Commentary

Composed in 1917. The following scores exist:

• Autograph manuscript Ms.477
• Shunjusha Old Complete Works
• Shunjusha New Complete Works
• Hustle Copy
• Muse Press

Seven chapters from The Tale of Genji are featured. These are seven pieces that capture the characters and worldviews of each chapter. While Debussy's influence is discernible, Yamada's unique techniques, such as rests that evoke a sense of space between notes and the use of Japanese scales, depict an elegant world.

It should be noted that the two pieces, "Hana no En" and "Hana Chiru Sato," have the following history:

In the Old Complete Works, although the table of contents listed "(ho) Hana no En," the corresponding page mistakenly contained the score for "Hana Chiru Sato" under the title "Hana Chiru Sato." In the New Complete Works published later, the title of the piece on the corresponding page was corrected to "Hana no En" to match the table of contents, but the score remained unchanged, resulting in the original "Hana Chiru Sato" being replaced by "Hana no En." Conversely, (he) "Hana Chiru Sato" was similarly swapped.

Consequently, the inversion of the pieces and titles for "Hana no En" and "Hana Chiru Sato" was carried over into the New Complete Works and Hustle Copy editions. In the Muse Press edition (Volume 3 of Kōsaku Yamada Piano Works: Supplementary Collection), published in 2022, the original form was restored.

The consistency between titles and pieces can be verified by cross-referencing the date written alongside the title on the cover of the autograph manuscript (a separate sheet from the score) with the date written at the end of the piece's score. On the cover of "Hana no En," "25.März 1917" is inscribed, and the same date is written at the end of the score for the original "Hana no En."

Furthermore, the autograph manuscript Ms.1316 of the orchestral version of "Hana Chiru Sato" still exists, and this score can also be used for verification.

 Regarding "Genji Gakuchō," we quote Yamada's own words.

 Yamada stated the following at the beginning of the pamphlet for his second recital:

 Genji Gakuchō was born on March 21st at the home of my esteemed friend, Mr. T. And as you can see from the composition chronology, it was born in a very irregular manner. Furthermore, its birth was almost too coincidental. However, I had wished to write something like this for quite some time. And Mrs. E habitually enjoyed reading The Tale of Genji, and that very evening, it was almost miraculous, the thoughts I was writing down and the passage she was engrossed in perfectly coincided. Thus, I was almost guided and stimulated by her to write this musical piece.

 This piece was written as a suite for orchestra. Therefore, performing it on the piano might be somewhat difficult. Those who heard the orchestral performance at the Foreign Minister's Official Residence will, I believe, understand how significant the difference is. However, to the extent of viewing an oil painting through a photograph, I believe anyone can listen to it as is.

• (i) From the chapter "Kiritsubo" - Composed April 11, 1917.
• (ro) From the chapter "Wakamurasaki" - Composed April 11, 1917.
• (ha) From the chapter "Suetsumuhana" - Composed April 11, 1917.
• (ni) From the chapter "Momiji no Ga" - Composed June 30, 1917.
• (ho) From the chapter "Hana no En" - Composed March 25, 1917.
• (he) From the chapter "Hana Chiru Sato" - Composed March 21, 1917.
• (to) From the chapter "Suma" - Composed March 24, 1917.