- Saturday 23 August 2008 5:00PM
This music feature explores the cultural milieu of the silk string Qin, a 3000 year old, seven-stringed, fretless Chinese zither. Silk on Wood focuses on a small group of musician-scholars living in Hong Kong, dedicated to maintaining the silk string Qin tradition. Listeners are afforded the rare privilege of entering the very private world of the only surviving Silk String Qin society, to witness the dedication and resilience of this reclusive community in the face of the behemoth that is New China.
Throughout its long history, the Qin has been the musical instrument most prized by China's literati or educated class. The upheavals in China from 1949 onwards saw the decline of this literati class and, with it, the culture of silk string Qin. No other instrument has been described and illustrated in such detail, so often depicted in paintings or so regularly mentioned in poetry. It lays claim to the world's oldest detailed instrumental music notation.
Producer: Robert Iolini
Narrator : Ling Hseuh-Tang
Reader : Darren Yap
Mastering : Timothy Nicastri
Executive Producer : Robyn Ravlich
Narrator : Ling Hseuh-Tang
Reader : Darren Yap
Mastering : Timothy Nicastri
Executive Producer : Robyn Ravlich
Produced with the support of the Regional Radio Production Fund
Download Audio [whole program MP3 - 49.2MB]
Watch video: Professor Lau Chor-wah performs a short compostion on a Qin with silk strings
Watch video: Dr Tse Chun-yan performs his compostion 'Reflections on a Lake'
Watch video: Dr Tse Chun-yan demonstrates various fingering techniques on the Qin
Watch video: Dr Tse Chun-yan performs an excerpt from his compostion 'The Oil-Lamp Flickered'
Find music details at end of transcript
Supporting Information
Hsi K'ang: From the days of my youth I loved music, and I have practised it ever since. For it appears to me that while things have their rise and decay, only music never changes; and while in the end one is satiated by all flavours, one is never tired of music. It is a means for guiding and nurturing the spirit, and for elevating and harmonising the emotions. Nothing equals music in its power to bring solace to those who dwell in poverty and loneliness. Therefore, if instrumental music proves to be insufficient, one hums a melody to set forth his intention; if this is not sufficient, one composes words for the tune, in order fully to express his thoughts.
Narrator: The Qin, a type of zither, beloved of sages and of Confucius, is the most prestigious of China's instruments. It is endowed with cosmological and metaphysical significance and empowered to communicate the deepest feelings, Chinese lore holds that the Qin was created during the late third millennium BC by mythical sages Fuxi (Pron: foo-shi), Shennong and Huangdi (Pron: hwung-dee) the Yellow Emperor. Images inscribed on oracle bones depict a Qin during the Shang dynasty (1600-1050 BC)
Narrator: 'Spring Dawn Over Jade Pavilion', performed by Madame Tsar Teh-yun in 1970 at her home in Hong Kong. Madam Tsar was born in China in 1905. And grew up in Shanghai. In 1950 after the communists came to power, she left Shanghai and settled in Hong Kong. Madam Tsar dedicated her life and love to writing poetry and calligraphy, painting and music. She nurtured many of today's fine Qin players, scholars and teachers. She died in 2007 at the age of 102. She was the last of the older generation 'literati culture' of Qin masters born in China. Her students, members of the Deyin Qin Society carry on her practice today in Hong Kong.
Lau + Tse: We are all followers of our master. The society is comprised of all the followers of our master. Disciple and disciple of disciples.
Narrator: Professor Lau Chor-wah (Pron: low - as in owl -chore-wah) and Doctor Tse Chun-yan (Pron: chey choon-yan)
Lau: Scholars say she is the last Literati Qin player of China. The last. There are not many masters of Qin. It is very difficult to meet one, and we were lucky enough to meet her. It is our luck. And now we can't find another similar player of her style, of her...
Narrator: Qin playing has traditionally been elevated to a high spiritual and intellectual level. Many writers claimed that playing the Qin helped to cultivate character, understand morality, supplicate gods and demons, enhance life, and enrich learning.
Tse + Lau: She thought that she is fortunate enough that she could avoid those political issues in mainland China, and so emphasised that she kept her life very quiet, peaceful. Peaceful mind and built up her own spiritual world. Consists of writing poetry and devoted to the music. This music is not in the sense of performing arts...
