in rising that proverbial bar a few notches for the horn. It’s sensational, enjoy.

November 26, 2009, Tokyo

Vintage '38

Although the following is over five years old it still seems appropriate to today. It also serves as a good prelude for some of the more personal essays I intend to write in the near future. RB

Vintage ’38

Every country one encounters seems to be inordinately bureaucratic, especially to foreigners. Having been through the process of immigration in several countries I feel safe in saying that Switzerland may be the most bureaucratic. Foreigners muse over the possibility that this constant badgering of residents holding something other than Swiss passports is representative of a latent but chronic form of xenophobia. We all sense this, sometimes we speak about it but as far as I know we’ve never taken action. Perhaps it’s just not all that bad!

I had been living in Lausanne for five years before the foreign police and the Conservatoire de Lausanne discovered I had not reported my residence; they couldn’t believe it; I must have been the first to get away with such a thing. The school had to use their lawyer to rush through a “B permit” for me so both they and I would be legal. The Conservatoire informed me that I would be held responsible for both the legal fees and the fine. That’s the last I ever heard about it, perhaps the school paid it but if so it would have been quite out of character.

Now, six years later, I have been informed that I will be given a “C permit”, which is like having Swiss citizenship in every way but the vote; this is ironic because as of one year ago I was deemed to old to continue my work in Switzerland because I was 65. I feel sure this is another kind of bureaucratic oversight but in any case I will accept the “C permit”.

When I went to the direction of the Conservatoire de Lausanne and protested this compulsory retirement they went into shock, it seemed to me that I was the first person in Swiss history to complain! “Don’t you want to rest now, don’t you want to take walks by the lake?” My visceral reaction to those questions was to reach across the desk, grab the director by the collar and say "No, I'm not tired and I have better things to do than to take walks around your lake!" I didn’t, but I was having a new concept of what was meant by “small country!”

We did find a compromise, however, in that they agreed to let me continue teaching until all the students, who were all foreign (a problem for the school) and who had come there specifically to study with me, had graduated; this would fiscally take me to August 2005, I would be 67. Actually this situation couldn’t have come at a better time, my work in Manchester at the Royal Northern College of Music was increasing, they like me and they want me there full time for as long as I am able and they also want as many foreigners as possible; not to mention the fact that the RNCM is a vastly superior music school compared to Lausanne. In the school year 2004-2005 I will simultaneously be nearly full time at both Manchester and Lausanne and I look forward to organizing it.

Retirement remains unthinkable to me and other than the physical demands of being a tuba soloist, I have given little thought to the aging process. However, the foreign police have required me to get an up to date photograph for the C permit document, which I did. It was in one of those automatic photograph kiosks that are found in post offices and railroad stations; I adjusted the height, smiled and saw in the screen in front of me an older man, a little less hair nearly completely gray. I would guess from the picture that I was about 65, which is what I am!

Well, so what! I rarely see myself in the mirror, I shave in the shower, I brush my hair without my glasses and my barber seems quite amused when I ask him to turn the barber chair facing the small place (square) at the corner of rue de Petit Chene and rue de Midi, so I can watch the people instead of seeing my hair being cut.

Of course, this aging process doesn’t come as a great surprise, the statistic has always been clear to me but now that I’ve seen the C permit photo the statistic has become a little clearer. I noticed even a few years ago though, that when I would walk into a restaurant or a pub with a group of my students that the eyes of the younger women inside would go to the students, not me; I didn’t like that, I wasn’t used to it. Growth hormones, cosmetic surgery and hair dye are not my thing so I guess the only thing to do is get used to it; I’m still working on it!

Seeking a female companion at my age can be frustrating and no matter how much I try and comprehend the realities, I always seem to be most attracted to women in their late twenties ---- over and over again! And indeed I have several relationships with women in that age group, all paternal and avuncular. If I keep clear that’s what it is, these are valuable and wonderful friendships. I’m grateful my work brings me into constant contact with that age group!

Women in their thirties are equally attractive but they are just enough older to begin to fear the arrival of their own aging process and a deep friendship with a man my age scares them.

