The ballad that brings tears to eyes is one where a mother, enduring the winter cold in her rural village, tenderly knits gloves and sends them to her child living far away in the city, her heart full of longing. The rustic dialect in the song creates a sense of distance between mother and child.

But, KUBOTA Satoshi, the lyricist and composer behind this poignant piece, was born and raised in Tokyo. Despite entering university, driven by a passion for literature, he’s rumored to have fled home, carrying the funds given by his parents for tuition. Alongside his work, he engaged in the vibrant “Utagoe undou” (Singing Voice Movement) of that era. Shortly after the war, many students leaned towards leftist activism, yearning for revolution. KUBOTA joined the Communist Party, only to be expelled after a few years, yet the melody he crafted seems touched by the essence of Russian folk tunes, perhaps from that time.

Eventually, KUBOTA’s whereabouts were discovered by his elder brother, leading to parcels arriving from his mother, now concerned for his well-being. It’s said that these experiences, intertwined with memories of Shinshu where he had sought refuge during wartime, contributed to the birth of this song.

As time advanced and the distance between rural and urban life lessened, this song still resonates deeply, perhaps because it strikes a chord within the depths of the Japanese soul, where those sensitive strings are eternally plucked.

Walking through the town where snow falls silently. Does the melancholic melody depict the nighttime scenery? Along with that melody, the lyrics portray the wistful feelings within the heart. However, in the end, it concludes with a modulation that seems to deflect the coldness of the falling snow, evoking a sense of hope. The contrast between this scenery and the emotional tone is likely the reason for its enduring popularity.

Originally, it was hastily created to fill the gaps in radio dramas during downtime. Due to such circumstances, initially, there was only the first verse of lyrics. However, after it was aired, inquiries flooded in, leading to the addition of the second and third verses, ultimately resulting in its release as a record. It became a song sung for a long time, possibly resonating with the Japanese mentality.

While the exact setting of the song is unclear, it is said that the composer, NAKATA_Yoshinao, was inspired during a visit to Tsuruoka City in Yamagata Prefecture. The experience of being swayed through the winter night streets on a horse-drawn sled from the station reportedly sparked the idea.

Written as “Moon Mountain,” it is pronounced as Gassan. Located in Tsuruoka City, Yamagata Prefecture, Gassan is counted among the Dewa Sanzan, a trio of sacred mountains revered in the Shugendo tradition. Recognized for its significance in mountain worship by ascetic practitioners, it has also earned a place among Japan’s 100 Famous Mountains.

The “pechka,” a heating appliance born from the wisdom of northern peoples, is a type of stove that combines the functions of a fireplace and a stove. It has evolved uniquely in different regions. In Scandinavia, stone pechkas, primarily made of granite due to its low thermal conductivity, are characteristic. It is believed they maintained consistent room temperatures by leveraging the stone’s heat retention properties.

In Russia, brick pechkas became dominant, often featuring elegant decorations while maintaining practicality. Records from mansions in St. Petersburg, the capital, document the existence of pechkas beautifully adorned with decorative tiles.

The pechka culture in Manchuria is considered to have been formed through a confluence of historical factors. The presence of Russian communities who settled in northeastern China, the influence of engineers involved in the construction of the Trans-Siberian Railway, and the arrival of Japanese migrants all intertwined to cultivate a distinctive style.

In the 1920s, Manchuria was in the midst of significant social transformation. The warlord conflicts following the Xinhai Revolution, the influx of Russian immigrants after the Siberian Intervention, and Japan’s full-fledged management of Manchuria created a historical landscape where different cultures met and merged.

During this period, the South Manchuria Educational Association commissioned the creation of songs for Japanese children living in the area. In response, KITAHARA Hakushuu wrote the lyrics and YAMADA Kousaku composed the music. It is said that during their visit to the region, they were exposed to a rich musical culture where Russian folk songs, Chinese folk songs, and Japanese songs intermingled, with the pechka as a central gathering point.