Hsi K'ang: Brilliant men of former ages have in poetical compositions and odes of praise written about the eight kinds of musical instruments and the various figures of song and dance. But such men followed in their style and composition the fashion of the times; they all without exception imitated each other. Praising the quality of the instruments, they held delicacy and elaborateness for the best. Describing their tones, they stressed melancholy and sadness. Lauding the influence exercised by their music, they held the power of causing the hearer to weep the most important. Granted that their compositions were not lacking a certain elegance, yet they did not exhaust the inner meaning of the subject. If one probes into the reason for this, it would seem that they did not really understand music. And as regards the tendency of their essays, it appears that they also had not penetrated the sentimental value of Rites and Music. Of all musical instruments the lute has the greatest virtue. Therefore I have now made a poetical essay, setting forth my thoughts regarding the lute.
Narrator: A passage from the Qin Fu (Pron: chin-foo) also known as 'Ode to the Qin' by third century Chinese Taoist philosopher, alchemist, musician and poet Hsi K'ang (Pron: shee-kung). He was one of the most important members of the free-spirited, heavy-drinking Seven Sages of the Bamboo Grove, a coterie of poets and philosophers who scandalized Chinese society by their iconoclastic thoughts and actions.
Narrator: 'Thinking of Old Friends', as taught by Madame Tsar (Pron: char) and performed by her student Professor Lau Chor-wah on a Qin named Sa Chen from the Northern Song Dynasty 10th to 12th century using heavy silk strings. One of the best loved compositions of the last fifty years, it expresses a profound feeling for friendship.
Lau: You see China since the beginning of the 20th century, everything is changing. And my master was born in 1905 at a moment when everything is quickly changing. She was very well educated in the family. She had very good contact with the Chinese traditional culture, she learned calligraphy with her mother. And then she started her school in a very modern English school in Shanghai. Shanghai was the biggest modernised city in China. A door to the west. So she had a very big privilege of modern and tradition. The way she understands Chinese culture is a tradition of a thousand years.
Narrator: During the early 1950s, Madame Tsar was active among the literati artistic circles of Hong Kong where many northern immigrants like herself settled. She frequently participated in gatherings where the refined arts of poetry, calligraphy, painting and Qin were practised. Many of her poems appeared in the pages of Wah Kin Yat Po (Pron: as is) the time such as Zhang (Pron: xang—as in Xavier) Renshi and Xu (Pron: zoo) Wenjing (Pron: when-jing). She was also known for her exquisite calligraphy, and published in 1957 her calligraphed copy of Xu's poetry collection called A Hundred Memories of West Lake.
Lau: When I say the generation of my teacher—they just live in this tradition, enjoy it. This is part of her life. Of course we consider Qin as part of our life too, but in a different way.
Hsi K'ang: In truth those people who are not of a free and detached disposition cannot find enjoyment in lute music. Those who are not profound and serene cannot dwell with it. Those who are not broadminded cannot ungrudgingly give themselves over to it. Those who are not of the utmost refinement cannot understand its deep significance.
Tse: The masters in China play the metal string is also actually related to the long tradition. But our teacher has something special. So we cannot say that what is handed down from our master is the only lineage from the past. But it is different from the other masters. Our master is the last of the literati generation, so the masters of this generation, they are really just concentrating on the music, not broad like the previous generation of literati, who really know a lot about many aspects of Chinese culture. This present generation, their focus is more on the...
Lau: Playing, technique, performance. The emphasis is that Qin music is completely the same as any other popular musical instrument. The musicians should not emphasis that this is a literati music. That's their focus. This is reactionist to say that. Politically wrong...
Hsi K'ang: If the downcast hear this music, they will all be sorrowful and pained, grief will wound their hearts, and they cannot refrain from mournful wails. If the strong and joyful hear it, they will be content and at ease; they start dancing; unconcerned and happy they will laugh and smile the day away. If those of a harmonious and even disposition hear it, they will peacefully nurture their equanimity, they become solemn and profound, in aloof serenity they enjoy antiquity, they leave all earthly cares behind and their souls are freed.
Therefore, Po I borrowed from the Qin his honesty, Yen Hui his benevolence, Pi Kan his loyalty, Wei Sheng his faith, Hui Shih his eloquence, and Wan Shih his diligence. And all other people in the same way benefit by the Qin, each according to his individual disposition. Qin music is manifold in its manifestations, but although it be along dfferent ways, in the end it leads people to the same goal, sometimes by its beauty, sometimes by its deep meaning. Because Qin music comprises the Middle Harmony, it embraces all things, one's entire life one can benefit by it and never find it failing. Therefore great indeed is the influence this instrument exercises over men and things.