In the forties, if a woman is still single or has become single, she is often soured and embittered by something in her history and with the inevitability of her biological changes; a friendship is frequently volatile.

By fifty most women are set in their ways, they can be lovely companions but, frankly, they scare me!

I recently renewed an old friendship with a girlfriend from my conservatory days, who had just had her sixtieth birthday. She was equally successful as I and very opinionated; when I was asked a question, she would answer for me ---- always, and in public places she would apply new coats of lipstick every 10 minutes. I can’t attribute these things to her age, she’s the only woman in that age group I have had a friendship with, but let’s just say she seemed to have changed through the 40 years since I had seen her and the attraction was no longer there!

Quickly, I must point out that I’m quite aware the 40 years time has also changed me ---- a little!

I’m curious why 65 has come to signify the age of retirement, who determined 65 was the age to quit work, why and when? Was it religion? Maybe it was political or maybe it was so long ago that the cultures simply realized most people would be dead by that age so it was mostly a hypothetical number. And what of the economics, what of the baby boomers who are all very close to that mysterious age now and in a few years will become eligible for the social pension payments form already over stressed systems? It will be curious to see when this time arrives if suddenly the retirement age is changed. If so, what will the result be regarding unemployment. The bottom line is clear to me, this planet is over populated, and that problem needs to be alleviated.

But how? Perhaps it’s AIDS or something even worse will cut back world population the necessary 75% or 80% needed, maybe a real all out world war III would be a good thing, or perhaps cannibalism could be the answer; I know from my years in Italy how easy anything goes down with a little garlic and a little extra virgin olive oil. Or consider this; maybe the North American Indians were right; When a person has nothing more to offer, it’s time to take him or her to the top of a mountain, make a comfortable place, say goodbye and leave him or her there to catch the next spaceship to the happy hunting ground. Maybe they had it right hundreds of years ago. Anyway, something has to be done!

Personally, I hope I can continue teaching for the next 35 years, 100 seems like a rounder number than 65. Equally, I hope when I start to deteriorate I will recognize it or, if not, that some trusted friend would tell me.

I like very much the vintage wine analogy; no one knows the cellar life of a wine for sure, some reach maturity quickly and some become better and better.

In 1979 I gave a masterclass in Moudon, Switzerland. One of the students (now the tubist of l’Orchest de la Swiss Romand in Geneva) was from the very small town of Feshy. After the last day he invited all the class to his farm in the country; there were 12 or 15 of us. Tables were set up in the cross roads of the village. We ate and drank and it was clearly an exceptional evening. Soon we began to play tuba ensemble music in this isolated rural crossroads. Across the street was another party and the host of that party was also a musician. (Everyone in that part of Switzerland had some connection with the band community).

Soon the two parties converged and very soon the padrone of the party across the street invited us to visit his wine cellar. Shortly, it became clear that this gentleman, whom I was very sure he was about my age, was not only an inhabitant of Feshy but a principal wine merchant of the region, perhaps the principle wine merchant of the region and to this day I can’t remember whether he had twenty 40,000 liter casks of wine or forty 20,000 liter casks. In any case he had more wine than I had ever encountered, and he quickly began to encourage us to sample all of it! Soon he suggested, instead of the 1979 vintage, that we sample the 1978, and then the 77. It was an education and a religious experience. We were moving backward through time and I was amazed how different the wine was form year to year. We went through the 70’s, into the sixties when he began asking birth dates from my students. Upon hearing the birth years he would disappear for a short period and reappear with a bottle of vintage Fechy from that year. He went through the whole class and finally asked if there was anybody else and looked at me with a fraternal smile.

“Well, my birth date is 1938” I said.

“Oh, that’s my birth date too” he said.

He left for a long time and we all began to think the party had come to an end when he arrived back with a crusty old bottle with a big 38 rubber stamped on it like the rubber stamps we used in grammar school when I was a boy. He opened it, poured it and it was both a great wine and a religious experience. I hope to find him again someday and remember that evening together.

