Mari Fujiwara. Bach Cello Suites. Blue spec. CD Denon COCO-73121+2 . Released 2010.
Recorded between 1982 and 1984. Original recording released on vinyl and CD in 1985.
Cello used. Unknown but the artist records herself elsewhere that she plays a cello from 1697 by Joseph Guarnerius. This is from about the time of this recording.
The Cellist
Mari Fujiwara was born in Osaka Japan in 1949. She merits an entry in Margaret Campbell’s authoritative book, “The Great Cellists”. I note Fujiwara is considered to be the first female Japanese cellist to succeed as an international soloist. She was taught by Hideo Saito who himself is considered the pioneer of Western music in Japan. Apparently only taught institutionally there since 1948. Her other teachers include Fournier and Rostropovich. She has second prize at the 6th Tchaikovsky competition in 1978 under her belt.
Despite all of this pedigree, I would be surprised if any reader other than from Japan was aware of this cellist. An exception would be critic David Vernier who extolls the virtues of this recording of the Bach Cello Suites.
https://www.classicstoday.com/review/review-4198/
There exists unconscious, if not overt bias I would suggest. Internet search reveals very little information about this artist and what there is needs to be translated from Japanese including her own web site.
The Recording.
The recording I review here is a Japanese import and is in fact the first of two recordings. The second was released on Naxos in 2015 which I currently have on order from Amazon Japan! These recordings are readily available on streaming services but hard copies are a challenge!
All of this would be something of an anti climax if the performances on this recording were indifferent! Fear not! I would suggest that the playing is superb and a worthy addition to anyone’s collection.
The Music.
This is very much a mainstream interpretation with rich tone well captured on the CD I auditioned. There is plenty of detail including some breathing and fingerboard noise but not intrusive to my mind. Fujiwara’s playing is extremely lyrical with long phrases in slower movements, showing the sweetness of her tone in higher passages. In contrast, she plays with great authority and assertiveness in grander passages such as the Preludes of which the fifth is a stand out for me.
Phrasing.
Right from the start, the phrasing strikes with sense of poise, timing and coherence of the playing. I have tried to analyse what it is that is behind such an impression. I suspect it comes down to all of the above but also the spacing between phrases and momentary silences.
In many ways these are conventional performances in terms of tempo and style. However there are subtle variations in phrasing which add interest and highlight the individual interpretation. I particularly look forward to each Gigue as Fujiwara plays with great enthusiasm and rhythm. Across the board there is an impression of great refinement and precision, but mixed with tremendous musical feeling. Every dynamic change contributes to an overall sense of drive and purpose whilst providing a riveting aural experience!
Articulation.
The articulation of faster passages is an impressive part of an apparent technical prowess that very rarely seems to falter. In those faster passages Fujiwara seems to create an umbrella of sound with loads of space underneath to savour the experience.
Quieter slower moments.
For the most part I enjoy the later Allemandes which benefit from Fujiwara’s delicate touch in quieter passages. Her playing of the Sarabandes is a mixed bag however, with the fifth sounding a bit rushed and the rhythms of the fourth and sixth seeming a little over accentuated. What these movements do display to good effect, is the performer’s bow control and accurate intonation.
Something peculiar!
One extraordinary peculiarity is the repeated glissandos in the second Gavotte of the sixth Suite. I found it rather irritating! However I am inclined to gloss over that as the rest is so good!
Conclusion.
In summary, I would describe this recording as a hidden gem. Even more so considering that it comes from a time when there were far fewer releases of the Suites. I am certainly very pleased I dug hard to find a copy and hope you will also!
Charles.