Updated 17/11/20

What's new!


17th Nov 2020

Two Fujita Afternoon Concerts featuring Megumi and Honoka on 7th Dec 2020 and 28th Jan 2021 in Tokyo!

More details (in Japanese) here: https://megumifujita.com/afternoon


17th Nov 2020

Two exciting Piano Recitals by Megumi coming up next Spring in Japan!
With Live online streaming!

27th March 2021 (Tokyo) and 4th April 2021 (Osaka)

More details here: https://megumifujita.com/


2nd Jan 2020

Happy New Year!!!
A review just out from Musical Opinion (Jan-March 2020 issue) of Megumi's Chopin 24 Etudes at St John’s Smith Square on October 27th 2019!




New!Smetana Piano Trio


New!Mozart Fantasia in C minor, K.475


New!Mozart Twelve Variations
on "Ah vous dirai-je, Maman"


Video from Megumi's
Chopin 24 Etudes Concert



Video from concerts in Japan


Video from concerts in Sweden


14th Dec 2019

Review has just come out on Japanese leading music magazine 'Ongaku Gendai' January 2020 (translated from original Japanese)

Megumi Fujita Recital in London

Since the controversial Brexit referendum, won by a tiny margin, the remainers are still going strong and the future of the UK has been hanging in a balance for three years.

The leavers and the remainers continues their battle right outside the Houses of Parliament. Once you turn a corner in front of the Houses of Parliament, the hustle and bustle suddenly becomes silent, and the mighty white St John’s Smith Square appears. This is the venue for Megumi Fujita’s recital.

The church was built around 300 years ago in a Baroque style, but was completely destroyed in the Second World War. It was rebuilt 30 years ago while keeping the original exterior, and was reborn as one of the main London concert halls. With its notable acoustics, the hall is also used for BBC music programmes.

Megumi Fujita gave a Complete Chopin Etudes recital here on 27th October.

She sat at the piano with a quiet smile and strong inner determination, and commenced the first Etude in C major like a roaring great cascading waterfall. It drew us in one continuous streak, without an interval, right through to the last Etude ‘Ocean’ of scrolling continuous arpeggio with both hands, she expressed Chopin’s multitude of characters by being sweet, sometimes severe, and refreshing at times, she treated us to ‘Megumi’s World’ incorporated with her adoration to Chopin.

Tasmin Little, the famous British violinist and Megumi’s former school friend from the Menuhin school was in the audience, and was keenly listening to the performance.

Yoko Kaku


27th July 2019

The Complete 24 Chopin Etudes Recital
Megumi Fujita (piano)
Chopin Complete 24 Etudes Recital
12 Etudes Op.10, 12 Etudes Op.25

Sunday 27th October 2019 at 3pm
St John's Smith Square, London

More details here!:
https://www.sjss.org.uk/events/megumi-fujita-piano-recital https://fujitatrio.awardspace.co.uk/chopinsjss2019.htm



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!

English Translation:



“Ongaku Gendai” Magazine July,2019

Chopin by Megumi Fujita

Complete 24 Chopin Etude Recital
and ‘Chopin Etudes for everyone’ Masterclass
(at Kawai Sendai, Concert Salon “Verde” on 21st April, 2019)

Megumi Fujita was born in New Zealand and spent most of her life in various countries because her father was a diplomat. She started learning the piano from her mother at the age of five and entered the piano world. She studied under Louis Philip Kentner (1905-1987), Vlado Perlemuter (1904-2002) at the Yehudi Menuhin School in the United Kingdom, and Irina Zaritskaya (1939-2001) as a post-graduate student at Tel Aviv University in Israel.

And when Zaritskaya moved to the Royal College of Music in the United Kingdom, Fujita continued her post-graduate studies at the Royal College of Music to follow her professor Zaritskaya. Madame Zaritskaya was also a very famous "Chopinist'' who was known in the piano world. She took second place after Maurizio Pollini (1942-) in the sixth Chopin competition in Warsaw in 1960 and was recognized for her exceptional talent. Zaritskaya went on to continue to higher musical studies at Moscow Conservatory in Russia.

