Runboard.com
Слава Україні!

CJKDramas.com

Discussing CJK 中日韓 Dramas Available in California


CJKDramas.com   |   Runboard       註冊 / 登録 / Register (learn about it) | Sign in (lost password?)

Page:  1  2 

 
Hiroshi66 Profile
Live feed
Blog
Friends
Miscellaneous info

Admin

Registered: 02-2004
Location: Porter Ranch, California
Posts: 13779
Quote
J-Documentary: フジコ (Fujiko Hemming - Pianist)


Note: I'll update this post as more information about this documentary becomes available. -Hiroshi



J-DOCUMENTARY: FUJIKO

Airs on Thursday, July 9th, at 9:00pm on Channel 18.2
With English Subtitles
(Following the end of Partners 1)

Hmm, I haven't been able to find a synopsis on UTB's website about this documentary yet, but they do have a promotion for it on their site. They've also aired a few commercials about it.

I think it's a one-part documentary that is going to air after Partners finishes airing. I'm presuming it is about Fujiko Hemming, a pianist who is of Japanese, Russian, and Swedish descent. I think she is going to be giving a piano recital in Santa Monica sometime in July, so maybe that's why UTB is airing this documentary.

The commercials confirmed that Fujiko will have English subtitles.

Edit - Added full name in subject line for future reference

Last edited by nchristi, 7/25/2009, 12:54 pm
6/24/2009, 2:25 pm Link to this post Send Email to Hiroshi66   Send PM to Hiroshi66 AIM
 
nchristi Profile
Live feed
Blog
Friends
Miscellaneous info

Moderator


Registered: 03-2004
Location: Hotel California
Posts: 13017
Quote
Re: J-Documentary: フジコ (Fujiko)


I've been wondering how her first name is pronounced: Fuzjko. I've never seen a "zj" combination in Japanese before. I wonder if the name is some sort of combination of her Russian/Swedish background (paternal) with Japanese (maternal).

From the commercials that have been shown for her Santa Monica performance in July, she certainly is a powerful pianist. Since the performance venue is a small concert hall, I can imagine it will be quite an experience to be right up 'close and personal' with her. The sound is magnificent there. Reminds me of George Sand (Aurore Dupin) wishing to experience Chopin's music to its fullest by lying beneath his grand piano as he played. (Some background on their relationship: George Sand/Frederick Chopin)

I see the initial performance date has been sold out and there is now a second one available. She must have a very loyal following for those 'in the know' and I wonder if it is a rare occurrence for her to make an appearance here.
6/24/2009, 3:09 pm Link to this post Send Email to nchristi   Send PM to nchristi AIM
 
Hiroshi66 Profile
Live feed
Blog
Friends
Miscellaneous info

Admin

Registered: 02-2004
Location: Porter Ranch, California
Posts: 13779
Quote
Re: J-Documentary: フジコ (Fujiko)


Nchristi, thanks for that link to the article about Chopin and George Sand! What an interesting read.

Yeah, I've never seen the "zj" combination in Japanese, either. I think you're right, maybe the way her name is spelled is an allusion to her Russian/Swedish and Japanese background. I think I've seen the "zj" combination used in some of the Slavic languages like Russian or Polish. I'm looking forward to learning more about Fuzjko's life in this upcoming documentary.

I agree, she does seem to have a loyal following here in Los Angeles. I wonder if this is the first time she's performed in Los Angeles or in the United States.

