The composer took three years from the conception to the drafting of this work. The year 1944 (Showa 19) marked the 300th anniversary of Matsuo Basho's birth and the 250th anniversary of his death, and various commemorative events were held across the country, including the performance of a new Noh play by Kyoshi Takahama and an art exhibition by Hakutei Ishii. It was at this time that Toshio Kashiwagi conceived the idea of composing a musical work inspired by Basho's haiku; however, with the intensification of World War II, he lost his home in the war and was forced to suspend his creative activities. Finally, in the summer of 1947 (Showa 22), he was able to draft a piano suite based on Oku no Hosomichi (The Narrow Road to the Deep North).

Initially, he intended to select over twenty haiku and create a series of simple, prelude-like pieces. However, he ultimately structured the suite with a total of 17 movements, arranging each piece, except for the last, according to the sequence of the travelogue. While a sense of nostalgia for haiku underlies each movement, the work is predicated on a free and uninhibited deviation from a literal translation of the verses, allowing the musical ideas to unfold as they may. This compositional approach is reflected in the title, "Whimsical Paraphrase."

During the compositional process, Kashiwagi faced numerous challenges and found it difficult to make progress. He questioned whether the unique essence of haiku, such as its realm of 'kare-tan kan-jaku' (withered simplicity and tranquil solitude), could ultimately be translated into sound. Furthermore, he wondered if the concise expression of haiku might be insufficient for piano music, which possesses dynamic techniques. After much deliberation, he decided not to interpret the haiku as paraphrases but rather to freely develop musical ideas as fantasies based on the inspiration derived from the verses.

After carefully examining the 17 haiku, he applied musical styles, rhythms, and motifs appropriate to their content to each piece. For example, the 6th movement, "Ochiyukuru ya Takaku no yado no hototogisu" (Falling, falling, the cuckoo at Takaku Inn), is a nocturne imbued with the poetic sentiment of a quiet night. In the 9th movement, "Oi mo tachi mo Satsuki ni kazare kami-nobori" (Backpack and sword, adorn them in May, paper streamers), the piano plays lively rhythms and crisp staccatos, as if to encourage blessings and encouragement. Furthermore, in the 12th movement, "Shizukasa ya Iwa ni shimiiru semi no koe" (Silence, penetrating the rocks, the cicada's voice), continuous C-sharp notes on the piano evoke the sound of cicadas.

The "Afterword" of the score, published by Ongaku no Tomo Sha on August 28, 1965 (Showa 40), includes a mention of Kiyoshi Nobutoki, along with details of the compositional process. After World War II, Toshio Kashiwagi temporarily resided in an annex of Nobutoki's house. Nobutoki, who was his mentor, watched over Kashiwagi's creative work and, from time to time, would ask, "Is Oku no Hosomichi not yet finished?" Nobutoki passed away just before the publication of Whimsical Paraphrase based on Basho's Oku no Hosomichi. The "Afterword" contains an acknowledgment and a memorial tribute to Kiyoshi Nobutoki.

Principal References

• Published Score: Whimsical Paraphrase based on Basho's Oku no Hosomichi (Ongaku no Tomo Sha, 1965)
• Autograph Materials: Toshio Kashiwagi's manuscripts, drafts, etc.