Noteworthy

Born in Tokyo and now based in Berlin, pianist Mao Fujita has quickly become one of the most distinctive musical voices of his generation. A Clara Haskil Piano Competition First Prize winner and Tchaikovsky Competition Silver Medalist, he is celebrated for his clarity of sound, natural lyricism, and deep respect for the score. This season, he continues a remarkable rise with major débuts across North America and Europe—including his first appearance with the Toronto Symphony Orchestra.

Between performances, he reflects on gratitude, inspiration, and the simple experiences that shape his artistry.

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Rice is the main food in Japan, and we are taught to “eat every grain” because farmers grow it with such care. I think music works the same way. Every note a composer writes has meaning, and I try to value each one.

My personal mantra? Never forget to be grateful.

Some musical moments stay with you forever. Hearing Wagner’s Tristan und Isolde at the Bayreuth Festival was a shock—such massive energy. And the first time I heard Pletnev’s pianissimo sound, I was astonished. I had never experienced a sound so sensitive. Maybe that is why Flowers for Algernon is the book that changed my life. It opened my heart to these kinds of fragile, intimate details.

Daily life gives me just as much inspiration as great performances. Moving to Germany in 2022 was my first time living alone, and everything became new—planning meals, shopping at the supermarket, preparing dinner. Even waking up to the sound of the nearby church bells, or watching the sky darken after 4pm, feels precious. And sometimes the most inspiring place isn’t a concert hall at all. For me, it’s Lucerne, Switzerland. The stillness and the light there stay with me.

Emotionally, I don’t change much between performing and everyday life. I’m good at controlling my feelings, so the transition feels natural. Maybe that’s why I’ve never really faced an artistic dilemma. Or maybe I have—and just didn’t notice. I’m such an optimistic person that I think I’m simply lucky.

My first instinct after a performance is simple: drink Coke Zero. And when I travel, I listen to nothing. My ears need rest. Silence helps me return to myself.

I want to learn more about how music can help with social and emotional challenges. But the fact that music has been loved in every era, everywhere, no matter what people were facing—that alone is powerful. I believe in that power.

There are still works I dream of performing someday. The one that feels closest to me is Bach’s Goldberg Variations. Maybe it’s the clarity, or the architecture, or the world it creates. I hope I will have the chance to explore it one day.

My role, as I see it, is to bring great music from the past to people today. These works cross borders and generations; they already speak to human experiences and emotions. I simply serve as the bridge that connects them to the present.

See Mao Fujita with the Toronto Symphony Orchestra:

The Firebird
Jan 15 & 17, 2026
Roy Thomson Hall

Discover where music and life intersect in Intermezzo as we bring you closer to the artists who shape the TSO experience. Keep an eye out for more of these insightful conversations.