Last edited by Hiroshi66, 6/24/2009, 3:31 pm
6/24/2009, 3:31 pm Link to this post Send Email to Hiroshi66   Send PM to Hiroshi66 AIM
 
diane18 Profile
Live feed
Blog
Friends
Miscellaneous info

Member

Registered: 02-2007
Posts: 486
Quote
J-Documentary: フジコ (Fujiko)


she is a cat person! In the commercial, she is feeding her cats. I wonder how many? I'm a cat person too! Meow!
7/5/2009, 6:41 pm Link to this post Send Email to diane18   Send PM to diane18
 
Hiroshi66 Profile
Live feed
Blog
Friends
Miscellaneous info

Admin

Registered: 02-2004
Location: Porter Ranch, California
Posts: 13779
Quote
Re: J-Documentary: フジコ (Fujiko)


class blockquote diane18 wrote:

she is a cat person! In the commercial, she is feeding her cats. I wonder how many? I'm a cat person too! Meow!
Yeah! Actually, even though UTB has been airing this commercial for quite a few weeks now, I didn't notice that scene with Fuzjko feeding her cats in the commercial until a couple of days ago! It's that very first scene we see in the commercial. Hopefully, we'll see more of her cats during the documentary on Thursday!
7/6/2009, 8:18 am Link to this post Send Email to Hiroshi66   Send PM to Hiroshi66 AIM
 
Hiroshi66 Profile
Live feed
Blog
Friends
Miscellaneous info

Admin

Registered: 02-2004
Location: Porter Ranch, California
Posts: 13779
Quote
Re: J-Documentary: フジコ (Fujiko)


I really enjoyed this very interesting documentary on Fuzjko Hemming and her life. I had never heard of her before UTB started airing commercials about her upcoming concert, so I enjoyed watching this program and learning about her life. They mentioned that Fuzjko just returned to Japan 4 years ago after living abroad in various countries for 30 years. She returned when her mother passed away, and is now living in her mother's former home -- on the 3rd floor of a music studio. She lives with her 9 cats -- and some of the older cats used to live abroad with Fuzjko and returned to Japan with her.

Very sad that Fujzko's career was cut short years before after a bout of high fever caused her to go deaf for 2 months. Many of her performances and recitals were canceled. Eventually, she regained her hearing (but I think they mentioned that she only has 40% hearing remaining in one ear), but she had lost a lot of her popularity. Now, after returning to Japan, she has started to appear in concerts and recitals again. It wasn't mentioned in the documentary, but she's also going to be performing here in Southern California on July the 24th and 26th. Sunday the 26th was the original date, but all the tickets sold out, so now they added an extra date (Friday the 24th). She must be gaining lots of popularity since she's returned to the stage.

I also appreciated that they discussed other areas in which Fuzjko is talented -- such as fashion and art. It was great to see clips of her performances. Her mother loved Beethoven, but Fuzjko seems famous for playing Liszt, a Hungarian composer who composed pieces that are challenging to play. I think Fuzjko was dubbed "The pianist born to play Liszt".

I thought Fuzjko might be living here in Los Angeles now (or perhaps in Germany or Sweden), but it looks like she is living in Tokyo and is only here for her two upcoming concerts at the end of July. I hope they are a success, and that Fuzjko returns here to perform in the future!
7/11/2009, 11:11 am Link to this post Send Email to Hiroshi66   Send PM to Hiroshi66 AIM
 
nchristi Profile
Live feed
Blog
Friends
Miscellaneous info

Moderator


Registered: 03-2004
Location: Hotel California
Posts: 13017
Quote
Re: J-Documentary: フジコ (Fujiko)


The documentary was indeed interesting. I would love to hear her play in person. Unfortunately, the added concert is also sold out as of this morning! I wonder if she is on a US tour, or only this Santa Monica appearance. Off to the web to investigate!
7/11/2009, 11:47 am Link to this post Send Email to nchristi   Send PM to nchristi AIM
 
nchristi Profile
Live feed
Blog
Friends
Miscellaneous info

Moderator


Registered: 03-2004
Location: Hotel California
Posts: 13017
Quote
Re: J-Documentary: フジコ (Fujiko)


I couldn't find any further information on Hemming appearing elsewhere in the US. I started checking around various Japanese sites and, though Webmaster had zero tickets available, I was able to get one through the Domo Music Group! YES!!