In other words Fujita received extensive guidance until Zaritskaya's death. For example Kentner learnt from Zoltan Kodaly (1882-1967) who was a composer, philosopher, folklorist and linguist. While Perlemuter learned from Maurice Ravel (1875-1937) and from Alfred Cortot (1877-1962 ) and he was active worldwide. So it can be said that Fujita's piano genealogy reaches the most important pianists in world music history.

Fujita was active overseas with her sisters ; Honoka on cello and Arisa on violin known as the "Fujita sisters". Recently Fujita is a soloist focusing on concerts and teaching piano in Japan. It is because of her pure heart that she wants to convey to the Japanese piano performers her musical arts and heritage from her professors.

Fujita's recent CD from Intim Musik Sweden is all Chopin études. This is an album that reproduces the sound of Chopin inherited from Madame Zaritskaya. I was deeply impressed when I listened to her live performance, Fujita was particular about Chopin's ideal fingering techniques, and in her performance I could hear the trained independence of ten fingers. She plays Chopin's etudes as a work of art in which Chopin incorporate artistic creativity, skill and music.

Etude Op. 10-6 in E flat minor in the style of nocturnal combines the precise touch and volume of the left -hand part further enhancing the artistry of this etude. "The ascending arpeggio" in No.11 in E flat major is undisturbed, and even when playing the left and right hands, her "tempo rubato" would even enchant Clara Schumann, who had criticized Chopin's performance. Op. 25-10 "the octave jumping'' in B minor was very refreshing with careful consideration not to make any unwanted noise with the pedal Etude No. 11 "Etude of the tree wilt' ' and No. 12 are exactly "pictures of sound ". The wind that blows the leaves off the trees and the scene of people raising their collars and pining for their warm homes. The final Etude, Op. 25-12 "Ocean Etude" increases the heart at of the listener in the parallel arpeggio of both hands.

Throughout her whole concert Fujita's awareness is that the sound is not muddy at all by the control of the damper pedal like that which Pollini inherited from legendary pianist Michelangeli. In a similar environment to Argerich whose father was a diplomat, Fujita's performance level of Chopin was outstanding compared to other pianists.

Finally, I want to say that Megumi Fujita will hold an all Chopin Etude concert at St. John's Smith Square Hall in London on 27th of October this autumn. It is my hope that many Japanese will go to the United Kingdom to hear the performance. As was Kawai concert salon "Verde" fair day on April 21 in Sendai Japan.

Yours Sincerely,

Dr. Tsunenori Nitobe


23rd Feb 2019

An 2 page spread article on Chopin 24 Etudes Concert & Masterclass (Dec, 2018) has appeared (with photos!) on March issue of Japanese Ongaku Gendai Magazine!


18th Nov 2018

Megumi's interview on her upcoming Chopin Etudes Concert/Masterclasses in Tokyo and Osaka has been published on leading Japanese music magazines Music Gendai and Chopin!

16th September 2017
Honoka and Megumi gave a lecture recital on Rachmaninoff at Kyoto's Horikawa Music High School on 1st September.

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!


7th September 2017
From the programme of Megumi Fujita's Chopin Complete 24 Etudes Recital today at Kawai Omotesando Pause Hall, Tokyo:

My journey to Chopin Etudes

Thank you for coming to hear my Chopin Etudes tonight.

I was one of those typical ‘model student’ in my younger years, as I can immediately play whatever my teachers’ instructed. When I found out the possibility to study with Irina Zaritzkaya at Tel Aviv University, with great difficulty, I somehow managed to get my parents - who were more inclined towards me studying in the US - to let me study in what was a war torn Israel.
I think I was getting a twice weekly lessons then. I noticed my playing improving magically at an amazing pace. What I could only imagine - the breathtaking moments, tearful sorrow, deep emerging uncontainable anger – I was capable to expressing it with my playing. The lessons for me then, were like a dream from another world.

