ChopinThis is an interesting work that, while following the style of Western piano compositions exemplified by Chopin, incorporates Yamada's unique Japanese lyricism and sense of timing. With sustained notes, there is a joy in playing while feeling the tranquility and atmosphere of the night, savoring the resonance of each moment without concern for the subsequent notes. From the upbeat of measure 13 to measure 16, the melody unfolds like a heartfelt dialogue, a passage where each performer will want to imbue it with their own emotions. From measure 18, a very romantic night song is performed. A romantic melody is sung under the strong message of 'appassionato e doloroso', yet the dynamics range from mezzo forte to piano. That a passionate, unfulfilled love song is not played with forte or fortissimo might suggest a sensibility distinct from Italian vocal music.

Composed in July 1916. Its original title is Nachtlied (A Night Song). To distinguish it from a work with the same title published in 1914, the edition published by Shunju-sha numbers them chronologically, referring to this piece as Nachtlied 2. The work was premiered in November 1916 at a concert of his piano pieces. The program note for the premiere includes a short poem titled 'A Night Song'. It is presumed that this work (and not A Night Song 1) was performed at this concert, based on the fact that short poems are also attached to the other two works, Yumebayashi and Minori-no-Namida, which were also composed in 1916 and first performed at that concert. Furthermore, these three works were published together in Les 16 Petits Poèmes in New York in 1919.

As Goto, author of Yamada Kōsaku: Tsukuru no de wa naku umu (Yamada Kōsaku: Creating, not Making, Tokyo: Minerva-Shobō, 2014), pointed out, these three works were published as 'petits poèmes' despite their individual titles not including the phrase 'petit poème'. This suggests the composer conceived of certain piano pieces as 'petit poèmes,' irrespective of whether the term appeared in their individual titles. In this musical category, the composer is said to have closely integrated music and words.