I'm so disappointed that I couldn't get two tickets, but even if I have to go alone, this is a once in a lifetime event. Now it will just be my luck that they will add yet a third concert!

EDIT: I just read that Fuzjko Hemming will be appearing at the Lincoln Center in NY in September.

Here's a link to the DOMO Music Group. They have an interesting write-up on her and the sensational re-birth of her career these past few years.


Last edited by nchristi, 7/11/2009, 1:19 pm
7/11/2009, 12:49 pm Link to this post Send Email to nchristi   Send PM to nchristi AIM
 
Hiroshi66 Profile
Live feed
Blog
Friends
Miscellaneous info

Admin

Registered: 02-2004
Location: Porter Ranch, California
Posts: 13779
Quote
Re: J-Documentary: フジコ (Fujiko)


class blockquote nchristi wrote:

I couldn't find any further information on Hemming appearing elsewhere in the US. I started checking around various Japanese sites and, though Webmaster had zero tickets available, I was able to get one through the Domo Music Group! YES!!
Yay! I'm glad you were able to get a ticket to Fujiko's concert, Nchristi! It's great watching her play the piano on TV or on videos online, but I'm sure it'll be such a different and wonderful experience seeing her perform live on stage. Hope you enjoy the concert! emoticon

By the way, thanks for the links to the DOMO Music Group page! That's great that Fujiko will be continuing her performances in the United States. I hope she'll perform here in Los Angeles again in the future!

I found a YouTube video of Fujiko playing her signature piece: Liszt's La Campanella. I really enjoy the way she plays this particular piece.

Ingrid Fuzjko Hemming - La Campanella
7/12/2009, 10:43 am Link to this post Send Email to Hiroshi66   Send PM to Hiroshi66 AIM
 
nchristi Profile
Live feed
Blog
Friends
Miscellaneous info

Moderator


Registered: 03-2004
Location: Hotel California
Posts: 13017
Quote
Re: J-Documentary: フジコ (Fujiko Hemming - Pianist)


I anxiously arrived at the Broad Stage in Santa Monica, the year-old, 499-seat venue on the Santa Monica College satellite campus. Since it is so small, parking and walking distances are equally small scale. The outside grounds are lovely, with benches lining the grass and tree area.

Having purchased my ticket on-line, I went to the "will call" window to pick it up, only to learn there was some sort of huge glitch with all the "will call" tickets that were ordered via the internet. They had no records, no verification for these ticket sales, thus we were asked to step aside while they tried to remedy their dilemna. Fortunately, I had a printed copy of my on-line ticket purchase and confirmation number and handed it over to them.

In the meantime, a Japanese man with a bullhorn addressed the long queue of those holding tickets—announcements in Japanese only—and they began filing into the building. Having noted that none of the "will call" patrons had been okayed after about 15-minutes of waiting, I asked the man in charge of tickets, "What is the problem? Am I wasting my time waiting?" I had already accepted that maybe this was going to be a bust and I didn‛t feel like waiting around any longer if there wasn‛t much hope of gaining entrance to the concert. The poor guy very nervously said they were working on it and would I please wait just a little while longer. "Yes," I agreed—but by now I was no longer counting on seeing Ms. Hemming.

More time passed, everyone who was ticketed was already inside the lobby and here was a bunch of "will call" people outside twiddling our thumbs! The manager made a decision then, handed back my printed web purchase/confirmation document and told me to go ahead and enter by showing my printout to the ticket man at the door. He looked at the paper, looked at me, looked back at the paper. I guess he must have then noticed that I had paid a premium price for a ticket in the first 4 rows and he ushered me in.

In looking at the ‛herd‛ in the lobby (doors to auditorium not yet opened), I saw that a large majority was packed up near the left-side entry door (there are only left and right side entry doors—no center aisle). That made sense since most people want to see the pianist and her hands, so they seek the choice seats on the left-hand side. I decided to enter through the right side where the crowd was minimal. I learned later that they had announced (in Japanese, of course), that there was not going to be assigned seating, only admittance to the section in which the tickets had been purchased—sit where you want within that section. The mad race was on!