I was mimicking everything my teacher said with perfection. Really with amazing detail. I wrote down everything through to a minute detail into my music. I participated in many competitions, so I played the same pieces to her over and over, and wrote in even more detail. Every twice weekly lessons were spent intensively, so one can imagine how much I have improved. However, deep within me, I was insecure, and lacked confidence. I was studiously trying to copy everything my teacher said, but never even thought about applying the idea in other pieces. I did have a level of uncertainty, but as long as I can have lessons with my teacher, wherever she is, I will be set forever.

Irina Zaritskaya died suddenly in 2001, when I was in my mid–thirties.

I was abruptly left alone to learn new pieces from scratch. I was fine performing music that I was taught, but new pieces are different. I can do what was printed, but emotions did not synchronise with what I was playing. Even if I literally prayed while performing passages that needed to sound like a prayer, the sound never came out as I wished.

Something was missing from what is definitely a beautiful music.

I had a lot of concerts scheduled at the time, so I went to my late teacher’s daughter Alexandra Andrievsky, who was of similar age to me, in London, and when she moved to Canada, I went to Canada to have lessons. Alexandra Andrievsky, printed at the end of my biography is my late teacher, Irina Zaritskaya’s daughter. I had by then, completely given up making music by myself.

In one of the lessons in Canada, I asked ‘how shall I play this phrase?’. Alexandra went silent for a moment and then told me what to do. Now that I think back, perhaps she didn’t go silent to think, but were listening out for a doorbell or a phone, but to me, a person desperate for the answer, the silence felt like a lightening bolt. ‘Should I think deeper!!?’

At that moment I decided to to use my head and search for answers.

After that, I stopped going for lessons, and limited listening to other performers in concerts and CDs to a bare minimum. I have only listened to a handful of recordings of the pieces I am performing for the past decades.

I have finally started to think deeper and deeper in my own mind.

At first, the new pieces which I learned by myself lacked something. I read widely, and went to museums. I tried pouring all my emotions, literally to the point of crying, but the results were not quite there. But I really wanted to find the answers by myself.

After few years a revelation presented itself: Pianistic tone colour varies by the weight transmitted from the arm to the keyboard. Simple, but this was the most important discovery.

Next revelation came when I found that there are perfect sound for final chords. It was as surprising as a baby finding out that mummy has a name too!

After that, small discoveries followed almost everyday, and eventually mounted enough that audiences began to notice and compliment. I am still discovering something new everyday. I have finally gained confidence to make my own unique performance.

What I hope you are about to hear is a true representation of the music I hear in my mind.

Even though this is named ‘Etude’, it was composed by Chopin, a composer of many heart rendering music. I hope to recreate what I think Chopin himself imagined.

I realise this may differ from all the wonderful recordings from the past, and some of you will find it disconcerting. My performance is what I envisage Chopin felt and I have recorded it on a CD and will perform to you tonight.

I will be most delighted if you could enjoy with me my performance of what I think Chopin himself imagined.

Megumi Fujita


2nd August 2017
Review from our St John's Smith Square, London concert on 23rd July:

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.

Joined 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.

(Frances Wilson, The Cross-eyed Pianist)

2nd June 2017
A review of Megumi's Chopin 24 Etudes CD:

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 of Chopin.

Recording quality is of the highest standard as well as the photos, the booklet and the elegant notes for the music as usual from Intim Musik, is pleasure to the eye and contributes to the overall experience in the most favourable way.

P-G Bergfors
Translated from original Swedish


20th March 2016
A review of our concert on 8th March at Cockermouth, Cumbria is here.

'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.'

23rd May 2015
Our interview on Tchaikovsky Piano Trio (along with other Trios and experts)
has been printed on June issue of the American 'Strings' Magazine!

Strings Magazine is available to purchase online (worldwide) from:

7th October 2014
Review of our concert at South Holland Centre (Spalding, Lincs) on Spalding Guardian!

