My readers will be aware that I am a stickler for context and presentation in classical concerts. Musical excellence as a rule, can only take one so far along the road to inclusive, entertaining events, particularly in solo or ensemble situations. However, a partial exception will be made for award-winning, international recording pianist, Mao Fujita, due to his sheer vitality at the keyboard.
Striking a remarkable figure, verging on the frail, Fujita stepped onto stage, blinking beneath the lights. A smile and a little bow, and it was down to a pre-intermission diet of Mozart, Mozart, and more Mozart. Beginning with the Fantasia in D minor K397, Fujita immediately demonstrated a fluency and lightness of touch supremely suited to Mozart’s intricate flights of fancy. By culminating with the passions of the Sonata in C minor K457, a more operatic tone was set, the pianist rather merry when rousing this contained musical tempest.
The post-intermission would continue this grandeur, diving into Franz Liszt’s Sonata in B minor, Fujita sweeping the audience into an orchestral experience imbued with undisclosed narrative. This full expression of the composer’s creative personality found an apt translator in Fujita’s hands. He invests his playing with huge enthusiasm and brio, but has ready to access to a happy serenity. His phrasing is consistently pleasing, and possessed of inherent good humour.
Indeed, though I am aware Fujita’s is about as good as my Japanese (almost conversational), the pianist produces such a friendly, impassioned vibe, I cannot but think a few personal observations would place a cherry on the proverbial baked good.
However, musically, Fujita came armed with a box of delights, and the closing Sonata was no exception. Liszt’s masterpiece can feel a little of a hodge-podge even in the most technically adept piant’s hands. Without sacrifice of accuracy, Fujita’s interpretation emphasises a storytelling structure, a high adventure sojourning through despair, and grandeur. Thunderous applause was the least that Mao Fujita deserved when the final notes rang out. What a fine, final chapter in an Edinburgh International Festival overflowing with world class pianists!
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