There was another time I tasted a vintage from 1938. For my 60th birthday present, my good friend and manager Emily Harris gave me a bottle of 1938 port. It was magnificent.

It’s difficult to realistically assess ones own aging process but I’m convinced vintage 38 was a great year.

Fiesole, Italy, March 2004

2010, a Year of Competitions

A long time ago, during my first year with the Rochester Philharmonic and my freshman year at the Eastman School of music, a poster appeared on the Eastman bulletin board announcing a trumpet competition in Geneva, Switzerland. How this ambitious young player wished there would be a tuba competition. One year later at the same time of year on the same bulletin board an announcement for an international horn competition in Geneva was posted, and the following year there arrived an announcement for a trombone competition, which, by now I had learned was the prestigious Geneva International Competition. The logic of what would appear the following year kept me excited, I waited the whole year and when I saw that same Geneva Competition poster on the bulletin board, I ran to see what the repertoire for the tuba competition would be; it was an announcement for another trumpet competition!

The explanation is easy; in most of the world the tuba wasn’t considered a solo instrument at that time. I’ve subsequently addressed the incredible growth of our instrument many times, now it’s time to address the present and the abundance of the copious competitions available for tuba.

Today we have the Markneukirchen, Germany Competition, the International Competition of the City of Porcia, Italy, the Geneva International Music Competition, the ITEC (International Tuba and Euphonium Congress) competition, the Brno (Check Republic) International Festival Competition, the Jeju (Korea) International Brass Competition and the Guebweller (France) International Competition, just to mention a few of the many competitions that are available today.

These and many others are serious competitions that offer substantial cash rewards but perhaps more importantly, they expose the winners to international acclaim that can give inertia to a very successful career. There was a period when some of the frequent competition winners, I.e., Carol Jantsch and Roland Szentpali, considered the several cash prizes they won as part of their principal income.

There is, however, much more to these competitions than just the prestige and the cash prizes. These competitions are actually a musical version of the Olympics, the greatest athletes, or in our case musicians and specifically tubists, meet and compete to see who is the best. Competition is a good thing; it gives us the motivation to be our best. Speaking personally, I cannot imagine what my level of accomplishment would have been without the more that fifty years influence of my deep friendship and competition with Tommy Johnson. We talked about it many times and agreed that our long association motivated us to reach far higher levels than we would have without the other’s influence.

Like Olympic competitions, these “Olympics for musicians” these “world championships” that are held throughout the globe, have a deep effect on the way in which we view the growth of our art. Like the Olympics, we begin to view ourselves from the specter of how we envision world-class excellence, and as simple as it sounds, we get better.

And like the Olympics, not everybody will take home a gold metal when the competitions are over, like the Olympics, some will go home disappointed. Everyone, however, will return home enriched and with a greater view of the real state of the art, our art.

2010 is an abundant year of many such competitions; they will be available to whoever is interested in Europe, North America and Asia as a participant or a listener.

Good luck and enjoy.

Tokyo, Japan, October 19, 2009

Is it a Woman's Brass World?

Women have been active in the brass instrument world since the time I first started playing (a long time ago). But the frequency that they appear today definitely shows an enormous increase. Two days ago it was my pleasure to listen to exactly 50 freshman brass students play their exams at the Musashino Academia Musicae in Tokyo. Very early in the day it became apparent that a huge majority of these students were women; in fact, it was exactly 75% women and it was true of all the instruments; trumpet, horn, trombone, basstrombone, euphonium and tuba, plus in one of these instrument groups it was abundantly clear that nine women of the twelve players were hugely superior to the three men. (Perhaps that’s another discussion.)

Why this huge shift in the man woman ratio? Here in Japan many believe that because of the intense competitive circumstances of music performance as a profession, men are simply more attracted to venture into different fields where employment offers much greater chances for a secure income. Women, however, at least Japanese women, seem to show contentment moving into music related fields such as teaching. Many fine Japanese women brass players are happily living in their home towns teaching children; this is a good thing, it starts young players out at a very high level and therefore influences the rapidly growing level of brass playing throughout the whole country, which is strikingly impressive.

