On this disc from
Makiko Hirata, she takes on one of the biggest and baddest of all piano sonatas, Beethoven's Sonata No. 29 in B flat Op. 106, the "Hammerklavier." No doubt that leads to the title chosen for the disc, Hammerklavier. The performances are also a step forward from her previous effort, Etudes, Seriously; she whips through the diabolic machine that is the "Mécanisme" from
Esa-Pekka Salonen's Dichotomie like it's nobody's business. Her Beethoven is bold, colorful, and confident; the scherzo rattles along with briskness, assurance, and even a twinkle of humor. The Andante sostenuto is understated, poetic, and careful rather than cautious;
Hirata does a nice job of realizing the subtle syncopations in the second theme. Although
Hirata states in the liner notes that she included the two Scarlatti sonatas as an example of "how the keyboard as an instrument...[has] expanded over the years," these pieces are definitely a highlight of the disc; they are utterly charming performances, with crisp trills and, in the D minor Sonata K. 5, a good choice of tempo and dynamics; while marked Allegro, it isn't necessarily at its best played fast, or loudly.
While
Hirata concertizes annually in Japan, she makes her home in Los Angeles and serves as an assistant at the Colburn School; she also regularly appears in the U.S., particularly in California. It is fortunate that
Hirata appreciates the value of recording her own discs; any concert artist who is serious and without a recording situation through an established label should do so. This one is not without flaws; there is a slight ring in her Steinway and perhaps a stray sound or two. However, it is a significant improvement over Etudes, Seriously, and there is absolutely nothing wrong with the playing, which is grand, assured, and powerful.