Regarding Publication Details

Two published editions of Odori can be confirmed.The score published by Kyoeki Shosha Shoten in 1934 (Showa 9) features the Japanese title 'をどり: ピアノ獨奏曲' (Odori: Piano Solo) alongside the French title 'Danse coquette: piano solo'. Furthermore, the cover displays a portrait of Sumi Hanayagi (1898–1947).

On the other hand, Zen-On Piano Piece No. 242, published (copyright indicated) in 1968 (Showa 43) and edited by Norihiko Wada, also features both 'おどり' (Odori) (Note 1) and 'Danse coquette' in its title.

As of April 2015, the autograph manuscript of Odori is held by the Japanese Modern Music Archive, affiliated with Meiji Gakuin University Library. Examination of the autograph manuscript reveals inscriptions on the cover: '花柳壽美氏に贈る' (Presented to Ms. Sumi Hanayagi) and '橋本國彦 昭和九年六月作曲' (Composed by Kunihiko Hashimoto, June Showa 9). Additionally, at the beginning of the score, 'quasi "Alla Breve" / Coquettish' is written, along with 'Ritmato / ♩=160' in faint handwriting.

The reason both publishers used the title 'Danse coquette' is likely due to the composer's own manuscript containing the indication 'Coquettish'. In any case, it is important to note that this work is not merely a piece based on a dance motif, but incorporates elements of 'coquette'. According to Kojien, 2nd edition (Iwanami Shoten, 1969), 'coquette' is defined as '色っぽい女' (a flirtatious woman), and the entry for 'coquettish' lists meanings such as 'なまめかしい' (alluring) and 'あだっぽい' (charming/seductive). The fact that this work was dedicated to Sumi Hanayagi also suggests that 'Odori' incorporates elements of Japanese dance and possesses an inherent dazzling charm.

Furthermore, discrepancies observed between the autograph manuscript and the published scores are noted here:

• From measures 88 to 89, where the tempo changes to Tempo I and a shift in musical character is observed, the autograph manuscript clearly indicates a 'decrescendo' dynamic marking and a 'subito' expression marking, which are absent in the published scores.
• While it is conceivable that these markings were overlooked during the publication process, the presence of several corrections and additions in the autograph manuscript also suggests the possibility that these markings were added after publication.

Note 1) The composer himself used the spelling 'をどり' (Odori), and the first edition also uses this spelling, but the Zen-On Piano Piece uses 'おどり' (Odori).