A 'masterpiece' written by Rosenblatt with all his energy and special feelings for the audience in 'Japan,' a country he described as his longed-for destination, for his first concert in Japan, 'Double Piano Duo,' held on March 11, 2005. In 2004, the author freely transcribed over a dozen famous Japanese songs onto staff paper and sent them to him with comments, including 'Sakura Sakura,' 'Hamabe no Uta,' 'Kojo no Tsuki,' 'Hana,' 'Zui Zui Zukkorobashi,' 'Kagome Kagome,' 'Akatombo,' and 'Ue wo Muite Arukou.' The first song he chose was 'Sakura Sakura,' which he said directly evokes the image of Japan. Other bright songs he selected as suitable companions were 'Hamabe no Uta' and 'Akatombo.' Regarding the selection, songs other than 'Sakura Sakura' did not have any particular symbolic meaning; they seemed to have been chosen by inspiration. This work was completed within six months thereafter. The piece begins with a solemn and beautiful introduction, leading into the tranquil 'Hamabe no Uta,' but gradually transforms into large, surging waves like a raging torrent. Suddenly, turning one's gaze to the mountains, a magnificent temple stands there, and at this moment, the solemn sound of distant bells resonates through 'Sakura Sakura.' Then, a young man whistles 'Akatombo' in the style of 'Take Five,' a stylish tune as if strolling through the city while perhaps flirting. Eventually, a dramatic 'Sakura Sakura' in the style of Rachmaninoff leads into a swinging 'Akatombo,' and from this point, the energy further intensifies. A bluesy 'Hamabe no Uta' is played briskly, embracing dreams for the future, and finally, even 'Sakura Sakura' transforms into a New Orleans jazz style. When this piece is performed to its end, listeners might find themselves feeling as if they are standing on Basin Street in New Orleans. Rosenblatt's concept was not merely to arrange while retaining Japanese nuances. He created 'entirely different works' by crossing over jazz with three old Japanese songs as his material. This is his originality.