Lau: When I learned playing Qin with my master we didn't talk much about other things. Just the music side fascinated me. The music is very rich. It is a very beautiful music. Before I encountered my master, I listened also to some recordings. I was fascinated by the quality of the sound. And then when I play music, oh it's much more than that.
Our master presents this music in such a way that, the music itself is very rich so we didn't have time to say, oh, I'm learning this music for the sake of learning more Chinese culture. No no not at all. It just come naturally together in our understanding.
The Qin is an ancient instrument with a long tradition especially founded by literati -- the Chinese literary man.
Different arts emerge in the same culture, it is quite natural that the Qin player is interested in the other traditional art. I find this very rich, rich music. Very rich culture and there's a lot to learn.
Cultural identity? There's no problem. For me, Qin is in fact a symbol for Chinese culture in Hong Kong.
Tse: I think for us we are Chinese. I think it's straightforward that we are Chinese, even though we live in the previous British colony.
Narrator: Throughout the 1970s and 80s, Madame Tsar devoted her time to teaching and trained several generations of students, many of whom have since established themselves as prominent Qin musicians in their own right, performing in venues such as Hong Kong Arts Centre, City Hall, and Hong Kong Academic Hall. Students often gathered in her home to play for one another and for her. One tradition that she established was for two people (herself and a student, or two students by themselves) to play the same piece facing one another on different instruments in unison.
Narrator: 'Falling Leaves Dance in the Autumn Breeze', as taught by Madame Tsar and performed by her student Sou Si-tai (Pron: so see-tie) on a Confucian-style Qin from the Southern Song Dynasty 12th to 13th century using light silk strings. One of the most widely played pieces, it expresses a feeing of loss and regret as one sees the falling leaves in autumn.
Lau: Her generation means the last fifty years of modern China. We don't live the same way. The political environment is different. The whole culture is changing. In China now, in modern China. The best way of preserving Chinese culture became a very controversial problem, because very few really understand the tradition, the culture, the heritage. So we try not to say we are going to preserve this heritage. Just try to keep on enjoying this music and teach music as our master did.
Hsi K'ang: Here it is that wise men fleeing the world, worthy companions of a Yung-ch'I or Ch'i-li, together ascend high mountain arches and cross deep-cut vales. Clinging to branches of fairy trees they climb steep ridges, in order that they may roam under these trees. Wandering about they remain gazing into the distance for ever; their horizon is as wide as that of a bird in its flight. Looking upwards they see the K'un-lun ranges, looking down they discern the marshes that border the ocean. They point to the Ts'ang-wu mountains l3 afar o, they approach the imposing calm of meandering rivers. Then they realize the constraining shackles of ordinary life, and longingly they look up to the splendour that lingers over the Chi mountain. Enamoured with the generous broadness of these heights, their hearts are filled with noble emotions, and they forget to return.
Narrator: Madame Tsar did much research into Qin music, focusing on the study of old masterpieces such as (Sunny Spring), 'Soaring Dragon, 'Flowing Waters' and 'Evening Song of a Drunken Fisherman'. She also studied masterpieces preserved in archaic notation but not played, such as 'Songs of the Fisherman' and 'The Eighteen Variations on the Barbarian Horn', bringing them to life through interpretive performance, a process known as dapu. The following performance is Madame Tsar's own interpretation of the notation of 'The Eighteen Variations on the Barbarian Horn'. Recorded at her home in 1987, it is among the longest and most complicated technically and musically of Qin compositions with unusual pitch material and rhythmic features. The original notation has an accompanying note that reads 'This composition sounds as if someone is weeping and relating a sad story.'
Narrator: Madame Tsar owned and played several antique Qins. Most notable is Tigers roar, built over 800 years ago in the Song Dynasty.
Hsi K'ang: The trees of that species from which Qins are built grow on the lofty ridges of steep mountains. Rich soil ensures them great age, their tapering stems rise high into the sky. They are saturated with the pure harmony of Heaven and Earth, they inhale the beneficent splendour of sun and moon. Their solitary luxuriant growth overtops the surrounding vegetation, their verdure leaps high to the azure vault of heaven. At twilight they borrow the red glow of the evening sky, in the morning the sun dries the dew on their stems. For a thousand years they wait for him who shall recognize their value, quietly they repose, forever robust.
