Spring songs from the early Showa era: a collection of kayōkyoku and shōka that evoke spring
When you hear “spring,” what songs come to mind?In the early Showa era, spanning from before to after the war, many popular songs, school songs, and children’s songs were created that delicately captured the changing seasons.In this special feature, we present a rich selection of songs and school songs about spring from that time.Some of the linked audio-video materials use original recordings from the era, so please savor the spring air of those days along with the retro sound.We hope you enjoy a gentle springtime, humming along to these nostalgic melodies.
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Spring songs from the early Showa era: A collection of kayōkyoku and shōka that evoke spring (21–30)
carp streamer
Even today in the Reiwa era, koinobori carp streamers are displayed across Japan as May approaches.
And whenever we see those koinobori, the children’s song “Koinobori” automatically comes to mind.
It’s a short tune, but I feel the lyrics are wonderfully apt in likening the carp streamers swaying in the blue sky to a parent and child and describing them as “swimming.” How many people can immediately say who wrote the words and music to “Koinobori”? The song is said to have first appeared in Ehon Shoka: Haru no Maki, a picture-book collection of songs published in 1931, with lyrics by Miyako Kondo, who had a background as a music teacher.
In fact, Kondo also wrote the lyrics to the well-known “Tulip,” but because her works were initially published as anonymous pieces, she was not officially recognized as the lyricist until 1993, after various complications.
What’s more, the composer remains unknown even today.
Despite that background, the song has continued to be sung, surely thanks to the excellence of both the melody and the lyrics of “Koinobori.”
Suzhou SerenadeWatanabe Hamako, Kirishima Noboru
“Suzhou Nocturne” is a popular song from the Showa era, composed in 1940 as an insert song for the film “China Nights,” and released on record the same year sung by Hamako Watanabe and Noboru Kirishima.
In the film, it is performed by actress Yoshiko Yamaguchi, known as Li Xianglan, who was born in prewar China and lived through a turbulent era.
The song was, in fact, originally created with the premise that the movie star “Li Xianglan” would sing it.
Suzhou—called the “water city of the East”—and the feelings of a man and a woman are depicted in beautifully crafted lyrics characteristic of Showa-era popular music.
Spring songs from the early Showa era: A collection of popular songs and school songs that evoke spring (31–40)
The Hill Where Mandarin Orange Blossoms BloomKawada Masako
Announced on August 25, 1949—one year after the end of the war—Mikan no Hana Saku Oka (The Hill Where the Orange Blossoms Bloom) enjoyed such popularity that it is said to be the biggest hit among children’s songs released in the postwar era.
While mikan (mandarin oranges) are often associated with winter fruit, their blossoms actually bloom in May, making this song, which focuses on orange blossoms, very much a springtime children’s song.
The lyrics were written by Shogo Kato, editor-in-chief of the music magazine Music Life, and the music was composed by Minoru Kainuma.
The singer was 12-year-old Masako Kawada, who was extraordinarily popular as a children’s song vocalist.
Although the piece was created for a radio program featuring Kawada, remarkably, the song was completed only the day before it was broadcast.
In Shizuoka Prefecture, Kato’s home region, there are several monuments inscribed with the song’s lyrics; if you’d like to learn more about the song’s background, a visit is highly recommended.
Tokyo RhapsodyFujiyama Ichirō
One of the emblematic songs of prewar Showa-era pop, it was released in 1936, showcasing Ichiro Fujiyama’s rich, velvety voice.
Even the use of katakana in the title gives it a radiant, modern feel.
The lyrics feature words like “paradise” and “jazz,” and name Tokyo’s iconic entertainment districts such as Ginza, Kanda, Asakusa, and Shinjuku.
With lines like “Ginza’s tea rooms” and “jazz in Asakusa,” the lush lyrics evoke the excitement of the big city.
Give it a listen and let your thoughts drift to Tokyo as it was back then!
The Night Wind of the JourneyKirishima Noboru, Misu Koromubia
“Tabi no Yokaze” is a Showa-era popular song released in 1938.
It was composed as the theme song for the film Aizen Katsura, which was based on a novel depicting a quintessential ‘star-crossed’ romance, and it became a smash hit for the time, selling over 800,000 copies.
Even if people don’t know the song’s title, many will recognize it when the opening lyrics play and say, “That’s the song from Aizen Katsura, isn’t it?” The understated yet expressive vocal performance by Noboru Kirishima and Miss Columbia remains moving even today.
Where are you, spring?Futaba Akiko, Fujiyama Ichirō
Haruhai Izuko (Where Is Spring?) is a song released in 1940 (Showa 15) by the golden combo of Showa-era popular music: lyrics by Saijō Yaso, composition by Koga Masao, and vocals by Akiko Futaba and Ichirō Fujiyama.
A film of the same title was released in the same year, and, as was common with popular songs of the time, this piece served as its theme song.
Incidentally, there is another theme song for the same film, Natsukashi no Utagoe (Nostalgic Singing Voice), for which the lyricist, composer, and singers are all the same; in fact, Haru yo Izuko was issued as the B-side to the Natsukashi no Utagoe record.
While both sets of lyrics share a sentimental tone in keeping with the film’s story, Haru yo Izuko is characterized by a more melancholy, plaintive melody and mood compared to the bright, up-tempo feel of Natsukashi no Utagoe.
If you’re interested, I encourage you to listen to both and compare them.
Spring at the BorderHaruo Oka
Haruo Oka was a popular singer who rose to fame from before the war through the postwar era, scoring huge hits in his peak years in the late 1940s with songs like “A Longing Voyage to Hawaii.” His landmark debut single was “Spring at the Border,” released in 1939 (Showa 14).
The lyrics, seemingly sung from the perspective of a protagonist staying on the border between the Soviet Union and Manchukuo at the time, evoke a poignant yearning for spring back home in Japan.
Oka’s refined, impeccable vocals lend compelling weight to the song’s unique sense of melancholy.