This piece was composed with two primary motivations: a desire to write something in sonata form, and a need to finally give shape to—and thereby release—a musical theme that had been persistently echoing in my mind since my university days. While it employs a sonata-like structure, it is not a strict example of the form; the development of motifs is somewhat lacking, so I cannot claim it to be a true sonata in the formal sense—yet, it serves as my personal tribute to the sonata tradition. Ideally, I would have added two or three more movements to complete a full-fledged "sonata," but I simply no longer have the energy to do so. The central theme is romantic in nature, and this romantic sentiment permeates the entire work. You might think of it as music akin to lovers whispering to one another.

This piece was composed with two primary motivations: a desire to write something in sonata form, and a need to finally give shape to—and thereby release—a musical theme that had been persistently echoing in my mind since my university days. While it employs a sonata-like structure, it is not a strict example of the form; the development of motifs is somewhat lacking, so I cannot claim it to be a true sonata in the formal sense—yet, it serves as my personal tribute to the sonata tradition. Ideally, I would have added two or three more movements to complete a full-fledged "sonata," but I simply no longer have the energy to do so. The central theme is romantic in nature, and this romantic sentiment permeates the entire work. You might think of it as music akin to lovers whispering to one another.

This work is related to two other pieces: "Music from the Other Shore" (Higan yori no Ongaku) ​​for string quartet, and "Mi" (Snake) for five shakuhachi players. Both are ensemble works composed for instruments of the same type. Furthermore, they share the theme of "irreversibility"—specifically, the irreversibility of life, which ultimately drifts toward "the other shore" (higan). In particular, both "Music from the Other Shore" and the present work deliberately disregard the "TPO" (time, place, and occasion)—if such a concept can even be said to exist—appropriate for their respective compositional contexts. In this sense, one could also say that "Mi" deliberately ignores the conventions (the "TPO") typically expected of a work in the tradition of Japanese music.

This short encore piece for solo viola was composed for the "30 Solo Works for Violin and Viola" project organized by the JFC. It was premiered by Mr. Yasutaka Henmi on August 10, 2026, during the project's premiere and recording event. The first half features a slow, lyrical section, while the second half consists of rhythmic dance music.

This is an arrangement of Rachmaninoff's famous "Vocalise" (Op. 34, No. 14) for a trio of soprano, trumpet, and piano.

This is an arrangement of Rachmaninoff's famous "Vocalise" (Op. 34, No. 14) for a trio of soprano, trumpet, and piano.

This is an arrangement of Rachmaninoff's famous "Vocalise" (Op. 34, No. 14) for a trio of soprano, trumpet, and piano.

"Lacrimosa: A Tribute to the Works of Atsushi Hirasawa" was originally composed for Trio Zephyrus (Masako Shindo, soprano; Kiyonori Sogabe, trumpet; Yasuko Ii, organ). It is a piece inspired by the paintings of Atsushi Hirasawa, who passed away on October 10, 2018. Although a premiere by the trio was originally planned, it has not yet taken place due to various circumstances. This sheet music is a revised version in which the organ part has been replaced by the piano. The first section is tonal (modulating from D minor to B minor), with the main portion based on the “Lacrimosa” from the Mozart Requiem (as completed by Süssmayr). It shares the same “Larghetto”, 12/8 time signature, D minor key, and opening vocal motif (A–F), though it diverges from Mozart's original at the third note. While there is some repetition of the lyrics, the text remains the standard Latin liturgical version. The piece opens with an open fifth (D and A) on the organ and repeats the *Lacrimosa* theme twice; following an atonal section characterized by wide-ranging movement, the work concludes with a D major tonic chord. As the paintings by Atsushi Hirasawa that inspired the piece are highly realistic yet lyrical, the music itself is also grounded in a lyrical quality. This work was premiered on August 9, 2026, in Shikoku-chuo City, performed by Akari Morizane (soprano), Kiyonori Sokabe (trumpet), and Akane Kidawara (piano).

"Lacrimosa: A Tribute to the Works of Atsushi Hirasawa" was originally composed for Trio Zephyrus (Masako Shindo, soprano; Kiyonori Sogabe, trumpet; Yasuko Ii, organ). It is a piece inspired by the paintings of Atsushi Hirasawa, who passed away on October 10, 2018. Although a premiere by the trio was originally planned, it has not yet taken place due to various circumstances. This sheet music is a revised version in which the organ part has been replaced by the piano. The first section is tonal (modulating from D minor to B minor), with the main portion based on the “Lacrimosa” from the Mozart Requiem (as completed by Süssmayr). It shares the same “Larghetto”, 12/8 time signature, D minor key, and opening vocal motif (A–F), though it diverges from Mozart's original at the third note. While there is some repetition of the lyrics, the text remains the standard Latin liturgical version. The piece opens with an open fifth (D and A) on the organ and repeats the *Lacrimosa* theme twice; following an atonal section characterized by wide-ranging movement, the work concludes with a D major tonic chord. As the paintings by Atsushi Hirasawa that inspired the piece are highly realistic yet lyrical, the music itself is also grounded in a lyrical quality. This work was premiered on August 9, 2026, in Shikoku-chuo City, performed by Akari Morizane (soprano), Kiyonori Sokabe (trumpet), and Akane Kidawara (piano).

"Lacrimosa: A Tribute to the Works of Atsushi Hirasawa" was originally composed for Trio Zephyrus (Masako Shindo, soprano; Kiyonori Sogabe, trumpet; Yasuko Ii, organ). It is a piece inspired by the paintings of Atsushi Hirasawa, who passed away on October 10, 2018. Although a premiere by the trio was originally planned, it has not yet taken place due to various circumstances. This sheet music is a revised version in which the organ part has been replaced by the piano. The first section is tonal (modulating from D minor to B minor), with the main portion based on the “Lacrimosa” from the Mozart Requiem (as completed by Süssmayr). It shares the same “Larghetto”, 12/8 time signature, D minor key, and opening vocal motif (A–F), though it diverges from Mozart's original at the third note. While there is some repetition of the lyrics, the text remains the standard Latin liturgical version. The piece opens with an open fifth (D and A) on the organ and repeats the *Lacrimosa* theme twice; following an atonal section characterized by wide-ranging movement, the work concludes with a D major tonic chord. As the paintings by Atsushi Hirasawa that inspired the piece are highly realistic yet lyrical, the music itself is also grounded in a lyrical quality. This work was premiered on August 9, 2026, in Shikoku-chuo City, performed by Akari Morizane (soprano), Kiyonori Sokabe (trumpet), and Akane Kidawara (piano).

Offeltorium, Ave Maria for Brass Septet by A.Bruckner

[Herr Jesu Christ, dich zu uns wend] for Brass Trio(Trumpet Horn Trombone).