It’s interesting to point out that a similar situation existed in the middle of the last century in the United States. Many men considered a career in one of the military bands as a poor alternative to successfully playing professionally as a civilian, now a position in one of these bands is considered prestigious and secure.

In that same period of the last century women brass players correctly saw themselves as a minority group and as a minority group many organizations began to appear with the intension of correcting the prejudice that clearly existed toward women. Many, most, symphony orchestras throughout the world simply didn’t allow women as well as the military bands and throughout general musical work place. Most notable among these organizations was the International Woman’s Brass Congress, which met once every year and impressively demonstrated that women were by no means less good brass players than men.

Similarly, many extremely good women’s brass groups began to immerge into the musical world and many of them, taking advantage of their femininity, cleverly and successfully marketed themselves; this is not a bad thing, as well as creating a market, they proved again that women are at least equal to men. Although today the situation for woman brass players has largely corrected itself the International Woman’s Brass Congress is still visible and active and enjoys a high level of respect from the entire world brass community.

But there is another aspect to this discourse; there are differences between women and men. That beast that we homo sapiens once were certainly still exists in our DNA and in our basic characters. The males of the species were the hunters and warriors while the females were the domestics, the bearers of children and the nurturers of the communities; those differences still live within us. Personally speaking, as a young player I could definitely feel a difference in the atmosphere when a woman or women began to appear in the brass section and for the most part it was a clearly positive difference, and that same difference is still evident for me when even one woman is in a class.

This difference is more difficult to explain. Music encompasses many polarities, aggressive and passive, happy and sad, visceral and intellectual, and of course, masculine and feminine; it seems to me those polarities are more easily realized when the collective music making is made up of both genders.

I consider myself a clear thinking modern man with no gender prejudices, our musical community is a better place when it is made up of both men and women, but as a small codetta to this article, I have to admit to one flaw in my social evolution; I found it very difficult to feel at ease when my orchestra had a female conductor. It was a new thing then, and I left orchestra life before it became popular; I’m sure, will, I hope, I would have adjusted. I am completely sure that the modern symphony musician will have to be comfortable with women conductors.

September 18, 2009, Tokyo, Japan.

A Photo of Vaughn Williams and Me

One of my most valued possessions was a photograph taken in 1954 of me and Dr. Ralph Vaughan Williams at a reception at the University of California at Los Angeles (UCLA) after a lecture he had just given.

Moving to a new location is difficult whether it’s a mile away or 10,000 miles away and packing up all one’s belongings and determining where they should go is dramatic; which pile to throwaway, store, giveaway or take? Mistakes are always made. I left 13 boxes of stuff I couldn’t throw away in my sister’s garage in Los Angeles in 1989 when I left for Europe; after thirteen years she asked if I would please come and get them. I had a student that lived in LA pack them up in a crate, call the movers and send them to me in Lausanne, Switzerland where they sat, still unpacked for another five years. When my good friends Todd and Rose came to help me pack for the move to Japan, I was embarrassed when after opening the boxes that had been closed for 17 years, I felt I couldn’t part with their contents!

Not only were we packing for my move to Japan, we were looking through all my possessions in the world for my cherished photograph of Vaughan Williams and me.

I was fifteen and a half, I had read about the tuba concerto in Time magazine and had tried everything to get a copy of it. I even wrote a letter to the Library of Congress and received a letter that read something like this:

Dear Roger Bobo,

We have no record of a Concerto for Tuba by Ralph Vaughan Williams and you can be sure that if a composer of the stature of Ralph Vaughan Williams had written a tuba concerto we would know about it.

Good luck in your musical studies.

Library of Congress, Music Department

I heard about his lecture at UCLA, went to it and crashed the reception afterward to meet him. He was a very nice and kind man, he was also completely deaf; Beethoven could not have been deafer! During the lecture he would play musical examples and he had to have somebody tell him when the music had stopped; well almost completely deaf, as his wife, Ursula served as his ears. She was a wonderful woman with a piercing sonic laser beam voice that was able to penetrate his poor hearing.