Narrator: Each part of the Qin is identified by an anthropomorphic name, and cosmology is ever present: for example, the upper board of wutong wood symbolizes heaven, the bottom board of zi wood symbolizes earth. The Qin has no bridges to support the strings, which are raised above the soundboard by nuts at either end of the upper board. The Qin is generally played solo. Qins over a hundred years old are considered best, the age determined by the pattern of cracks in the lacquer that covers the instrument's body. The thirteen mother-of-pearl studs running the length of one side indicate finger positions for harmonics and stopped notes.
Hsi K'ang: Their emotions become broad and even, their eyes have a faraway look. They long to continue the music left by the 'Yellow Emperor', they cherish the mountain spirit Lao-tung of the Kuei rock, and admire the inspired songs of T'ai Y'ung. Beholding these trees they grow thoughtful, they long to express the feelings of their hearts in a tangible way. Then they lop off the young branches, and weigh and measure a block of wood to be employed. Thus, in order to expand their feelings, Superior Men made the Elegant Qin.
Narrator: For at least 2,000 years, until the Cultural Revolution, the strings for the Qin were always made of twisted silk which had been boiled in a kind of glue. Today silk strings are very rare. Almost all players in China use metal strings (also called nylon strings, since they are nylon with a metal core). There is a distinctive silk-string style. However, one of the strengths of the Qin is that it can accommodate both a silk-string style and a metal-string style.
Tse: How different is the metal string and the silk string? Most people in China play the metal string, but it's still really a continuation of the tradition. Maybe you can say it is a newer direction for those who play the metal string. It is still intimately related to the tradition. It's a slightly different direction of development. The technique, the required technique is different. But I myself do not see it as two completely different things. You can play the same piece on a metal string as well as the silk string. But then the fingering control is slightly different. You have to adapt, so actually my technique on the silk string is not fluent because I play the metal string more.
Hsi K'ang: Its strings are made of Yuan K'o silk, its studs are made of jade from the Chung mountain. It shows figures of dragons and phoenixes, and of antique worthies: one sees Po-tzu ya playing his Qin, and Chung-tzu-ch'i listening to him, brilliant and shining in full colours; how elegant! Ling-lun adjusts the sonorous tubes, T'ien-lien composes his melodies. In the hands of the Superior Man new melodies blossom forth from this instrument; how impressive!
Lau: The silk string exists always. My first contact with this Qin music is silk string because my master played this way. So it is quite natural that I'm still playing on the silk string. I did try in the seventies. I went to China, visit some other musicians and I did try three or four years on metal strings. But if you play well, you can play very well on metal strings. It's another kind of technique. And finally I came back to the silk because I like the warm quality of this sound. Bright, warm, pure and soft and relaxing, comforting for my ears. I'm just attracted by this quality of sound.
A short piece talking about the hermit.
Very peaceful life of hermit.
Narrator: Ten rules for playing the Qin, by Wu Ch'en (Pron: woo chen), 14th century. Rule seven. When the ancients composed tunes for the Qin, they some times aimed at expressing leisurely and satisfied feelings, but sometimes they wished to express their melancholy. Therefore one must understand the meaning of a tune. If one just plays the music as it is written, one will not be able to express the sentiments of the composer. And how shall then the mood of the ancients be found in the wood and the silk?
Lau: I learn with my master pieces by pieces. First with a score and the finger and then we should memorise all the pieces and should not depend too much on the score.
Narrator: Covenant for transmitting the Qin, Ch'eng Yun-chi (Pron: cheng yoon-chee), 18th century. Number two: as the various schools of Lute Players are not the same, so their traditions are different. But the main point lies in their strict observance of the rules of harmony, and in giving special care to the finger technique. Students of the Qin should (first) hear the style which the masters of various schools follow while playing, (for once having chosen a master) it is necessary that one wholeheartedly likes his style, and follows his precepts sincerely; then teaching and learning shall be well regulated.
Lau: All I've learned from my master I still have in my mind. The generation of my master she learned with her teacher just face to face, phrase by phrase, without score. When all the piece is memorised the teacher give her the score.
