Composed in May, 1917, dedicated to Etsuko, Terasaki. In the program note for the recital of his works in July, 1917, one tanka ( Japanese short poem) was cited: Yamada explained this tanka was the font of the music.
On the autograph manuscript, however, there are not only this tanka, but also the other one, both of those are assumingly by Etsuko Terasaki.
It is supposed that Yamada’s afection toward Etsuko seemed to growth during this period. If this speculation is right, these tankas may witness their growing intimacy?
Pierette, petit fleur de camélia was composed the day after Abandonnez-vous à la fortune was completed, is also being dedicated to Etsuko Terasaki.
Following the series Poems for a Piano he wrote, Yamada began to write piano pieces with the title ‘petit poème’ as well as a date. According to Goto, Yamada considered these ‘petit poème’ like “one page in a diary for tones.” While the first piece titles in this series were with their date and only a part of them were with poetic titles, after Petit Poem No. 9 (composed 1916), however, he began to give only poetic titles, without their dates, to each piece. The pieces from 1917 like Abandonnez-vous à la fortune, Pierette, petit fleur de camélia etc. are examples of such works.
In the program notes, with a short poem he described his intimacy felt just on beginning a performance to a camellia flower. The flower, which he found in his friend’s garden, charmed him to pick it out. Then he quickly put it in a vase on top of the piano.
Yamada gave some pieces, including Pierette, petit fleur de camélia, titles in French language, which may represent Yamada’s awareness of French impressionism, as Goto assumes.