Watching Mikagura and Hibike! back-to-back is a study in contrasts. Eruna enters her new school looking to become its dashing hero, and when she’s knocked to the ground, jumps right back up, dusts herself off, and vows to carve her own path. Kumiko, on the other hand, has kept all of her fire within, and continues to allow herself to be stuffed into a euph-shaped hole despite not being particularly enthusiastic about it. Eruna believes she’s the best, while Kumiko never had any strong desire to be the best.
Kumiko’s older sister greets her coldly, and while part of that may be emotional distance between sisters at different stages in their lives, perhaps her sis is a little disappointed Kumiko has “settled” for the euph “again”, knowing Kumiko herself isn’t that invested in it. “You don’t like the euph; I don’t like the euph…so what’s with the euph?”
Be that as it may, hearing Hazuki toot her first note on “Tubacabra” lifts my spirits somewhat, as does her dutiful circular breathing practice-by-blow tickler. Kumiko may not be into this, but Hazuki is a lot more like Eruna; eager to learn and make the most of this opportunity. Then again, she got the instrument she wanted.
This episode is half concert-band procedural, with Kumiko narrating how things work in a band, and giving said band a very professional feel, what with the sectional practices and lead-up to a rehersal as an ensemble. But little details here and there indicate that there’s a reason this band sounded so bad the first time Kumiko heard it: the band itself doesn’t quite work.
Things are made painfully clear when the band pres Haruka summons their conductor Taki-sensei, perhaps against her better judgment. He gave them a simple beginner song to practice – “The Marine’s Hymn”, but it only takes a few measures of rough, uncoordinated play for him to cut the rehearsal short and call into question the band’s general understanding of what an ensemble is, before requesting they not waste his time.
Kumiko knows the band deserves the scorn, but the second years, who seem to be goofing off anyway, don’t react well to the tough love and stage a revolt of sorts.
For the third time in as many episodes, Shuuichi approaches Kumiko to talk, only she’s flanked by her new friends and fellow bassists. Midori’s momentary misunderstanding about why Shuuichi was there was pretty cute, but Shuuichi is really there to confirm Kumiko’s concerns: as hard as some in the band may work, getting to the Nationals just may not be in the cards. Not with the way things are now.
Things go from bad to worse when the second years’ revolt results in practice being canceled, which is not good for a band in desperate need of practice. As Kumiko, Hazuki and Midori start to head home with their heads hanging low, they suddenly hear a trumpet in the distance, which Kumiko recognizes instantly as Reina. As
She’s playing Dvorak’s “From the New World” – a piece that, beyond having it’s own anime, is something Kumiko knows the composer wrote when he was far from the home he knew and loved. There’s longing in the piece, and the pain of what’s been left behind, but there’s also hope; and enough feeling in the performance that the dusk almost looks like a dawn.
Reina’s lovely rendition, punctuated by a scream of frustration, made for a spirited, optimistic finish to what was, looking back, a pretty gloomy episode.