Later, the pechka was also introduced to Hokkaido. Documents from the Colonial Ministry record that Russian engineers, invited by the Meiji government, provided guidance, and the pechka was modified to suit the lives of Japanese people using locally available materials. Today, pechkas can still be seen in places like the Historical Village of Hokkaido, the former NAGAYAMA Takeshiro Residence, and the former Mitsubishi Mining Dormitory. In recent years, the thermal efficiency and heat retention of the pechka have garnered renewed attention due to environmental concerns, and new research incorporating the latest technologies has begun.

People gather around its warmth, engaging in casual conversations. One of the few joys of a cold winter is found around the pechka. The lyrics and music that evoke such scenes continue to be loved by many, even 100 years after their release.

It depicts the joy of snowfall from a child’s point of view.

The song is a cheerful depiction of snow falling in a rhythmic, incessant manner.
As the lyrics of the second verse suggest, the dog running happily around the yard can be compared to a child, and the cat curled up against the cold in a kotatsu, a table-type heater that has been loved in Japan for centuries, can be compared to an adult.

The official world record for the deepest snowfall, by the way, is about 12 meters, which was observed on February 14, 1927, at the weather station on Mount Ibuki (1377 meters above sea level) in Maibara, Shiga Prefecture, Japan. It is almost the same height as the Ootorii (second shrine gate) of Meiji Jingu Shrine.

By 江戸村のとくぞう (Edomura no Tokuzo) – Own work, CC BY-SA 3.0,

According to one prevalent theory, the rich and fascinating history of skiing in Japan can be traced back to the year 1895, which is approximately 130 years ago. It is said that a soldier named Toshitane Matsukawa, who served in the Japanese army, traveled to Scandinavia and was captivated by the local culture and the winter sports practiced there. Upon his return to Japan, he brought back with him a pair of skis, which marked the very beginning of skiing as a recreational activity in the country. This moment is often seen as a pivotal point in the introduction of skiing to Japan, laying the groundwork for what would become a beloved winter pastime.

長岡外史 – 投稿者自身による著作物, CC 表示-継承 3.0, リンクによる

About 75% of Japan’s land area is covered by mountains and hilly terrain.

Since that historic moment, the number of skiers in Japan has gradually but steadily increased over the years. The country’s diverse and mountainous terrain, coupled with its generous snowfall, has made skiing an appealing and accessible pastime for many. As more people discovered the joy of gliding down snowy slopes, ski resorts began to pop up across the nation, catering to both beginners and seasoned skiers alike. This growth in popularity has transformed skiing from a niche activity into a mainstream sport, enjoyed by families, friends, and individuals seeking adventure during the winter months.

The peak of skiing’s popularity in Japan occurred during the bubble economy of the 1980s. During this vibrant period, the number of skiers reached its highest level, leading to a surge in demand for ski resorts. Popular ski destinations experienced overwhelming crowds, with many skiers waiting in long lines for up to two hours just to access the lifts. This frenzy not only reflected the enthusiasm for skiing but also the economic prosperity of the time, where leisure activities were highly valued. The atmosphere at these ski resorts was electric, filled with laughter, excitement, and the joy of winter sports, making it a memorable era for skiing enthusiasts.

Many ski resorts in Japan are not just about skiing; they also offer a unique blend of winter sports and relaxation. A significant number of these resorts feature hot spring facilities, allowing guests to unwind and rejuvenate after a long day on the slopes. The experience of soaking in a steaming hot spring while surrounded by the beautiful snowy landscape is an integral part of the Japanese winter experience. After skiing, many people look forward to warming up in the hot springs, and some even venture out to enjoy the vibrant nightlife at nearby hot spring resorts. During these evenings, visitors can savor a variety of local delicacies that reflect the unique culinary traditions of each region, often accompanied by a glass of fine sake (Japanese rice wine). This combination of skiing, hot springs, and regional cuisine creates a harmonious winter retreat that attracts visitors from all over the country.

