-
Fan Canglang (Sailing on the Water)
The preface of the Shenqi Mipu reads, “it is said that this piece was also written by Guo Chuwang. Its topic concerns rowing a small boat in the Five Lakes, and casting aside rank and fame as if these were discarded mustard plants. Carrying the wind and moon and playing with the clouds and water; affairs of the world seem as insignificant as bubbles on the surface of the water, your Dao encompasses all of history, and your mind joins with the universe; its theme is like this.” This piece is reconstructed (dapu) by Lau Chor-wah. This recording is played based on the Shenqi Mipu (Mysterious Manuscript) (1425) and is played by Lau Chor-wah with her own made Hundun Qin (silk strings).
Date 2013 Maker's Note This qin bears a sturdy, thick and heavy body of a plain and simple shape. Its innate quality is dark and deep, and perfectly mirrors nature with its unpretentious aspects. People Lau Chor-wah Material Type Audio Collection The Legend of Silk and Wood: A Hong Kong Qin Story Source Intangible Cultural Heritage Office and Hong Kong Heritage Museum Repository Intangible Cultural Heritage Office Note to Copyright Permission for use in Hong Kong Memory is given by Intangible Cultural Heritage Office and Hong Kong Heritage Museum Accession No. lcs-hkqs-0221 
Share
Related Audio
Wuye Wu Qiufeng (Parasol Leaves Dancing in the Autumn Breeze)
This piece first appeared in the Qinxue Xinsheng (Study and Aspirations of the Qin) (1664) by Zhuang Zhenfung of the Qing Dynasty and is the most widely played piece among the composer’s fourteen works. It has a delicate melody which evocatively describes the sound of falling leaves in an autumn breeze. In this performance, the piece is played based on Qing Rui's heirloom manuscripts and is played by Yung Hak-chi, Hammond with his own made Keng'er Qin (metal strings).
-
Yangguan Sandie (Parting at Yangguan)
The earliest version of this piece of qin music appeared in the Zheyin Shizi Qinpu (Qin Songs in Zhejiang Dialect) (1491). The lyrics were developed from a famous poem by the Tang poet, Wang Wei, titled Song Yuan’er Shi Anxi (Seeing Yuan Er Off as Commissioner to Anxi). Many other versions appeared later, but these were either shortened or extended as the arrangers or musicians saw fit. This version is derived from the Yinyinshi Qinpu (Yinyinshi Manuscript) (2000) of Tsar Teh-yun. The music opens slowly, and then accelerates. As the emotions escalate, it changes to rubato before it comes to a more relaxed and muted closing, ending on harmonic notes. The undulating melodic line attempts to recreate the changing emotions of dear friends at parting. This recording is played by Ng Ying-wai with her own made Songtao Qin (synthetic fibre strings).
-
Pingsha Luoyan (Wild Geese Landing on Sand)
This piece first appeared in a manuscript of the late Ming Dynasty. One of the most widely played pieces of the last three hundred years, it exists in scores of notational versions. The version in the Tianwenge Qinpu (Tianwenge Qin Handbook) (1876) bears a note that suggests programmatic content: “The autumnal sky is high and the air is clear; the wind is calm and the sand is smooth; the clouds stretch for ten thousand miles; the wild geese fly freely in the sky, sharing the thoughts of this wanderer.” This recording is played based on Jiao’an Qinpu (Jiao’an Qin Handbook) (1868) and is played by Siu Yat-tung with his own made Zhongni Style Qin (silk strings).