Narrator: Rule number eight. In studying the Qin, getting down to the essence is the most important. If one tries to learn too much (at one time), how then shall one be able to grasp the essence? Therefore, if one has succeeded in getting an eminent Master to teach some tunes, one should play these same tunes through again and again, lest one forget the significance inherent in them. Moreover, wonderful music arises from constant practice. This is what is meant by the saying that only by incessant application can one derive satisfaction from the strings. If not, then because one studies too many different tunes, the shortcomings shall be many, and it shall be as if thorns grew on one's fingers.
Lau: We have this fingering since 6th century, 7th century. It was specifically explained in our Qin books, what is a good player, how to play well, gesture, what's the right way...
Hsi K'ang: One should play the Qin dwelling in a high building or on a towering terrace or in a spacious hall or in a secluded room; on a wintry night when the air is limpid and a bright moon is shining; clad in rustling new garments whose perfume pervades the air: then the instrument is cool to the feel, and the strings correctly tuned. If the heart is tranquil and the hands able, the touch of the fingers will respond to the thoughts, and the player will be able to express himself in his music.
Lau: The first stage of learning is imitating the teacher and then we get the frame of the music and then after that we can improvise. In very small detail, the decoration the ornament...
Tse: I would not use the word improvise. But actually the Qin tradition allows or even encourages the development of your own style. So when you go back to history you can see that the same piece is handed down for generation to generation it kept changing. Once a master learned a piece from his or her teacher and played it for thirty or fifty years, that master can change the way it is played. Even changing the notes. So after several generations the pieces really change quite a bit. So although it is a written tradition but because of this encouragement of changes the pieces actually evolve throughout time.
It's not really just writing a melody. Involves the style of the Qin music. The way the notes are manipulated. The music must sound like Qin music. And to sound like Qin music it cannot be just any melodic line. It has to be using the characteristics of the way it is structured. So it is not only the way it is played, but the way it is structured.
Maybe I just play one or two phrases from a very commonly played Qin piece. Actually this piece is not really an original Qin piece. It was transplanted from a folk melody. But the way it is transplanted makes it have many of the characteristics of the Qin music, so this is really one of the loved pieces among Qin players. Now for example the first phrase. The melody is actually quite simple. But the way it is actually played on the Qin is like this...
You can see that the simple melody is played by different tones. For example this is an open string... This is stop note... This is a special way of playing with the left finger... and you can hear the glide... Now this is an open string, but it's not played with the right hand. This is played with the left hand, so the tone colour is different. And then followed by a harmonic. So a relatively simple melody becomes like this... you can add some vibrato there... Okay, this is one phrase which we can demonstrate to the student.
Narrator: Dr Tse Chun-yan, one of Madame Tsar's senior students, not only carries on the tradition by teaching but also composes contemporary music for the Qin.
Hsi K'ang: The 'floating tones' bubble forth lightly, sweet and tender. They are swift but not hasty, slow but not slack. They hover about like a breeze, mysterious notes swiftly following each other. When heard at some distance, they are like the harmonious notes of a phoenix pair, sporting in the clouds. When scrutinised closely, they appear like a cluster of blossoms, unfolding their beauty in the warm breeze of spring.
Thus the richness of the tones of the Qin is manifold, excellent from beginning to end. Refined and elegant, how inexhaustible in their multiformity!
Narrator: 'The Oil Lamp Flickered', a composition by Dr Tse Chun-yan. Dr Tse writes 'this composition was based on the structure and style of traditional Qin music, I was inspired by a poem written by Nalan Shengde (Pron: nah-lan sheng-day) (a scholar of the Qing Dynasty) in which he lamented the transient reunion with his late wife in a dream. The poem ends with the line: 'The moment I embraced her the oil-lamp flickered, and I was left alone gazing at the glaring lamp-glass.'
Tse: In the Qin Tradition there is not really a separate category as a composer who writes for the Qin. But some of the Qin Players besides playing the traditional pieces they also write new pieces. But new pieces do not appear that frequently. The more common thing is that pieces evolve.
Many of the pieces we are playing have been played hundreds of years ago. But the way we play it, the score, compared to several hundred years ago is different. What I'm doing is not really something completely different from the tradition.
I'm not a proper composer I'm just a Qin player. So I just compose as a Qin player.
When I teach my students, when they first learn a piece I hope they will imitate, follow very closely the way I do it. The way I make the glide and so on and so one. But after they have learned it... They can change it.
