Ikuyo Nakamichi Plays Beethoven

When I first heard Ms Nakamichi’s recording of Beethoven’s first three sonatas, I found them quite enjoyable if not exactly world-beaters. After relistening to the recordings a number of times, I found my appreciation for Ms Nakamichi’s artistry had grown, and I figured I might as well give her a shot in some later works. Her particular interpretive traits seemed better suited to more substantive fare. So I decided to give her recording of the critical Op 31 sonatas a shot. It was a wise choice.

Right from the start it’s abundantly clear that Ms Nakamichi’s serious, sculpted, reverential style is a constant, and she applies it to these works. The G major sonata opens with an Allegro vivace taken at a moderate, deliberate pace, at least when compared to a number of other readings. (Gulda, say.) Everything is again thoroughly prepared, meticulously presented, and eminently clear and tasteful. Perhaps some bass chords come perilously close to sounding stiff, but there’s a certain seriousness and devotion that makes it all work. Some of the subsequent material sounds a bit freer, though I wouldn’t describe it as romantic or loose. Her accenting of phrases and sure if not groovy beat make things move along nicely enough, even if one might want something a bit more flowing. The Adagio grazioso ends up the centerpiece of the work. Taken at a somewhat moderate pace – that is, midway between the speed demons and slowpokes – Nakamichi presents crisp, clear trills over a steady left hand. Nakamichi maintains a steady left hand accompaniment throughout, but her playing is definitely melody-centric, her right hand almost always at the forefront of the playing. That’s not say it’s overpowering, not at all. The transition to the middle section, in contrast, sees the bass take the lead with some superbly sculpted playing that clarifies matters in a most enlightening way. Then the middle section itself is delivered in a most serious, devout way. Beethoven as demigod again. The return of the opening material is perhaps just a smidgeon precious, but somehow it sounds fine. The concluding Rondo is most certainly taken at an Allegretto pace, and everything sounds just a bit deliberate, but, again, Nakamichi somehow makes the listener believe. Slow(-ish) and steady can indeed win the race!

Better is the Tempest. The Largo opens with very distinct, very deliberate arpeggios. It may be off-putting to some, and I would generally not like it, but somehow Nakamichi makes it work. The Allegro shows that Ms Nakamichi has something more to offer. While not thundering, the playing does assume satisfying levels of power and oomph at just the right times. Throw in nice clarity, a slightly stinging treble on occasion, and some meticulous diminuendo playing, and one has a nicely contrasted movement to savor. Perhaps the best illustration of this comes at just after 5’. After taking her sweet time to make the music fade to near silence, Nakamichi hammers out some chords with surprising force. It certainly startled me, particularly since she hadn’t demonstrated this level of power previously. Anyway, the whole opening movement ends up sounding quite fine. The Adagio is at least as successful, though again, some might not like it. It is very serious and very deliberate – almost to the point of sounding clinical. Almost. It is very formal and takes a (quasi-) architectural approach. It works for what it is though. The work concludes with an Allegretto that sounds quicker than the ending movement of the prior work, and it also sounds a bit more heated. While not passionate or romantic, it is just fiery enough, and just tense enough, to keep one paying very close attention to the playing. Yes, I would have liked greater spontaneity, but it’s still good.

But not as good as the 31/3. Nakamichi saves her best for last. Initially, it seems as things will be largely as before, though. The Allegro opens in a subdued, deliberate fashion, but quickly and smoothly segues to a more upbeat, looser, quicker, pluckier reading replete with decent weight and superb articulation. If it never sounds as though the pianist just lets loose, she still seems intent on having fun. Serious fun. The Scherzo is even better. It’s subversively mischievous from the start, and she really presents it the way I like it. For a while she just cruises along with a steady left hand and dancing right, and then, out of nowhere, she pounds out (though always in a controlled way!) the humorous outburst, then muses over it, chuckling via the keyboard, and then she does it all again. The Menuetto, in contrast, is lyrical and warm, if perhaps just a tad measured. But it does show she can play very beautifully if she so chooses. To end the work, Nakamichi delivers a Presto con fuoco that is rollicking fun, and a fine example of Beethoven’s perpetual motion endings. Nakamichi’s left hand is almost hypnotically steady, and her playing is mostly graceful and fluid. In the middle section she really cranks out the music, more than at any other time in any of the works, and she brings the whole thing to a most satisfying end. Superb.

As with the Op 2 sonatas, I cannot proclaim that Ikuyo Nakamichi’s Op 31 sonatas are among my favorites. That written, they are better than the Op 2 sonatas and seem to indicate that she offers more than I first surmised. Indeed, I’ve already listened to them twice since yesterday and will probably spin them again tonight. I must surely investigate more of her recordings . . .

SOTA sound.


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