Hetotsu

Hetotsu is a piano solo piece in a variational style, based on the theme of Kazoe-uta (counting song) (Note 1). Kazoe-uta was originally a popular song sung since the Edo period, and after the Meiji era, lyrics incorporating various themes such as moral education, war, and love affairs were added. It was published in collections such as Yōchien Shōkashū (Collection of Kindergarten Songs) (Music Investigation Bureau, 1887) and Shōgaku Shōka (Elementary School Songs) (Dainippon Tosho, 1893).

These song collections were compiled by Izawa Shūji. He was born in the Edo period. After studying in America, he returned to Japan and laid the foundation for the country's music education, which continues to this day. Izawa's pioneering achievements in music education are widely known. He worked tirelessly to establish the Music Investigation Bureau (the predecessor of Tokyo Music School) and served as the first principal of Tokyo Music School (present-day Tokyo University of the Arts). Izawa was supported by the American music teacher L.W. Mason. Izawa enlisted Mason's help in selecting pieces and writing lyrics and music for the song collections. Hetotsu is also considered a collaboration between Izawa and Mason.

Hetotsu is a captivating work, where each connected note successively unfolds new developments within its 93 measures. One can only imagine the astonishment of those who heard this piece in the early days, soon after Western music was introduced to Japan.

The Tokyo University of the Arts Library houses a score of Hetotsu that is said to have been passed down since the Meiji era. A title slip reading "HE TO TSU" is affixed to the green cover, and a seal impression of the Music Investigation Bureau can also be seen in the lower right corner.

There are very few records of Hetotsu being performed, but the CD Selected Japanese Piano Variations: From Izawa Shūji to Ōnaka Megumi (performed by Hata Haruhi, Mittenwald, 2013) includes a valuable recording made in recent years.

Note 1: Hetotsu has an "Introduction" at the beginning, and after the theme is presented, its melody transforms. However, the number of measures in the theme and each variation does not necessarily match, and whether this work, with its limited variational sections, can be strictly defined as a variation form is a matter concerning the definition of "variation form".