Japan is home to numerous ski resorts, particularly in regions known for their exceptional winter conditions. Hokkaido and Nagano Prefecture, both of which have hosted the Winter Olympics, are particularly famous for their world-class skiing facilities. These areas, along with the Tohoku and Jo-shinetsu regions, are bustling with activity during the winter months. Ski enthusiasts flock to these resorts to enjoy the pristine snow and well-maintained slopes. The atmosphere is lively, with families and friends coming together to create unforgettable memories on the slopes, making Japan a premier destination for winter sports lovers.

When the New Year arrives, this song is widely used in various television programs and is cherished by the Japanese people. However, it seems that many relate more to the bright melody, projecting hope for the new year, rather than delving into the meaning of the lyrics.

The first verse conveys the joy of celebrating the New Year in households, while the second verse juxtaposes the grandeur of the Emperor with the first sunrise. It evokes a nuance reminiscent of Japan’s national anthem, “Kimigayo”. This connection is quite apparent as both this song and “Kimigayo” were established in August 1893, with this song being presented as a Ministry of Education’s school song and “Kimigayo” being designated as a ceremonial music, suggesting a sibling-like relationship between them.

The lyricist, SENGE_Takatomi, held positions from Izumo-no-kuni-no-miyatsuko (an official responsible for the religious rituals and governance of Izumo Grand Shrine) to becoming a member of the Upper House, a member of the House of Peers, and the Governor of Tokyo Prefecture. He engaged in politics while being rooted in Shintoist ideology. Considering this, the content of the lyrics aligns well with his background. However, due to its highly dignified classical language, it appears that younger generations might lean towards appreciating the melody rather than the meaning. Moreover, the rhythm, possibly influenced by the classical language, might also have an impact.

Flow in edgewise – 撮影, CC 表示 3.0, リンクによる

Incidentally, I myself thought it was “Ichigatsu tsuitachi,” but the official name of the song is “Ichigatsu ichijitsu.

In Japan, “New Year’s” is an incredibly significant seasonal celebration. It marks the start of the year and serves as a chance for a fresh mental and physical reset.

To welcome “Toshigamisama,” the deity of the New Year, people adorn their homes with “Kadomatsu” on auspicious days at the year’s end, prepare “Kagamimochi” and ceremonial sake, all in readiness for the welcoming ceremony. From New Year’s Day until the 3rd, known as “Sanganichi,” it was customary for families to peacefully spend time with Toshigamisama. Until the 1970s, shops would uniformly close, allowing homemakers to prepare “Osechi Ryouri,” dishes that could be made in advance, as they wouldn’t need to work during that period. Families would gather around the kotatsu, enjoying mandarins, visiting relatives and friends to exchange New Year’s greetings, while adults would share “Osechi Ryouri,” and sake from noon… that was the norm back then, an era without convenience stores like today.

Relatives living apart would also come together, and children eagerly awaited receiving “Otoshidama,” a New Year’s gift of pocket money. Cousins would gather, engaging in activities like flying kites, spinning tops, or playing “Hanetsuki” – an era without video games.

Traditionally, until the 15th in the new year, or shortened to the 7th in the Kanto region, “Matsunouchi” was observed. It’s a period where Toshigamisama is entertained at home, before gradually returning to the routine as the cold winter persists.

This song beautifully portrays the anticipation of children eagerly awaiting such “New Year’s” celebrations, expressed in simple yet heartfelt words, making it a timeless and cherished song sung across generations. HIGASHI_Kume, the lyricist, is known as the first person in Japan to write lyrics in colloquial language.

Selected as one of the”100 Best Japanese Songs”.

By the way, “Gantan” and “Ganjitsu” are often used interchangeably, but the character “Tan” is said to represent the rising sun depicted by a single horizontal line beneath the sun, signifying the morning of New Year’s Day.