Tse + Lau: Well we are teachers. We are practising this music and we are transmitting this tradition on to the next generation.
Hsi K'ang: In admiration of the rich excellence of this musical instrument, for my own satisfaction I composed this essay. I shall always cherish the lute, without ever tiring of it. I believe it is a treasure of present and bygone days. In conclusion, summing up its contents, I sing:
Solemn indeed is the virtue of the lute, it cannot be fathomed. Purity of body and aloofness of heart, diffult indeed it is to attain to these heights.
Good instruments and excellent players, where are those to be found in the present age? The silk strings resounding in harmony, this music surpasses all other arts. As those who understand music are few, who can truly treasure this instrument? Only to the Superior Man is it given completely to understand the elegant Qin.
Music details
CD TITLE: Chine - L'art du Qin
TRACK: Guangling San
DURATION: 1:50
COMPOSER: Traditional
RECORD CO & CD NO: Ocora Radio France C 560001 HM 83
PUBLISHING/COPYRIGHT C Ocora Radio France
ARTIST: Li Xiangting
TRACK: Guangling San
DURATION: 1:50
COMPOSER: Traditional
RECORD CO & CD NO: Ocora Radio France C 560001 HM 83
PUBLISHING/COPYRIGHT C Ocora Radio France
ARTIST: Li Xiangting
CD TITLE: The Art Of Qin Music
TRACK & TITLE: Spring Dawn Over Jade Pavilion (Yulou Chunxiao)
DURATION: 02:02
COMPOSER
RECORD CO & CD NO: ROI RB-001006-2C (HKG, 2000)
PUBLISHING/COPYRIGHT: ROI PRODUCTIONS 2000
ARTIST: Tsar Teh-yun
TRACK & TITLE: Spring Dawn Over Jade Pavilion (Yulou Chunxiao)
DURATION: 02:02
COMPOSER
RECORD CO & CD NO: ROI RB-001006-2C (HKG, 2000)
PUBLISHING/COPYRIGHT: ROI PRODUCTIONS 2000
ARTIST: Tsar Teh-yun
CD TITLE: Qin Music on Antique Instruments
TRACK & TITLE: Thinking of Old Friends (Yi Guren)
DURATION: 07:27
COMPOSER
RECORD CO & CD NO: HKU 001
PUBLISHING/COPYRIGHT: Department of Music, The University of Hong Kong. 1998
ARTIST: Lau Chor-wah
TRACK & TITLE: Thinking of Old Friends (Yi Guren)
DURATION: 07:27
COMPOSER
RECORD CO & CD NO: HKU 001
PUBLISHING/COPYRIGHT: Department of Music, The University of Hong Kong. 1998
ARTIST: Lau Chor-wah
CD TITLE: Qin Music on Antique Instruments
TRACK & TITLE: Clean and Pure (Changqing)
DURATION: 05:17
COMPOSER
RECORD CO & CD NO: HKU 001
PUBLISHING/COPYRIGHT: Department of Music, The University of Hong Kong. 1998
ARTIST: Lau Chor-wah
TRACK & TITLE: Clean and Pure (Changqing)
DURATION: 05:17
COMPOSER
RECORD CO & CD NO: HKU 001
PUBLISHING/COPYRIGHT: Department of Music, The University of Hong Kong. 1998
ARTIST: Lau Chor-wah
CD TITLE: Qin Music on Antique Instruments
TRACK & TITLE: Falling Leaves Dance in the Autumn Breeze (Wuye Wu Qiufeng)
DURATION: 04:35
COMPOSER
RECORD CO & CD NO: HKU 001
PUBLISHING/COPYRIGHT: Department of Music, The University of Hong Kong. 1998
