The song “Momiji” is a traditional piece that symbolizes the beauty of autumn in Japan. The word “Momiji” (紅葉), written in Kanji, also has another reading, “Kouyou,” which refers to the changing colors of autumn leaves, a phenomenon highly appreciated in Japanese culture. This word reflects the broader cultural significance of the season and the aesthetics of nature in Japan. The appreciation of “Kouyou” is not only a modern pastime but is deeply rooted in Japanese literature and art.

One of the most popular activities during the autumn season is known as “Momiji-gari” (紅葉狩り), which literally means “hunting for autumn leaves.” However, the term does not imply actual hunting, but rather refers to the practice of traveling to scenic spots to view and admire the changing colors of the foliage. Similar to how people gather to enjoy cherry blossoms in the spring (a practice known as “hanami”), “Momiji-gari” is a cultural activity where people go out to appreciate the beauty of nature in its autumnal form. This tradition is deeply embedded in Japanese culture, reflecting a unique way of connecting with the seasonal rhythms of the natural world.

In Japanese poetry, especially in the form of waka and haiku, the transition from summer to autumn is a recurring theme, often symbolizing the impermanence of life, a concept central to Japanese aesthetics. The falling leaves of deciduous trees serve as a poignant metaphor for the fleeting nature of existence, known as mono no aware. This philosophical reflection is central to classical Japanese literature and contributes to the deeper emotional resonance of autumn imagery in the arts.

autumn leaves and Nishikigoi carp

Despite the profound themes underlying the song “Momiji,” the lyrics themselves are remarkably straightforward and accessible, which is why it has been cherished by people of all ages for generations. Even children can grasp its meaning, which adds to its widespread popularity and enduring appeal. This balance between simplicity and depth is a hallmark of much Japanese cultural expression.

The lyricist, TAKANO Yasuyuki, drew inspiration from the spectacular autumn foliage he witnessed near Kumanotaira Station, a location that had already been abandoned at the time. The contrast between the station’s deserted state and the vivid beauty of the surrounding leaves reflects a sense of nostalgia and the passage of time, further enriching the song’s emotional depth.

Kouyou in Arashiyama, Kyoto, like a pastel painting

In Japan, the progression of autumn colors follows what is known as the “autumn foliage front,” which moves gradually from the northern to the southern regions of the archipelago. This is a reverse of the “cherry-blossom front” observed in spring, where the blooming of cherry blossoms travels northward. The arrival of autumn foliage, therefore, serves as a natural prelude to the coming of winter, marking the cyclical rhythm of the seasons that plays a significant role in the Japanese connection to nature.

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“Momiji” has rightfully earned its place as one of the “100 Best Japanese Songs,” a distinction that highlights its importance in the cultural and musical heritage of Japan. The song not only encapsulates the beauty of autumn but also serves as a reminder of the intricate relationship between nature, time, and human emotion that is deeply ingrained in Japanese culture.

Kamakura, near Kyoto and Tokyo, is also famous for its autumn leaves.

A Song That Bridges Ancient Poetry and Modern Melody

“Natsu wa Kinu” (Summer Has Come) stands as one of Japan’s most sophisticated art songs, a piece that perfectly captures the exuberant spirit of early summer while showcasing the extraordinary depth of Japanese literary tradition. The song arrives with the season of Rikka (立夏) – literally “the establishment of summer” – one of the 24 seasonal divisions in the traditional East Asian calendar that marks the official beginning of summer around May 5th or 6th. What makes this song truly remarkable is how its soaring, expansive melody seems to embody the very essence of summer’s arrival, with musical phrases that rise and fall like warm breezes across open fields.

However, beneath this accessible and joyful melody lies something far more complex and intellectually demanding. The lyrics are written in classical literary Japanese, a formal, poetic language that even many native Japanese speakers find challenging today. This isn’t a song you can simply hum along to without deeper study – it’s a sophisticated work of art that requires cultural knowledge and literary understanding to fully appreciate. Think of it as the Japanese equivalent of an opera aria: beautiful to hear, but rich with layers of meaning that reward careful study.
The song has earned such respect among musicians and scholars that it was selected as one of “100 Best Japanese Songs,” a prestigious recognition that places it among the nation’s most treasured musical works.

