Mari Fujiwara. Naxos Japan.NYCC-27275-6 Released 2014 Japan only.
Recorded over 8 days between 2011-2013.
Cello used Joseph Guarneri 1697. Venue of recording was The Musashino Civic Cultural Recital Hall.
Introduction.
This is the second recording by Fujiwara of the Bach Cello Suites with almost 30 years separating the two. Unusually, the producer and recording team were apparently the same! The producer, Yoshiharu Kawaguchi writes an insightful section of the booklet which fortunately is in English as well as Japanese. This is also the first time that I have gone straight from a review of one recording to another by the same artist. Thus, there is a stronger feeling for what is similar and dissimilar.
The Recording.
Given the same cellist, same cello and same producer, it is not surprising that the recording acoustic is very similar. The sound is very clean, there is clearly close microphone placement with breathing and fingerboard sounds evident. I also note quite strong lingering sustain of certain harmonics particularly from D and G strings, which can be heard for a while in the background even while there is ongoing playing. That’s not particularly distracting.
Many of the attractive features of Fujiwara’s playing are carried on in this second recording, namely wonderful phrasing, hugely refined tone and a sense that every note is considered. This is all held together with a great sense of rhythm, and articulation particularly in brisker movements.
A change of style.
What is different is the change from full bodied tone and sustained lines to a much lighter airy sound with much more space between notes. This is almost taken to a point where many would question its appropriateness. It is very evident in the Sarabandes and the slower Allemandes. In fact this is commented on by the musicologist Ryuichi Higuchi who has also contributes to the booklet. He writes a section on the Bach cello suites and Fujiwara’s intepretation. He is even more blunt than myself by saying “ she will not hesitate to cut short the notes”!
In this way the performer has moved from a romantic mainstream first recording to something closer to historically informed playing but still a long way from the likes of Wispelwey and Watkin.
Other differences.
For me what is most striking in comparing the two recordings is that the confident but sensitive, almost ebullient 35 year old has become the considered, wise 65 year old. However, I sense a certain loss of confidence in the second recording with a tentative deferential feel to the overall sound. There is not quite the same sense of purpose and coherence. That left me a little saddened and I hope it does not reflect reality for the artist.
Conclusion.
In summary, this is a worthy recording, but if I had to chose one it would be the first, for the enthusiasm and musicality. In this recording, the Gigues are still the stand out and great news! The glissandos in the sixth Suite second Gavotte are no more! Much better is the way she plays the chorded quavers before the semiquaver passages in the Gigue of the sixth Suite. It sounds very nifty and is different from any other performers rendition that I have heard.
Charles.