But not through the right side entry door. There was hardly anyone. I approached an attendant and asked where I should sit, since this was my first time at this venue. He carefully looked at my printout and said "Go to the front and sit anywhere you like in those first few rows." As people were climbing over one another on the left half of the auditorium, I walked down to the front row and sat just slightly to the right of center. Perfect!

The only thing I could not see were her hands, which was of little consequence to me—I‛m not interested in watching and learning her fingering technique. My position was perfect for hearing and feeling the sounds of the Steinway Concert Grand and for watching Fujiko Hemming‛s facial expressions and body language. I got a close-up look at her pedal work, her clothing, her hair—all the fine details of this fascinating, eccentric artist.

The concert was delayed for five minutes, the PA announcer explaining they were "waiting for some guests to arrive." The audience burst into laughter in disbelief! (Or was it Hemming herself who was late?! It was a Friday night and her ‛people‛ may not have been familiar with Friday night traffic, especially on the Westside.)

Taking advantage of the time, I did a quick Sherlock Holmes scan. There were less than a handful of non-Japanese in the audience—in fact, I only saw two ‛Anglos‛. Hemming‛s road manager was a really good-looking Yonsama type with wonderful, shoulder length flowing hair. (I laughed to myself thinking of our CJK world of J- and K-Hunks—what was going on in my head would be utterly unimaginable to this audience.) There was a "lady-in-waiting type" attendant for Ms. Hemming, dressed impeccably in a white with flowers kimono, sitting towards the left in the front row. (No other kimono in the house.) She could have stepped out of Dondo Hare. Perfect hair, perfect kimono, perfect manners.

Then a Japanese woman in her late 30s-early 40s came and sat down beside me. She was from Tokyo and had recently moved to LA with her two children. She had many questions for me about this area, where she could find thus-and-so, and so on. I was surprised she was so outgoing, as I had tried to engage an older woman on my right but it was like pulling teeth, though she spoke English as though she‛s lived here for many years, and was always smiling and laughing. I quickly gave up since I did not want to cross that line of offending Japanese reserve. But Kukiko was different. She was well-mannered and beautifully dressed, yet very friendly. She turned out to be a god-send.

The house lights dimmed, a bright spotlight on the empty piano bench. Ms. Fuzjko Hemming walked on stage to a roaring round of applause.

Image
(This is what she wore.)

She opened with Clair De Lune by Debussy. When I first saw that as the opener on the program, I was a little disappointed. But from the first notes, it was the most magnificent version of Clair De Lune I have ever heard! Truly amazing. What depth of feeling and power come through Ms. Hemming. It was stunning. She then played Debussy‛s Jardin Sous La Pluie ("Estampes"). She stopped, sat there a few seconds, then arose and walked off the stage.

But she couldn‛t find the door—you know how well-camouflaged they can be—and finally slipped through the space between the sound panels and the wall at the front of the stage. Since I was in the front row, I could see through that space myself at the absolute panic going on behind stage! It was a good 10-minutes until the house lights over the first couple rows were brought up. My guess, this was to lessen the bright contrast effect of one of the spotlights on her.

Ms. Hemming returned to resounding cheers and applause. She addressed the audience in Japanese, an apology of sorts, I suppose. As she was speaking she looked at the front row and her eyes fell upon me. Then she said in English, "Thank you for coming to see me." Those were her only words in English that evening and I appreciated it greatly. She sat down to resume her concert. But whatever was bothering her had not been remedied and she once again left the stage.

This time, it was a longer delay. Technicians scurried about, looking up at individual lights. A fellow with a control box of some sort came out and sat on her piano bench, working on various light levels. A piano tuner came out and checked the upper register of keys on the piano. It was obvious there was a bright reflection blinding her, distracting her to the point of not feeling confident about her ability to perform at her highest level. And something was off with the piano.

