A two-suite work for piano four hands, composed in the summer of 1985 and based on Greek mythology. The recording premiere was given by the composer and Toshiro Nakagawa in the autumn of the same year, and the stage premiere took place in November 1987.

Suite I

1. "Fanfare of Zeus and Hera"

This piece depicts Zeus, the king of the gods, and his wife, Hera. It portrays the narrative of Zeus secretly pursuing other women and incurring Hera's wrath. In this composition, the roles of the gods are clearly separated between the primo and secondo parts: the primo expresses the majestic Hera, while the secondo portrays the furtive Zeus.

2. "Pastoral Dance of Demeter and Hestia"

This piece depicts Demeter and Hestia, two goddesses who protect agriculture and the home, and are considered sisters. It is in ternary form, with the outer sections featuring a Siciliana.

3. "March of Athena and Ares"

This piece depicts the gods who preside over male and female warfare. Athena is the goddess who brings victory in battles fought to protect peace, whereas Ares is the god of violent conflict. A characteristic feature of this piece is its chromatic modulation.

Suite II

1. "Hermes is a Bridge"

This piece depicts Hermes, the messenger god, who is single and an only child. Reflecting his renown for swiftness, the tempo is marked 'Allegro molto'. Within a mere seven measures, it features a dynamic increase from pp to ff and an accelerando in the latter half, making it a highly compact yet impressive composition. This piece may be inserted between any other movements during performance, with an instruction to proceed to the next piece attacca.

2. "Hunting Song of Apollo and Artemis"

This piece depicts the twin siblings, Apollo and Artemis. While they are the gods of the sun and moon, respectively, the piece portrays Apollo gazing worriedly at Artemis, who loves to go hunting. This piece employs time signatures ranging from 2/4 to 4/4.

3. "Chorale of Hades and Poseidon"

This piece depicts the brother gods Hades, who rules the underworld, and Poseidon, who rules the sea. In this composition, the roles of the gods are clearly separated between the primo and secondo parts: the primo evokes the waves of the sea, reminiscent of Poseidon, while the secondo, evoking Hades, plays a chorale with heavy chords suggesting the darkness of the underworld.

4. "Tango of Aphrodite and Hephaestus"

This piece depicts the married gods Aphrodite, the goddess of beauty, and Hephaestus, the blacksmith. These two are considered contrasting deities, representing beauty and ugliness. Following a six-measure introduction, a Tango with a Habanera rhythm and a Waltz ensue, after which the Tango is recapitulated. In this piece, as in the previous one, the roles of the gods are clearly separated between the primo and secondo parts: the primo expresses Aphrodite, and the secondo expresses Poseidon. Throughout the piece, Aphrodite's reluctance to fully engage in Poseidon's dance creates a humorous atmosphere.

It should be noted that the order of pieces during the recording premiere was not as listed above: the first piece of Suite II was performed between the second and third pieces of Suite I, and the second piece of Suite II was performed between the first and second pieces of Suite I.