The Scholarly Mind Behind the Poetry

To understand why “Natsu wa Kinu” is so linguistically sophisticated, we need to know about its remarkable creator, SASAKI Nobutsuna (1872-1963). Born into what could be called Japanese literary royalty, Sasaki came from a family where poetry and classical literature weren’t just hobbies – they were a way of life passed down through generations. His family had dedicated themselves to the study and preservation of Japanese literature for centuries, making young Nobutsuna heir to an incredible wealth of classical knowledge.

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SASAKI’s expertise was so profound that he became one of Japan’s leading authorities on the Man-you-shuu, an 8th-century poetry collection that represents the very foundation of Japanese literature. The Man-you-shuu contains over 4,500 poems and is considered the oldest existing collection of Japanese poetry, making it roughly equivalent to what Homer’s epics represent to Western literature. For his groundbreaking scholarly work in preserving and interpreting these ancient texts, SASAKI was awarded the Order of Cultural Merit, Japan’s highest honor for cultural achievement – think of it as the Nobel Prize for Japanese cultural scholarship.

This background explains why “Natsu wa Kinu” reads more like classical poetry than a typical song lyric. SASAKI wasn’t just writing a summer song; he was creating a work that would demonstrate the continuing vitality of Japan’s ancient poetic traditions in a modern musical context. For contemporary listeners, appreciating this song fully requires what might be called “cultural literacy” – a deep understanding of Japanese literary history and classical references that were once common knowledge among educated Japanese but have become increasingly rare in our modern world.

The Intricate Architecture of Five Tanka Poems

What makes “Natsu wa Kinu” structurally unique is its sophisticated poetic construction. Rather than using conventional song verses, SASAKI crafted five complete tanka poems, each following the traditional Japanese poetic pattern of 5-7-5-7-7 syllables. Tanka is one of Japan’s most ancient and respected poetic forms, predating even haiku, and mastering it requires not just technical skill but deep cultural understanding. Each of the five tanka tells part of the summer story, and they’re woven together so skillfully that they create both individual moments of beauty and a cohesive narrative arc.

The first tanka introduces us to “Unohana” (deutzia flowers) blooming alongside the song of the “Hototogisu” (lesser cuckoo). This pairing has been a beloved symbol of early summer in Japanese poetry since the Man-you-shuu era – imagine how Western literature might pair roses with nightingales. However, SASAKI adds a subtle twist that reveals his deep knowledge: this particular combination is slightly “off-season,” and when the hototogisu sings at unexpected times, it’s called “shinobine” (yearning song) – a cry filled with longing that adds emotional depth to the natural imagery.

The second tanka contains one of the song’s most complex references, drawing from “Eiga Monogatari” (A Tale of Flowering Fortunes), a Heian period historical narrative from around 1000 CE. The original passage describes women “Taue”(planting rice) with their hakama (traditional split skirts) wet from early summer rains, while praying for the emperor’s reign to last a thousand years. SASAKI transforms this historical scene, changing “Shizume” (women of low status) to “Saotome” (rice-planting maidens) in 1932, perhaps reflecting changing social sensibilities. “Saotome” remains a common Japanese surname today, connecting this ancient imagery to contemporary life.

Classical Wisdom and Natural Beauty Intertwined

The third tanka draws from Chinese classical literature, specifically the famous story “Keisetsu no kou” about a poor student who studied by firefly light because he couldn’t afford oil for lamps. This tale was so well-known to prewar Japanese that it was immortalized in the graduation song “Hotaru no Hikari” (Light of Fireflies), which generations of Japanese students sang at school ceremonies. By including this reference, SASAKI gently reminds listeners not to waste the long summer days – a message about diligence and self-improvement that resonates with traditional East Asian educational values.