I waited my turn in the reception line and when I introduced myself and spoke about the tuba concerto Ursula Vaughan Williams translated. “RALPH, THIS YOUNG MAN IS A TUBIST AND HE WOULD LIKE TO KNOW HOW TO GET A COPY OF THE CONCERTO”. Of course everyone in the room was looking by then. I was no longer the low profile boy who crashed the reception. Dr. Vaughan Williams put his arm around my shoulder and told me that the music was being edited at the time and as soon as it was finished he would have the Oxford University Press send me the first copy. While he was talking to me Mrs. Vaughan Williams took a picture of us. I gave them my address and went home and waited.

About a month later I received a copy of the photograph Ursula Vaughan Williams had taken and a note from her saying that they hadn’t forgotten about me and that they expected the edited version to be ready soon. I framed the photo, hung it in my room and waited for the music; it took more than half a year before it came. It arrived rolled up in a tube and when I opened it, “Sent At The Request of Dr. Vaughan Williams”, was printed on the cover. Within minutes after receiving the music it was on my stand and I was trying to play it. It was high! The fact is that I essentially learned how to play the tuba by that piece and little did I know that I would perform that concerto more that 70 times during my career. One of those performances was with the London Philharmonia in 1964 with Joseph Horowitz conducting, it was a good performance, the reviews were very good and best of all Ursula Vaughan Williams was at the performance; seeing her there was a wonderful moment.

Todd, Rose and I spent the better part of a week looking for that picture; while packing for the move to Japan we went through every page of every book, every piece of music and everything looking for it. I know I put it someplace special so that I would never lose it, but I don’t remember where. Or I gave it to someone to keep it for me but I don’t remember who. Very sadly, I think it’s gone forever, however, if ever it miraculously appears you can be sure it will become very visible very quickly.

Lausanne, December 4, 2005

Roger Bannister and the Four Minute Mile

Although this article was first published in June 1004 I feel it’s message is just as applicable to today. Enjoy

Roger

The following letter was received by email on June 27, 2004 in Tokyo, Japan.


Dear Mr. Bobo,

If you get this, this is the tuba player from North Carolina named Kory Faison. I'm just writing to tell you that my journey is about to begin. I told my brother that I was going to be the best tuba player in the world, hands down, but he doesn't believe me. I'll be auditioning for 5 music schools my senior year in high school, but I'm going to take the time now until then to find and perfect my solos. Have you ever heard of ''Dream of a Witches' Sabbath''? Well, if you choose to read this, I've finally proven that I'm one of the best here in North Carolina, but now it's time to prove it to the world. If you're still around in about 10 years, I will be the best tuba in the world, hopefully and I hope that you'll be proud to see that a small town boy has achieved the highest level of success. So, I hope we will meet, eventually.

Thoughtfully,

Kory Faison

Thank you for your letter Kory.

It's strange to have received your letter in my email inbox the very day I planned on starting this essay.

I sincerely hope that you will realize your tuba playing goals, that we will meet someday and that I will still be around. I remember very clearly a letter I wrote to William Bell a very long time ago, when I was in my early teens, which was much the same as your letter to me is today. But I wonder if you know who William Bell was? William Bell was the daddy, well, let's change that to granddaddy, or is it greatgranddaddy of all American tubists. You see, the generations of tubists are not the same as regular generations, by my observations through the 54 years of my tuba awareness; a tuba generation is about every ten years, and as each of these ten-year tuba generations passes into the next I am absolutely amazed at how the level of playing and musicianship improves.

About the same time that I wrote that letter to William Bell, it might have been 1950, I was quite interested in sports, particularly swimming as a competitor and track and field as a spectator; it was a great thrill for me to see world records fall and to see the track and swimming times getting faster and faster. One of my heroes in that period was the Australian mile runner Roger Bannister; he was the man whom the world thought would break the seemingly unachievable goal of the 'four-minute mile'. The world watched as Roger Bannister trained and prepared his strategy for his record breaking run; finely the news came that he had done it. It was a milestone (pun unintended) in track history. Today a four-minute mile is still a very good time but there are hundreds of college and even high school runners that can do it.

