Naam Jam Reverberances

Zheng

21-strings

Piano

Inside piano: fingernail pizzicato
Sostenuto pedal needed

The work takes two main melodic elements: the opening line —“Cool winds bring tidings, the autumn moon knows no bounds” (合 工 上 上 / 工 上 合 六) — from the famous Deishui Nanyin classic Autumn Regrets on a Foreign Journey, complete with its characteristic vocal melisma, alongside the relatively fixed instrumental prelude (guo xu: 尺 工 六 五 / 工 六 合) traditionally played by the zheng, huqin, and xiao within the Nanyin system. Through continuous restructuring, juxtaposition, and superimposition of these materials, the work imagines how Nanyin, as a form of new music, might echo in the ears of a contemporary audience.

Beyond the complementary relationship where the piano serves as a harmonic supplement to the zheng, and the zheng enriches the piano's timbral palette, the dynamic tension and resolution of the harmony drive the emotional flow of the piece.

In terms of the form, the composition alternates between a "Prelude" , an "Intermezzo," an "Apotheosis," and three "Circulations" featuring distinct sonic textures built on similar musical materials. However, the actual performance order is decided freely by the performers, serving as a direct reflection of their mood and state of mind in the moment.

此曲以地水南音名曲《客途秋恨》的開首句「涼風有信 秋月無邊」（合工上上 工上合六） 加上本身的拉腔以及南音體系本身由箏、胡琴和簫演奏的較為固定的「過序」（尺工六五 工六合） 作為旋律的兩個主要素材，透過不斷的重組和並置、疊置，想像南音作為一種新音樂如何迴響在現代人的耳邊。

除了鋼琴可以作為箏的和聲增補和箏可以作為鋼琴的音色增補這互補關係外，和聲於音樂前進的時間軸上的離合變化也協助情緒的鬆緊推動。

樂曲編排上以「散序」「間奏」「尾聲」和三個聲音織體各異但素材類近的「迴圈」相間，但實際演奏順序則由演奏家自定，作為當下情緒和心境的一種反饋。