15th June 2019
A 2 page colour spread article on Chopin 24 Etudes Concert & Masterclass in Sendai (Apr 2019) has appeared (with photos!) on July issue of Japanese Ongaku Gendai Magazine!
12th June 2019
The Complete 24 Chopin Etudes Recital
Megumi Fujita (piano)
Complete 24 Etudes Recital
Piano Trio New!Mozart
Fantasia in C minor, K.475 New!Mozart
New!Smetana Piano Trio
New!Mozart Fantasia in C minor, K.475
Video from concerts in Japan
concerts in Sweden
Along with Vocalise, 5 Preludes (nos 1, 2, 6, 23, 24) and the Cello Sonata, we played the beginning of the 2nd Piano Concerto and the famous 18th Variation from Var on the theme by Paganini with Honoka's cello accompaniment!
The final part of the concert featured the Fujita sisters Arisa, Honoka and Megumi, who together make up the Fujita Piano Trio.
Initially, Megumi gave a solo performance of three of Chopin’s most popular Etudes (Black Keys, Thirds and Revolutionary) in which she balanced power and richness of sound with a wonderful delicacy of touch.
by her sisters, the trio performed Mendelssohn’s Piano Trio in c minor,
entirely from memory, which made for an intensely musical and impressively
concentrated performance, and thrilling close to a most enjoyable concert
and a wonderful musical birthday tribute to Neil Chaffey.
The greatest piano studies of all time.
As Frédéric Chopin was also a pianist, he studied the piano extensively. Unlike his friend Liszt, he, as a concert pianist, disliked large venues and big audiences. He preferred performing at intimate surroundings.One will recognize such differences when listening to the newly released CD (Intim Musik label) of Chopin's etudes op.10 and 25 performed by Megumi Fujita, widely known around the world as a chamber musician in a piano trio with her two sisters.
What I mean is, that these pieces are usually a showcase for how technically brilliant, strong, fast and skilled a young pianists can execute the Chopin's etudes. Fujita has totally different attitude to this, as shown from the very first Etude, op. 10 No. 1, in C major.
She has all the technique required of a modern pianist to play at any speed, but she refrains from getting praise this way. With wonderful touch and remarkably controlled dynamics, and perfect mix of the classical and romanticism born out of Chopin's heart (Chopin loved Mozart’s music!), she takes the tempo at a slightly slower pace, with tenderness and butterfly's touch, thus drawing the music away from the earth shattering fast-paced virtuosi.
With the risk of misunderstanding,
I would like to call Fujita's interpretation feminine in the very best
meaning of that word.I cannot pick "best tracks" in this collection.
Everything is so good. A personal musical favourite among them is Etude
Op.25 No.1 in A flat major. Do listen to the CD in the record shop –
and I am sure you will love Megumi Fujita's way of playing and her interpretation
20th March 2016
'The Fujita Piano Trio have played for Cockermouth Music Society before, but never to greater effect than in their recent concert in the town.
This can only be described as a stunning performance by three Japanese sisters who play from memory which in itself is a feat, but it comes completely naturally from these three great musicians. The empathy which flows between them and their innate musicianship is woven together to produce a performance of the highest standard. Megumi Fujita is a formidable pianist whose power is quite extraordinary, but she can also play softly and with great sensitivity.
The Haydn Trio in C sparkled and sang-joy personified in music. Then followed a memorable performance of Ravel’s great A minor Trio, with some tremendous moments of power contrasted with moving beauty. Arisa Fujita’s violin sang out with great clarity whenever needed, beautifully complemented by Honoka Fujita on the cello and always backed by Megumi’s incredible piano playing. A rarely heard but very fine Beethoven Trio Op 70, No 2 in E flat completed the evening, with a deeply satisfying performance in every sense from a world class trio who we were so lucky to hear at the height of their powers.'
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Plymouth Chamber Music has been bringing most of the top international artists to the city for a long time. Whilst the occasional artist has possibly been the equal of the Fujita Piano Trio in terms of technique alone, there is one thing which simply puts this all-sister ensemble in an unassailable class of its own: the whole programme is played from memory!
It's almost impossible to appreciate what this means in performance. The solo pianist who suffers a memory lapse can usually regroup, and for the concerto soloist, the orchestral players at least have their own parts to follow. But for a trio the potential for disaster is virtually unimaginable.
However, this in itself creates a unique listening experience. There is no barrier which the use of music, with its constantly disruptive page-turning, otherwise imparts, and moreover there is always that necessary sense of risk which ensures that every performance has that special added frisson.
Arisa, Honoka and Megumi are, of course, absolutely superb solo artists in their own right, and psychologists would no doubt be able to account for this uncanny display of sororal memory. But their magnificent performance of this taxing programme of trios by Mendelssohn, Takemitsu, Shostakovich and Schubert, was second to none, and must surely rank as one of the most memorable musical experiences heard in the city for many years to come.
5 out of 5 by P-G Bergfors of Goteborgsposten (Swedish daily newspaper)
"Such riches, such a gift! The two Schubert Piano Trios for the first time on the same maxed out CD, in a luminous, well balanced recording. And the way these three Japanese sisters are playing! Their skillful phrasing, their sensitivity to the Schubert intimacies, their natural choice of tempi, their obvious dexterities in the musical details without loosing any sense of spontaneity (which I suppose comes from the fact that they play concerts and record from memory, i.e. without sheet music in front of them)
The feel of this recording is as it was a live recording by Schubert in two of his most blissful chamber music works. The interpretation of the slow movements is better than any recording I can remember. And their frisky playing in the concluding movements of both trios is uplifting."
Bergfors (Goteborgsposten 18/12 2007)
Opinion Nov/Dec 2006 Max Harrison