A B note resonating in the bass register—the silence is striking. The subsequent 32nd notes—with the instruction “laissez vibrer” (let vibrate). The opening of Musica Nara is filled with the sound and resonance of temple bells. According to the composer, the piece is conceived such that “the ancient form of Nara is revealed, guided by a butterfly that has fluttered in from antiquity.” Performers and listeners alike will encounter various characters under the guidance of the fluttering butterfly. As indicated by the score's markings—“Guardian Deities of the Children” (m. 12), “Running Priest” (m. 33), “Laughing Buddha” (m. 65), “Obstinacy” (m. 82), and “Deva King” (m. 131)—this work vividly portrays Jizo, monks, Buddhist statues, evil spirits (Jaki), and Nio guardians. It elegantly encapsulates the diversity of historical Nara, while also exuding a certain dignified atmosphere. As the piece progresses, the tempo accelerates, and after a series of cascading staccato 16th notes, the bells are struck once more. The end of the piece, like the beginning, is filled with the resonance of bells, evoking the twilight of the ancient capital. The composer states: “In the lingering resonance of the final note, please faintly discern the sounds of Nara from over 1250 years ago.” This work was composed as the compulsory piece for the second round of the 6th Hamamatsu International Piano Competition, held in November 2006. Its performance duration is approximately 7 minutes. It is a work that calls for a performance brimming with vitality, allowing the “butterfly” to fly freely, while reflecting on Nara or one's homeland.