When I was a young man, the composer William Kraft, wrote a very fine and special piece for me called Encounters #2; it was considered extremely difficult at that time, and I had heard it said that I was the only person who could play it. If that was true it was only true for a short time; today you can frequently hear it played by high school and college players. I enjoy very much watching this happen.

But, Kory, I'm troubled by one thing; how far can it go? How fast will it be possible for a man to run a mile, will we ever see a limit? And in our tuba community will we continue to excel at the same unbelievable rate that we've seen so far? Of course, I want to believe we can but when we look at the evolution of more traditional instruments like the violin, for example, we don't see the continuing remarkable growth that is presently visible in the tuba. We see generation after generation of remarkable violinists, but we do not see the expansion of the technical capacities any more. Rather we see their ability to express their musicality, their musical soul, and their musical personality. Today, when we listen to the international competitions for tuba we begin to hear the same thing, the same growing ability to project a musical atmosphere. Everybody in these competitions has an extraordinary technique; it's the music they make that makes them winners!

Your goal to become the world's greatest tubist is a noble one, but there are a few things you should know as you begin this quest. First, please keep in mind that there are other young men and women your age that have the same goal. It's very much like the Olympics, not every athlete can win a gold medal. However, the performance of these athletes is enhanced by the energy they receive from their competitors; don't forget that.

There are three pieces of advice I would like to offer as you set off on this tuba quest:

        Become part of the extraordinary tuba community; read the magazines and books, join the associations, attend every masterclass and symposium that you can so that you will know what's happening in the tuba world, and listen; listen to every CD, recital and concert possible. Be aware of every aspect of this tuba world that you are entering.

        Remember that this tuba community is only a small part of the much bigger and richer musical community; look beyond the tuba, look far beyond the tuba world.

        And, be your own teacher. I'm sure you have a great teacher but he or she is your second most important teacher; you are number one! It is fun to think about the things you want in a teacher; let me start your list for you: Good musician, intelligence, kind, wise, patience, perseverance, and please don't forget a good sense of humor. Use the learning tools you have: metronome, tuner, and I hope you have and use a minidisk so you can play something and instantly hear it back. We hear things differently when we hear ourselves without the horn in our hands!


Just one more thing; the experience you'll have in pursuing your quest for the next ten years will probably be more important in your life than achieving your goal of becoming the greatest tubist. Enjoy this time.

So Kory, I wish you luck in this journey, and I look forward to that meeting in ten years.

I'll be around...

Tokyo, June 30, 2004

E Lesson Logistics

The organization of e lessons has turned out to be more difficult than I originally imagined; I have encountered misunderstandings regarding time zone differences, sound quality problems and a high percentages of cancelations, all seemingly for legitimate reasons. However, even with all these problems I believe the time for successful e lessons, music lessons, has come and that it will become a normal and workable medium. I would like to try once more to organize a schedule of these lessons.

For those interested I propose three steps:

1.        An interview between the prospective student and me via Skype, to get to know each other and evaluate our compatibility.

2.        A trial lesson to hear the potential student, and to find the optimum sound quality.

3.        And to create a meeting time for the first lesson.

My lesson fee here in Japan is $150 per lesson, I plan on initially charging $100 per e lesson, which would be paid through PayPal.

Anyone interested in setting up an interview please contact me a bomaestro@gmail.com
Please note the time differences and calculate a mutually convenient meeting time:
North America;
Eastern daylight time is 13 hours behind Japan time.
Central daylight 14 hours
Mountain daylight time 15 hours
Pacific daylight time 16 hours
Europe:
British daylight time 7 hours
Central European daylight time 6 hours
Ease European daylight time 5 hours

For other countries please calculate the time difference.

I look forward to hearing from you and setting up a time to talk.

Roger Bobo, Tokyo