An 8-bar introduction vividly begins to sing the "Fantasy." Approximately 30 seconds in performance time, during which dynamics change from p to sfff, and triplets transition into sixteenth notes. Following the introduction, the expansive melody of "Sakura" is woven. Here, quarter notes and eighth notes are predominant, and ornamentation is restrained. Thereafter, the piece progresses, changing both tempo and expression with "Più mosso" (m. 23) and "Largamente" (m. 29). Just as a rapid succession of indications like "Allargando," "molto accel.," "Rapidamente," and "rall." appears, the mood of the piece abruptly shifts at "Tempo I" (m. 35). From measure 35, a light rhythm imitating drums is etched. Then, from measure 47, the "Sakura" melody is struck in the high register, and after the low register also plays the theme, the melody, having returned to the high register, gains momentum and reaches its climax (m. 60). From there, it rushes through to the end in one swift movement. The final E note quietly resonates, leaving an afterglow. The original piece is "Sakura," a koto piece from the early modern period. "Sakura," which has been included in various textbooks, has had several sets of lyrics attached to it over time. The lyrics "Sakura, sakura, the sky of Yayoi, as far as the eye can see, mist or clouds, a fragrance emerges, come now, come now, let's go see" were published in "Sokyoku-shu" (Koto Music Collection), edited by the Ministry of Education and the Music Investigation Committee, and published by Tokyo Music School in Meiji 21 (1888). "Sokyoku-shu," which suggested the modernization of koto music, is said to have had its lyrics created by Izawa Shuji, Satomi Gi, and Kabe Iwao. Based on this "Sakura," Kozaburo Hirai (renamed from Yasuki) completed the variation-style "Fantasy on Sakura Sakura." Hirai also arranged and commented on Japanese folk songs and children's songs, incorporating "Japanese" elements into his own compositions. "Nihon no Fue" (Japanese Flute) or "Nihon Shikyoku" (Japanese Poetic Pieces), or "Narayama" might be considered examples of this. Hirai stated the following: "As I spent my boyhood in the countryside, the rustic melodies of folk songs naturally became familiar to my ears. I cannot deny that this has been a distant cause for me to compose folk-song-like works such as 'Nihon no Fue,' as well as choral arrangements of Japanese folk songs and ethnic chamber music. I hope to continue creating works in which the flavor of Japanese folk songs, naturally blended into my blood, permeates my compositions." "Fantasy on Sakura Sakura" can be said to be a work that not only sprinkles familiar melodies but also adds further depth to the original piece as a fantasy. It is a rich and brilliant piece, full of variety.

References

• Togashi, Yasushi. Nihon no Sakkyokuka (Japanese Composers). Tokyo: Ongaku no Tomo Sha, 1956, pp. 256-257.
• Zen-On Piano Piece 297. Gensokyoku Sakura Sakura (Fantasy on Sakura Sakura). Tokyo: Zen-On Music Company Ltd., 1971.
• Kindaichi, Haruhiko and Anzai, Aiko, eds. Nihon no Shoka (Jo) Meiji-hen (Japanese Songs (Vol. 1) Meiji Period). Tokyo: Kodansha, 1977, pp. 76-77.