ARTIST: Sou Si-tai
TRACK & TITLE: Falling Leaves Dance in the Autumn Breeze (Wuye Wu Qiufeng)
DURATION: 04:35
COMPOSER
RECORD CO & CD NO: HKU 001
PUBLISHING/COPYRIGHT: Department of Music, The University of Hong Kong. 1998
ARTIST: Sou Si-tai
CD TITLE: The Art Of Qin Music
TRACK & TITLE: The Eighteen Variations for the Barbarian Horn (Hujia Shibapai)
DURATION: 04:50
COMPOSER
RECORD CO & CD NO: ROI RB-001006-2C (HKG, 2000)
PUBLISHING/COPYRIGHT: ROI PRODUCTIONS 2000
ARTIST: Tsar Teh-yun
TRACK & TITLE: The Eighteen Variations for the Barbarian Horn (Hujia Shibapai)
DURATION: 04:50
COMPOSER
RECORD CO & CD NO: ROI RB-001006-2C (HKG, 2000)
PUBLISHING/COPYRIGHT: ROI PRODUCTIONS 2000
ARTIST: Tsar Teh-yun
CD TITLE: The Art Of Qin Music
TRACK & TITLE: Wild Geese Landing on Sand (Pingsha Luoyan)
DURATION: 02:50
COMPOSER
RECORD CO & CD NO: ROI RB-001006-2C (HKG, 2000)
PUBLISHING/COPYRIGHT: ROI PRODUCTIONS 2000
ARTIST: Tsar Teh-yun
TRACK & TITLE: Wild Geese Landing on Sand (Pingsha Luoyan)
DURATION: 02:50
COMPOSER
RECORD CO & CD NO: ROI RB-001006-2C (HKG, 2000)
PUBLISHING/COPYRIGHT: ROI PRODUCTIONS 2000
ARTIST: Tsar Teh-yun
CD TITLE
TRACK & TITLE: The Hermit
DURATION: 01:36
COMPOSER
RECORD CO & CD NO: Robert Iolini, Hong Kong 2007
PUBLISHING/COPYRIGHT:
ARTIST: Lau Chor-wah
TRACK & TITLE: The Hermit
DURATION: 01:36
COMPOSER
RECORD CO & CD NO: Robert Iolini, Hong Kong 2007
PUBLISHING/COPYRIGHT:
ARTIST: Lau Chor-wah
CD TITLE: The Art Of Qin Music
TRACK & TITLE: Three Variations on the theme "Plum Blossoms" (Meihua Sannong)
DURATION: 02:23
COMPOSER
RECORD CO & CD NO: ROI RB-001006-2C (HKG, 2000)
PUBLISHING/COPYRIGHT: ROI PRODUCTIONS 2000
ARTIST: Tsar Teh-yun
CD TITLE:
TRACK & TITLE: Unknown
DURATION: 01:08
COMPOSER
RECORD CO & CD NO: Robert Iolini, Hong Kong 2007
PUBLISHING/COPYRIGHT:
ARTIST: Tse Chun-yan
TRACK & TITLE: Three Variations on the theme "Plum Blossoms" (Meihua Sannong)
DURATION: 02:23
COMPOSER
RECORD CO & CD NO: ROI RB-001006-2C (HKG, 2000)
PUBLISHING/COPYRIGHT: ROI PRODUCTIONS 2000
ARTIST: Tsar Teh-yun
CD TITLE:
TRACK & TITLE: Unknown
DURATION: 01:08
COMPOSER
RECORD CO & CD NO: Robert Iolini, Hong Kong 2007
PUBLISHING/COPYRIGHT:
ARTIST: Tse Chun-yan
CD TITLE: The Oil-Lamp Flickered (Qin Solo by TSE Chun-Yan)
TRACK & TITLE: The Oil-Lamp Flickered
DURATION: 06:43
COMPOSER: Tse Chun-yan
RECORD CO & CD NO: RA-011003C
PUBLISHING/COPYRIGHT: ROI Productions (HK) Ltd 2001
ARTIST: Tse Chun-yan
TRACK & TITLE: The Oil-Lamp Flickered
DURATION: 06:43
COMPOSER: Tse Chun-yan
RECORD CO & CD NO: RA-011003C
PUBLISHING/COPYRIGHT: ROI Productions (HK) Ltd 2001
ARTIST: Tse Chun-yan
在弘一法师身上，有许多个“想不到”，这样一位奇人和畸人（他和苏曼殊被称为“南社两畸人”），居然会不小心投胎世间，可能连造物主也感觉意外吧。想不到，他是第一个将西洋油画、音乐和话剧引入国内的人；想不到，他在东京的舞台上演出过《茶花女》，扮演的不是阿芒，而是女主角玛格丽特；想不到，他是才子，是艺术家，本该落拓不羁，却偏偏是个最严肃、最认真、最恪守信约的人；想不到，他在盛年，三十九岁，日子过得天好地好，却决意去杭州虎跑寺削发为僧……
