“Kojo no Tsuki” (The Moon Over the Ruined Castle) is arguably one of the most beloved songs in Japan today. Composed by Rentaro Taki, it was included in “Chugaku Shoka” (Junior High School Songs), compiled by the Tokyo Music School and published in Meiji 34 (1901). Many composers, such as Ernst Pauer and Kozaburo Hirai, have created variations based on “Kojo no Tsuki.”

Kosaku Yamada’s “Aishi” (Elegy) was also composed using “Kojo no Tsuki” as its theme. This work, which has an introduction and a coda in addition to 11 variations, was composed from January 13 to 15, Taisho 6 (1917).

In his commentary on “Aishi,” Yamada states, “The form I call ‘Poème’ has gradually become more familiar to me. Finally, a new form, something like ‘Poème Variationen [sic],’ was born based on it.” Yamada noted that many variation works merely undergo formal transformations without developing their content in a related manner. Therefore, he designated “Aishi” as a “Poème,” crafting each variation to be independent yet possess “an extremely close and vital relationship, like parts of an organism.”

Referring to page 194 of “Kosaku Yamada Complete Works, Vol. 11” (compiled by Kosaku Yamada, published by Shunjusha in Showa 6 [1931]), it can be inferred that the “Poème Variationen” he aimed for was not merely a compositional variation form but also one where the content was intimately connected.

Introduction

An inexpressible sigh. And with it, a sudden echo of splendid memories from days gone by. Yet, as they belong to days long past, they fade away as one pursues them. All that remains is the deep lament for what has been lost. At such a time, one sings.

Theme

“In the spring, a flower feast in the high castle, cups circling, casting shadows…”

Chapter 1

A heart filled with unbearable anger,

Chapter 2

Praise for beautiful days,

Chapter 3

And again, sobbing.

The “Introduction” and “Chapters 1-3” are listed above, but the poem continues up to “Chapter 11.” The following passage is written at the very end:

Conclusion

The glory that has passed, the people who lament remembering it, and the desolate castle standing quietly alone—all are manifestations of the human world. Yet, there is a power hidden deep within these things. The moon shining coldly over the ruined castle, and the sound of crows heard from nowhere in the dead of night.

The quotes are from “Kosaku Yamada Complete Works, Vol. 11” (Shunjusha, 1931, p. 194). Old characters in the original source have been converted to new characters, and Chinese numerals to Roman numerals.

In other words, Yamada’s “Aishi” can be described not merely as “variations based on the melody of ‘Kojo no Tsuki’,” but as a “Poème Variationen” that incorporates the original lyrics and the emotions embedded within them.

The title “Aishi” (Elegy) contains both a sense of nostalgia for the past glory sung in “Kojo no Tsuki” and a meaning of mourning for Rentaro Taki. Yamada admired Rentaro Taki, whom he considered “the first composer of our nation,” for his extraordinary musical talent and deeply grieved his premature death.

Furthermore, “Kojo no Tsuki” was originally unaccompanied, and it was none other than Kosaku Yamada who added the accompaniment often performed today. Yamada also made changes to the vocal melody composed by Taki. Whereas the original was in B minor, 4/4 time, 8 measures, with the tempo marking Andante, Yamada transposed it up a perfect fourth to A minor, replaced the original eighth notes with quarter notes, and arranged it in 4/4 time. He also added a piano accompaniment, including a 4-measure prelude, extending the entire piece to 24 measures, and changed the tempo marking to Lent, dololoso e cantabile. Furthermore, regarding the melody of the lyrics, the note “e” in “hana no en” (花の宴), which was E-sharp (eis) in Taki’s original, was changed to E natural.