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).
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).
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).
This is a piece reconstructed (dapu) by Sou Si-tai. The original score first appeared in the Xilutang Qintong (Xilutang Qin Anthology) (1549). There is a poem in the Wuxue Shanfang Qinpu (Wuxue Shanfang Qin Handbook) (1836) of the same title “Autumn Thoughts at Lake Dongting” which goes like this: “I sailed on the water in a small boat under the southern sky, The baboons’ cries and the tear-stained bamboo made me so sad. For twenty years, I dreamt of the moon over the Hunan mountains, But tonight, I could almost see it on the notes from the seven strings.” This recording is played based on Dahuange Qinpu and is played by Sou Si-tai with his own made Xiaoyao Qin (silk strings).
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).
The earliest extant notation of this piece can be found in the Shenqi Mipu (Mysterious Manuscript) (1425). Attributed to the qin master, Guo Chuwang of the Southern Song Dynasty, the piece paints a picture of hills and rivers shimmering in the misty light. This recording is played based on Ziyuantang Qinpu (1802) and is played by Lee Chun-yuen, Otto with his own made Lianzhu Style Qin (metal strings).
A piece of qin music describing the sentiments of a solitary scholar who deeply misses his friends. It has been very popular since its debut in the 1930s. This recorded segement of qin music is played based on Yinyinshi Qinpu (Yinyinshi Manuscript) (2000) of Tsar Teh-yun and is played by Kwan Kar-way, Kelwin with his own made Weibo Qin (silk strings).
The 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) has 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 the score handed down by Pei Jieqing and is played by Ho Chun-wah, Johannes with his own made Shennong Style Qin (silk strings).
This piece was included in a manuscript from the late Qing Dynasty. It is a very short piece that conveys a quiet mood. This recording is played based on Yinyinshi Qinpu (Yinyinshi Manuscript) (2000) of Tsar Teh-yun and is played by Kwok Kang-ming, Eric with his own made Haozhong Style Qin (silk strings).
The earliest extant notation is from the Qinxue Rumen (A Beginner’s Guide to the Study of Qin) (1864). A short and lyrical piece, the Preface from the original notation reads “Su Zizhan when spending a night in retreat at Lingyin Mountain, heard a woman’s voice singing in the middle of the night. He traced the voice to a wall and the singing stopped. The next day he unearthed a qin there and composed this piece as he heard it.” This recording is played based on Yinyinshi Qinpu (Yinyinshi Manuscript) (2000) of Tsar Teh-yun and is played by Lau Ho-ying, Zoe with her own made Yiqing Qin (silk strings).
This relatively short piece is subtly nuanced to express feelings of loss and sadness over past eras and personalities: “The moon comes and goes, but where are the great men and their achievements?” This recording is played based on Yinyinshi Qinpu (Yinyinshi Manuscript) (2000) of Tsar Teh-yun and is played by Lam Chi-chiu, Roland with his own made Qiutao Qin (silk strings).
A short piece from the Ming Dynasty Songxianguan Qinpu (Songxianguan Qin Handbook) (1614), which depicts a breezy starry night with a bright moon in the sky, a splendid environment to play qin, to drink wine and to write poetry. This recording is played based on Yinyinshi Qinpu (Yinyinshi Manuscript) (2000) of Tsar Teh-yun and is played by Ho Wing-tze, Dawn with her own made Lesong Qin (silk strings).
This relatively short piece is subtly nuanced to express feelings of loss and sadness over past eras and personalities: “The moon comes and goes, but where are the great men and their achievements?” This recording is played based on Yinyinshi Qinpu (Yinyinshi Manuscript) (2000) of Tsar Teh-yun and is played by Wong Pat-mui with his own made Junru Qin (silk strings).
The score for this piece was first seen in Xie Lin’s Taigu Yiyin (The Remnant Notes of Celestial Sounds) (1511). A number of versions, all with variations, existed after that time, but one thing they shared in common was that the music was set to the words of the fu poem of the same title by Tao Yuanming. The tune reflects the conceit of the original poem. This recording is played based on Zhenchuan Zhengzong Qinpu and is played by Tong Wan-hoi with his own made Gaoyin Laba Qin (metal strings).
The earliest extant notation is from the Longyinguan Qinpu (Longyinguan Qin Handbook) (1799). The tune is possibly adapted from a Shandong folk song. It has been disseminated widely since the publication of the Mei’an Qinpu (Mei’an Qin Handbook) (1931). This recording is played based on Mei’an Qinpu and is played by Yuen Chi-tai, Humphrey with his own made Xuanhe Style Qin (silk strings).
