Commissioned by Tokyo Kosei Wind Orchestra. Premiered on 28th January 2017 under the baton of Shizuo "Z" Kuwahara.

Following is a revised description of the program used in the premiere.

O. Respighi (1879-1936) was a diligent researcher on Baroque and Classical music, resulting in works including arrangements of J.S. Bach's (1685-1750) orchestral works, a song "Sopra un'aria antica" which was written based on an old Italian song "Intorno all'idol mio" by M. Cesti (1620-1669) and "La Boutique fantasque" and "Rossiniana" inspired by G. Rossini (1792-1868) of a slightly later era. As such, Respighi's works always has a nostalgic taste to them.

Antiche Danze ed Arie per Liuto (Ancient Airs and Dances) is a set of three orchestral suites by Respighi and today, the Suite No. 3 (composed in 1931) will be performed. It comprises the following four pieces. The first, third, and fourth have been arranged by the composer for the solo piano as well.

1. Anonymous - Italiana (Late 16th century)
2. Jean-Baptiste Besard - Arie di corte (16th century)
Besard (1567-1625) was a French lutenist, composer and doctor.
3. Anonymous - Siciliana (Late 16th century)
This melody is familiar to the Japanese public as it is used in the media often. It originated from "Spagnoletta", a popular piece in England and Italy from the 16th century. It is in "The Fitzwilliam Virginal Book" as No. 289 "The Old Spagnoletta" by Giles Farnaby (1560-1640).
4. Lodovico Roncalli - Passacaglia (1692)
Passacaglia adapted from the 9th suite of "Capricci armonici sopra la chitarra spagnola ('Harmonic caprices for the Spanish guitar')" by Lodovico Roncalli, an Italian noble and guitarist.

As this is an arrangement rendered for the wind orchestra, I duly changed the title from the original, "Antiche Danze ed Arie per Liuto, Libera trascrizione per orchestra d'archi [string orchestra], Terzo Suite", into "Antiche Danze ed Arie per Liuto, Libera trascrizione per orchestra?di fiatti [wind orchestra], Terzo Suite".?

So very often, orchestral arrangements are being arranged into pieces for the wind orchestra, a notion I am personally not fond of, as this concept is mainly based on how the wind orchestra can simulate the sounds of a string orchestra, making the arrangement seem like a "substitute" for the original.

An "arrangement", in my personal opinion, has to be a "re-creation", and seemingly more attractive than the original. Hence, my preference in arranging pieces from various types of compositions other than orchestral pieces, such as violin and piano solo pieces. While doing so, I would inject some of my own expression, from ideas on how I would perform this piece myself on the piano, drawing a totally different form of attractiveness, and associating the original piece with the charm of the sounds of a wind orchestra.

This piece was originally for the lute, but Respighi has expanded its reach throughout the world with an orchestral rendition. In arranging this piece for the wind orchestra, I can only imagine the possibilities it can achieve. It would be my humble pleasure as the arranger, if this piece can reach fans of orchestral music and wind instrument players, promoting their enthusiasm towards wind orchestra music.

Especially for this piece on this day, one can only be eager for the opportunity to take in the various alluring tone and sounds produced by the Tokyo Kosei Wind Orchestra, a color palette of prime quality.