I recently enjoyed a delightful Zoom chat with Fujita at his Tokyo home, and queried him about his particular affinity for Mozart.
“In 2017 I won the Clara Haskil Competition, a very important event for me.” Romanian-born Haskil was a celebrated exponent of keyboard music from the classical and early romantic eras.This advertisement has not loaded yet, but your article continues below.“Then the pandemic happened, and suddenly there was nothing, no competitions, no concerts. But I kept studying and practised every day,” he said. “Then Martin Engström offered me a chance to perform Mozart.
“K.309-311 are very different from the first six sonatas. They demonstrate development as a composer. I really wanted to play just those three sonatas for the concert. But for reasons of time management I had to add another sonata,” said Fujita. “K.333 is different. put more important music in the left hand and inner voices, and also created wonderful colour and unusual harmonies. In K.333’s third movement he puts in a cadenza. He’s clearly thinking about opera or symphonies at that time.
“Everything depends on the size of the concert hall,” said Fujita. “I’ve just finished a Mozart cycle in Japan, and every hall had a maximum of 300 to 400 seats. In Tokyo I played in the wonderful Oji Hall — only 300 people, but every small detail could be heard.
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