The fourth tanka presents a quintessentially Japanese summer scene: the “Ouchi” (Japanese bead tree, or Melia azedarach) blooming near a riverside gate, where a “Kuina” (water rail) can be heard calling. This isn’t just pretty nature imagery – it’s a sophisticated reference to classical literature including “Genji Monogatari ( The Tale of Genji ),” where the kuina’s distinctive call is compared to the sound of someone tapping at a gate, creating an atmosphere of mystery and anticipation. For readers familiar with these classical works, this single image evokes entire worlds of literary association.

The fifth and final tanka serves as a masterful summary, weaving together key elements from the previous four poems while introducing “Satsuki Yami” (May darkness). This refers to the deep darkness that characterizes the rainy season, when thick clouds block out light even during what should be the bright days of early summer. It’s a uniquely Japanese seasonal concept that captures how the rainy season creates an almost mystical quality of light and shadow.

Finally, for those learning Japanese, it’s worth noting that “Natsu wa Kinu” doesn’t mean “summer never comes” as English speakers might initially read it. In classical Japanese, “kinu” is the past tense of “kuru” (to come), making the title mean “Summer Has Come” – a joyful announcement that the season has finally arrived, bringing with it all the natural beauty and cultural richness that SASAKI so masterfully celebrates in his five interconnected poems.

This famous poem was selected as one of the 100 Best Japanese songs.

Sakura is symbol of Spring in Japan

“Sakura Sakura” symbolizes spring in Japan. It is said that this song became popular when it was used in the first act of the opera “Madame Butterfly” by Italian composer Puccini in 1904. Since then, it is often performed by foreign musicians, especially rock musicians, when they visit Japan to communicate with the audience.

Historical Background and Evolution of Lyrics

The history of this song dates back to the late Edo period, and it seems to have been popular as a koto practice piece. The title is simply “Sakura,” but in the 1888 “Nihon Sokyokushu,” the lyrics begin with “Sakura Sakura,” and this name is often used. At the time, the lyrics were the second stanza above, but in the 1941 song collection “Uta no Hon,” it was changed to the first stanza. It is speculated that this was because the literary nature of the words may be difficult for children to understand. This may be because literary words may be difficult for children to understand, but in modern times, the words are mixed depending on the generation that learned it.

Although often labeled as a traditional Japanese folk song, “Sakura Sakura” was actually composed in the late Edo period in Edo (modern-day Tokyo) as a practice piece for children learning to play the koto. It was later included in the “Soukyokushuu” (Koto Music Collection) of the “Ongaku Torirabegakari,” a music education institution under the Ministry of Education that existed from 1879 to 1887, and was officially published in 1888.

Cultural Significance and Spirituality of Cherry Blossoms

The reason this song has taken root in the hearts of Japanese people is probably because the graceful melody matches the image of cherry blossoms. Cherry blossoms and autumn leaves are representative of Japanese nature, but the latter can be enjoyed for more than a month, while cherry blossoms can only be enjoyed for two weeks at most. This is probably because cherry blossoms resonate with the spirituality and sense of impermanence of the Japanese people. Many people gather at cherry blossom viewing spots during this season, laying out picnic sheets. However, for drunk cherry blossom viewers (including me), being able to drink alcohol from noon on a calm day is probably more important than that feeling.

At Chidorigafuchi, adjacent to the Nippon Budokan, you can enjoy cherry blossom viewing from a boat.

Theory of Hebrew Origin and Its Context

By the way, there is a theory that this song was originally Hebrew. Some enthusiasts and researchers claim that the word “sakura” resembles a Hebrew word. During the Edo period, Japan had a policy of national isolation, and exchange with the outside world was extremely limited, there was almost no contact with Hebrew-speaking communities (such as Jews), and there is no record of a Jewish community being formed in Japan until the 20th century. But there is also a tomb of Christ in Aomori Prefecture, Japan. Believe it or not?

100 Best Japanese Songs