“It is what a man thinks of himself that really determines his fate.”
- Henry David Thoreau
The sixth episode begins like a dream. This is where Nodame’s transformation truly begins. She has a sense of fleeting time and a realization that she cannot be alongside Chiaki in her current state, a realization brought on by Stresemann. In the same respect, Nodame can no longer be the mascot; the prelude is over. And we see how this is significant as the S-oke wills to disband.
Chiaki’s inspiration remains questionable. Through his self-concept we understand how his fate is still in tact: a desire to exercise his potential yet unable to leave Japan and follow his master. I find it fascinating how Chiaki slipped astutely back into his world. He acknowledges this very idea at the bar, and we even have Saiko willfully appearinig at his apartment. Yet somewhere inside is perspective and a sense of pride in the power of the most curious musicians, the S-oke.
As the motivating force, Kiyora’s talents extend beyond music. Her wish to establish a pro-am orchestra brings clarity to the atmosphere and revitalizes Chiaki. Only Kiyora, the concertmaster, is able to shift Chiaki. Mine and Nodame both lack the artistic poise to influence him despite sharing recent experiences. But all three – Mine, Nodame, and Chiaki – undoubtedly feel the impact left by Stresemann.
Her name, Miki Kiyora (三木 清良), offers an interesting point in the episode. Pure, skilled… Her ability to inspire Chiaki is reasonable. While 三木 (本 counter aside) is debatable. Mine, Nodame, and Chiaki could be a trio, but Kikuchi, Kuroki, and Chiaki could also be mi-ki… I find this poetic in a way.