29th July 2014
Some photos from our concert at Tokyo Wangan Rehabilitation Hospital!

22nd April 2014
Our new Mendelssohn Piano Trios CDs has arrived!

19th March 2014
Here is some photos from Megumi and Honoka's concert at Tokyo Wangan Rehabilitation Hospital on 22nd Feb:

9th January 2014
Happy New Year 2014
Welcome to our new look website!

27th August 2013
Our spring Swedish tour video below!

26th October 2011
Some reviews from our recent concerts has come out.
Trio concert in Rochdale, Megumi's Horsham recital and a blog in the Guardian Newspaper from our Newcastle Trio concert.

25th April 2011
We have donated our CD sales profit (and donations from the organizers) of JPY 33,240 from our concert in Sweden to the Japan Disaster fund. Thank you Sweden!

26th March 2011
Megumi will be performing two Rachmaninov Preludes
for the Japan Crisis Appeal concert on Thursday 14th April (7:30pm) at the St John's Smith Square.

4th Novembeer 2010
Megumi's second disc is out now!
Listen at Classiconline

22nd December 2008
New Dvorak 'Dumky' Piano Trio/Smetana Piano Trio CD is coming out soon!

5th March 2008
Uploaded photos from the Kyoto Barocksaal prize giving ceremony on Photos page!

7th February 2008
THE HERALD (Plymouth)

Fujita Piano Trio
Sherwell Centre, Plymouth 02/02/08

Magical sisters play from memory

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.


27th January 2008
Our 6th CD (4th Trio CD) Two Schubert Piano Trios has come out!

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."

P-G. Bergfors (Goteborgsposten 18/12 2007)

25th January 2008
Fujita Piano Trio has won the Aoyama Barocksaal Prize 2007!
Details (in Japanese) here: Kyoto Aoyama Memorial Hall

22nd May 2007
Ravel Trio 1st & 2nd movement live from the 19th May concert is on Podcast from Dartmouth Festival Website!

3rd February 2007
Uploaded photos from Hyogo Performing Arts Centre (Japan) concert in Nov 2006 on our Photos page!

4th January 2007

Happy New Year!

Our latest CD of Shostakovich Trios No.1 & 2 and Ravel Trio is coming out very soon.

Details on our CD page!

2nd December 2006
Megumi's review of her Wigmore Hall recital came out!

"The most striking feature of Megumi Fujita's playing in the Wigmore Hall on 1 October was the sheer beauty of sound she drew from the piano, always brilliantly singing yet subtly varied according to which masterpiece she performed....this was among the best recitals I've heard this year to mark the 150th Anniversary of Schumann's death"

Musical Opinion Nov/Dec 2006 Max Harrison

28th March 2006
Megumi's review of her Rachmaninov CD came out!
"Ms Fujita plays it exquisitely...Fujita has a perceptive ear for the poetic virtues of this music as well as having all the virtuosity needed to capture the stormy atmosphere in some of the preludes. "
Goteborg Posten 2006

31st October 2005
All three of us have been featured in the Musical Opinion Magazine!
Megumi (May/June 2005), Arisa (July/Aug 2005), Honoka (Sept/Oct 2005)

2th October 2005
Megumi's review of the June Wigmore Hall recital came out!
"...solid technique and beautiful touch. The most magical aspect of her playing was the endless variety and nuance of colour which she searched for and extracted out of her instrument....bewitching tonal palette..." (Musical Opinion Sept/Oct 2005)

8th April 2005
Arisa's new CD, Ysaye Six Sonatas for Solo Violin is out on Swedish label, Intim Musik!

1st February 2004
Found the review of our Beethoven Triple concerto concert (Oct '03 at St John's) in Musical Opinion magazine!

8th September 2003
Arisa and Megumi's Wigmore review is out! Check reviews page!
"...remarkably impressive recital..."

26th August 2003
We have updated the CD page. Now you can sample some tracks from our latest Tchaikovsky / Rubinstein CD!

28th July 2003
Our Tchiakovsky CD is OUT!

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