Minao Shibata: Variations for Piano, Op. 1

The work bearing the title "Op. 1" by Minao Shibata is Variations for Piano. Shibata, who graduated from the University of Tokyo in 1939, began studying counterpoint and composition under Saburo Moroi in December of the same year. Then, in 1941, he wrote a theme and 15 variations as one of his "graduation works," so to speak, and completed the piece in 1943 by adding the final section. Variations for Piano was premiered by his teacher, Moroi, at a try-out performance held at Saburo Moroi's residence on June 13, 1943.

This piece succeeds in bringing out the charm of "variations" to an extent that makes it hard to believe it is a study or an early work. It is a work that evokes inspiration through "fifteen transformations" rather than the proverbial "seven transformations."

The theme section is 8 measures long. It repeatedly ascends and descends the natural A minor scale. The opening of the piece is played quietly, like waves. The theme, initially a single note, becomes octaves in Variation 1, amplifying the sound. In Variation 1, the range first expands to the lower register. Although Variation 2 also centers on octaves, a third is added here, staccato marks appear, and rhythmic changes are observed. In Variation 3, the half notes that had been prominent suddenly disappear. Accidentals also significantly increase, foreshadowing a major development to come. In Variation 4, the leaps of dotted notes sound dramatic. Variation 5 features a soft tremolo in the high register, followed by the left hand displaying vigorous movement in 32nd notes. Variation 6, which is both Japanese and French in character, depicts drops falling and ripples spreading. In Variation 7, a three-voice canon recalls the original form of the theme, which had been fading. The variation section has now passed approximately its halfway point. From Variation 8 onwards, each variation connects seamlessly to the next without a moment's pause. No sooner does Variation 8, with its light triplet and staccato notes, conclude than Variation 9 is swiftly traversed with dotted notes and sextuplets, septuplets, duodecuplets, and tredecuplets moving between octaves, leading into Variation 10. Here, the tonality becomes indistinct, and the outline of A minor gradually blurs. Amidst the fluctuating tonality, A minor clearly reappears midway through Variation 11. Variation 12 allows one to enjoy colorful sounds through glissandos. In the subsequent Variation 13, double appoggiaturas stand out. Pleasant ornamental notes resonate, perhaps like the chirping of insects or the singing of birds. Variation 14 seems to advance, then stop, then advance again. One is involuntarily drawn to the clashing semitones. Variation 15, while seemingly whimsical, has a clear assertion. A fughetta appears, finally leading to an overwhelming finale.

The single note A, played p in the theme section, ultimately transforms into an fff chord suitable for an organ.