No. 1 "March"

C major. A simple yet somewhat comical march. It begins in C major, but black keys are gradually introduced, creating an effect as if colors are slowly being added. Finally, the original motif returns with some ornamentation. It is somewhat heavy for a march, giving a rustic yet slightly detached impression.

No. 2 "Arabesque"

A minor. Lyrical arpeggios, depicting arabesque patterns, are repeated, with a long-breathed melody superimposed on them. Similar to No. 1, A minor is merely presented at the beginning, with various tonalities hinted at, creating subtle shades akin to those in ink wash painting. The ingenious device of emphasizing the note A (the tonic of A minor) at the end, leading to A major and concluding in a faint brightness, is excellent.

No. 3 "Barcarolle"

G major. After a gentle melody appears over a swaying accompaniment, the melodic line begins to meander, becoming lively along with the accompaniment. This passage evokes the sparkle of water and the joy of rowing a boat. The original melody then returns, but a momentary shift to A-flat major, a semitone higher, just before the end creates a sense of floating.

No. 4 "Toccata"

E minor. A work demanding high technical skill, where various figures (repeated notes, arpeggios, glissandos, etc.) appear one after another without pause. It is characterized by dull sounds in the low register and sharp attacks, possessing a serious character absent in the preceding three pieces. Careful consideration is evident in the call-and-response and contrast between the right and left hands.

No. 5 "Fantasia"

D major. Several elements, such as successions of chords and fragments of arpeggios, appear, frequently interspersed with rests. Although titled "Fantasia," it is far removed from works of the same name by Chopin or Schumann; rather, one can find a similar atmosphere to Messiaen's early work Préludes (1930), among others.

No. 6 "Idyll"

B minor. A relatively free-moving melody, reminiscent of a shepherd's lonely monologue, is accompanied by a simple accompaniment figure. While concisely presenting classical formal characteristics in this way, the rather free treatment of harmony and tonality is a feature seen in each piece of this collection. After the melodic movement develops, the opening melody and accompaniment return via a descending figure.

No. 7 "Intermezzo"

A major. The only piece in this collection that can be regarded as an homage to Japonism. It is characterized by an opening motif reminiscent of the chant "Kappore Kappore" and a rapid four-note figure in the right hand, evoking the koto.

No. 8 "Sarabande"

F-sharp minor. The writing, primarily based on chordal successions, adheres to the formal characteristics of a sarabande. The chords tend to descend, while the single melody primarily ascends, creating a balance in register. There are also passages that seem to be influenced by Messiaen's harmonic writing. In the middle section, the single melody is emphasized, and the chordal successions develop.

No. 9 "Lullaby"

E major. The use of a motif based on a succession of chords as its axis is common with No. 8. Furthermore, perhaps due to the clear presentation of E major, the abstract feel present in Nos. 5 and 6 is diminished, and the lyricism that returned in No. 8 is even more prominent. Especially in the high register, the chordal movement possesses a gentle and tender expression, befitting a lullaby.

No. 10 "Nocturne"

C-sharp minor. The characteristics of a nocturne are evident in the melody sung over the repetition of smooth figures and in the dramatic development in the middle section. Unlike No. 8, which is characterized by the warm sound of a major key, this piece is imbued with a sense of pathos. It rivals No. 4 in terms of its intense musical movement, culminating in a glissando, and its large scale.

No. 11 "Serenade"

B major. Unfinished. It lacks tonality, featuring a dark-tinged accompaniment figure with a melody of limited movement. After a slight development, the note B remains, and a quotation from Albéniz's piano suite España, 6 Hojas de Álbum (1890), No. 6 "Zortzico," begins. At its beginning, there is a note: "Dance (Albéniz) at the tempo of a Zortzico," but it abruptly ends at the ninth measure. The inscription "Allegretto quasi fantasia (in the style of a fantasia)" at the beginning suggests that Mayuzumi might have intended to give this piece an improvisatory development.

No. 12 "Elegy"

G-sharp minor. Lyricism permeates its austere demeanor. Works from No. 7 onwards, written after August 1945 when the war ended, seem to possess deeper shadows and an extremely introspective character, as if peering into an abyss. It adopts a clear structure centered on a three-note motif presented by the left hand at the beginning and a two-note motif in the right hand. The dull sounds predominantly used in the low and middle registers, along with occasional high-register figures, express a contrast of light and shadow.

Reprinted from "Toshiro Mayuzumi Piano Works" (MTWD-99063)