When all of this was resolved to the best of the technicians‛ abilities, Hemming reappeared and in Japanese again addressed the audience, which laughed and applauded heartily. Kukiko translated the remarks in my ear that there was ‛fighting going on back stage over the lighting and that the piano was not good.‛ Hemming sat down to play again, looked up at the offending light, scrunched her face into a disapproving expression, shook it off and began to play.

The rest of the program was selections from Beethoven (5), Chopin (5), Bach (2), and Liszt (5). She concluded with her signature piece, La Campanella, which she seemed to play more perfectly than what we heard on the 1999 UTB documentary on her life.

I recall in the documentary that she said she enjoys people when they are ‛falling apart.‛ The emotion with which she can play as an older person is more important to her now than technical perfection and that is why she feels okay with making minor mistakes in her performances. There were a few of those on Friday evening. Several times towards the end of the concert, she would drop one or the other of her hands in her lap. I wondered if it were a matter of fatigue. She is quite elderly and doing an hour and a half concert must be especially tiring at her advanced age.

At the end of La Campanella, the audience burst into a spontaneous standing ovation lasting several minutes (if not longer). She returned to the stage and was visibly touched by the audience response. She played an encore of two short pieces. Applause brought her back to the side stage, where she bowed and blew kisses to the audience. A most memorable occasion.

During intermission, Kukiko had bought six of Fjiko‛s CDs in the lobby. After the concert, she insisted that she wanted to give me one of them. I kept refusing, or that I must pay her, but she insisted that she wanted to give it to me as a gift. I accepted one. When I got home and played it, I saw that it is Hemming‛s "La Campanella" CD, from her 1999 concert in Tokyo! I must say that as technically superior as it sounds, I much prefer what I heard in this 2009 concert. Perhaps it is because I rarely get to sit so close to the piano itself during a concert. I kept thinking of George Sand beneath Frederick Chopin‛s piano as he played. It felt that powerful being so close. What a glorious evening!

As for the logistical stage problems, all I can say is Ms. Hemming's road crew didn't do their job. Stage and sound checks are their responsibility way in advance and then another pre-performance check before the audience comes in. On the other hand, I'm glad we experienced all that. There was something more intimate and bonding in watching Ms. Hemming handle the problem, her integrity to her music, and her respect for and chat with the audience. She is such a fascinating woman—one I would love to hang out and talk with for a while.

The details of her clothing were just as we saw in the documentary. Little idiosyncratic touches here and there... feathers in her hair, patterned fish-net stockings, things tied around her neck and falling down on her shoulder, making her stop and tie the darn thing up behind her neck once. LOL! As I sat so close I was fascinated by those stockings. During intermission, she had changed into a white accented with green and orange kimono type cape and at one point, her wraparound skirt sort of slowly unwrapped on one side and slide off—exposing her right leg from toe to upper thigh. As I'm looking at those striped and patterned stockings, I notice she has cut the foot and rolled them up to her ankles! On her feet, little black cloth shoes—sort of Kung Fu meets Mary Jane.

One last thought. It was amazing to think that here is an exceptional artist who has lost a great portion of her hearing. One forgets that fact. I kept noticing, though, being so close to the piano, that more often than not she would release the foot pedal before the note was finished sounding. The note would be very, very near to finish, but not quite. A sliver off. I wondered at that. Perhaps she cannot hear at that very low level, thus ends a tiny bit prematurely. It is of no consequence and I'm not making a criticism. I was privileged to see and hear the concert of my lifetime. (My second concert of a lifetime was seeing Van Cliburn.)


For those interested, Domo Music Group currently has a special on their Fuzjko Hemming Box Set (5 CDs). Regular price $64.90, reduced to $49.98 (23% off).
7/27/2009, 6:10 pm Link to this post Send Email to nchristi   Send PM to nchristi AIM
 


Reply with smilies

Page:  1  2 





You are not logged in (login)