Damase composed several solo pieces explicitly stating that they could be performed on either harp or piano, and some chamber works where the harp part was interchangeable with the piano. Conversely, Damase himself believed that the writing for harp and piano should be distinctly separated, and it is said that he did not approve of substituting the piano for the harp part in some pieces. Therefore, as a general rule, one must exercise caution when attempting to play purely harp pieces on the piano, especially those not explicitly designated for piano. However, it might be permissible to attempt playing harp pieces on the piano after careful consideration of the composer's intentions and thorough scrutiny. For instance, what about this piece, where the harpistic writing is relatively restrained?

This "Introduction and Toccata" (《序奏とトッカータ》) is a harp solo piece composed in 1968 and dedicated to the harpist Bernard Galais. A melancholic introduction (Lent, 3/2 time, C minor) is followed by a fresh and graceful toccata (Allegro moderato, 2/4 time, C major). On Galais's three-LP set "Trois Siècles de Harpe" [Véga], it is included on side B of the third disc (20th Century section), alongside works by Tournier and Caplet, concluding the entire album.

While this piece may lack flashy showpieces, its extremely refined narrative possesses an ineffable elegant charm. In my opinion, it seems to evoke a return to the exquisitely graceful world of the French court. The first LP (18th Century section) opens with music by Jean-Baptiste Krumpholz and Jean-Baptiste Cardon, both court musicians from the era of Queen Marie Antoinette. Damase, as their artistic descendant, vividly transports us back two centuries, inviting us into a fragrant classical world. This is likely why it is a beloved masterpiece.