瀏陽河 | Liu Yang River
Hunan Folk Song, guzheng interpretation first written in 1970’s by guzheng master Zhang Yan. 
Re-written for guzheng ensemble in 2015 by Winnie Wong. 
performed by China’s Spirit Music Ensemble, solos by Gloria Lau and Sukie Zeng

Emerging from the folk songs of Hunan, Liu Yang River sings of a landscape where water and soul intertwine. Through delicate phrasing and sweeping motion, the guzheng paints the river’s essence—its calm reflections, its spirited rush, and the life that breathes between stillness and flow.

金蛇狂舞 | The Fiery Dance of the Golden Snake 
Southern folk instrumental song of celebration composed by Nie Er (1934). 
Re-written for guzheng ensemble and percussion (2025) by Winnie Wong. 
performed by China’s Spirit Music Ensemble

Arrangement by Winnie Wong
Rooted in the vibrant traditions of Southern Chinese folk music, The Golden Snake’s Fiery Dance captures the exuberance of celebration and the timeless connection between myth and community.

In this new arrangement, the music opens with the playful spirit of the golden snake—often seen as a gentle yet mischievous golden dragon—gracefully awakening to life. A shimmering bridge builds anticipation as the creature is drawn toward the distant sounds of drums, gongs, and laughter that fill the village streets.

The first main theme bursts forth in a radiant display of rhythm and color. The dragon joins the villagers in a joyful dance, their energy mirrored through lively musical exchanges and call-and-response motifs that evoke the pulse of festive celebration.

A lyrical middle section offers a moment of calm and beauty, portraying the village bathed in golden light under the dragon’s watchful glow. Here, the music sings of harmony, wonder, and the quiet unity that binds a community together.

As the finale approaches, the excitement returns with renewed vigor. The dialogue between dragon and villagers grows ever more spirited, leading to a dazzling climax where rhythm, joy, and fire converge. The piece concludes in a triumphant roar—a musical celebration of peace, prosperity, and the enduring vitality of cultural tradition.

瑶族舞曲 | Dance of the Yao Tribe
Yao Minority Tribe folk dance melody, by Liu Tieshan 
performed by CSME’s Youth Ensemble, solo by Jaime Hou

Composed in 1952 by Liu Tieshan, of the Central Conservatory of Music in Beijing, China. Dance of the Yao People was inspired by the long drum dance, a form of traditional festival music of the Yao people of southern and southwest China. You can feel the “drum-like” beats throughout the piece.

The Dance of the Yao Tribe is one of the most known and most popular Chinese instrumental compositions of the second half of the 20th century. The composer, Liu Tieshan (刘铁山）captures the Yao people’s love for dance drum intertwined together through lively rhythmic footsteps and hand gestures that, like all other cultures relying on agricultures, gestures to the gods for prosperous harvest and protection for their village from calamity. Wong further, weaves together the sounds of their dance and song as if using threads of their beautifully embroidered textiles and brightly accents in their traditional wardrobe.

峡谷明珠放异彩 | The Magnificent Bronze Gorge
Northwest folk inspired contemporary guzheng composition by Liu Weishan 
Solo guzheng. Winnie Wong

Composed in 1975 by Weishan Liu, “The Magnificent Bronze Gorge” work was inspired by her experience assisting in the construction of a dam along the Bronze Gorge of the Yellow River. Moved by the magnificent landscape and the sight of thousands of workers devoted to their task, Liu captured their selfless spirit and their hopes for a brighter future through music.

Drawing from the folk melodies of Northwest China, Liu introduced new guzheng techniques to express the grandeur and vitality of the scene. The piece stands as a vivid portrayal of the people’s perseverance and optimism, and as a shining example of how the guzheng’s artistry can continue to evolve without losing the integrity of its traditional roots.

秦桑曲 | Tune of the Qin Mulberry
Shaanxi folk opera inspired, comp. By Zhou Yanjia; guzheng accomp. by Xi Piekun, 1990s 
Soloist Winnie Wong, accomp. by Jade Ensemble members Jaime Hou and Cameron Yeong Jang

“Tune of the Qin Mulberry Trees, composed by Zhou Yanjia in the late 1960s, draws inspiration from Li Bai’s Tang dynasty poem Spring Longing (《春思》)—a verse capturing the tender ache of lovers separated by great distance.

燕草如碧丝，秦桑低绿枝。
当君怀归日，是妾断肠时。
春风不相识，何事入罗帏。

In the poem, the northern grasses grow green as silk, while the mulberry trees of Qin hang heavy with spring—evoking the distance between the soldier far away and the woman waiting at home. When he feels homesick, her heart, too, aches with longing. Even the gentle spring breeze, unknowing yet intimate, becomes a silent messenger that stirs her solitude.

Through the voice of the zheng, ancient emotions are given new life. Trembling strings echo the sighs of the spring wind, while flowing melodies trace the delicate lines of Li Bai’s verse—interweaving sorrow, tenderness, and remembrance into sound.”

中場休息 - Intermission

邊關的迴響 | Echoes Beyond the Border
Contemporary composition written for duo-guzheng 2024, by Winnie Wong 
Solo guzheng, Winnie Wong

This solo performance and imaginative arrangement by Winnie Wong performed on two guzhengs was inspired by an ancient guqin (ancient 7 stringed zither) melody and poem from China’s Tang Dynasty, “Three Folds of Yang Guan”.  Using one guzheng in pentatonic and a second in a chromatic tuning, Wong transcends this ancient melody into a modern era echoing a story of “departure”. 

In the earliest records, dating back to Tang Dynasty, this melody was derived from the poem of its time "Sending Off the Envoy to Anxi". The poem takes the backdrop of Wei City's scenery, conveying the sentiment of the poet, bidding farewell to envoy Yuan Er as he heads to Anxi, passing the border post, Yang Guan.

Drawing inspiration from her own life’s journey, Wong delves into themes of “farewell” and “departure” in this arrangement, portraying them as deeply emotional voyages. The music captures the heart’s poignant struggle to break free from the grasp of memory, reflecting moments of hardship, adversity, and resilience. Yet, woven into its melodies is an undercurrent of hope and renewal—a reminder that the lessons of the past can resonate through time, offering strength and clarity as we embrace the promise of transformation. The “borders” explored in this piece are universal: the young adult stepping beyond the threshold of adolescence, the internal battle to overcome fears or insecurities, the aching journey of moving forward after the loss of a loved one. Through its evocative narrative, the piece invites each listener to confront their own boundaries and find renewal on the path toward an optimistic future.

As the final echoes reverberated, a sense of completion draws near, a cathartic release of emotions and melodies entwined. In its imagery and metamorphosis, the guzheng's voice not only transformed an ancient melody but also provided a new chapter, a poignant farewell that embraced both the echoes of antiquity and the boundless horizons of artistic expression.

歸舟吟 | Song of the Faring Boat
comp. for guzheng and cello, by Winnie Wong, 2025
performed by Winnie Wong and guest cellist Angela Lee

This arrangement of Song of the Faring Boat by Winnie Wong depicts a fisherman’s journey home across the moonlit sea. Beneath the tranquil glow of dusk, the water reflects both calm and uncertainty. The fisherman hums to the sea, and the sea seems to answer—its waves rising and falling in harmony with his song. As winds grow restless and a storm begins to stir, the fisherman places his faith in his faring boat, trusting its strength and the rhythm of the tides to carry him home. When the storm subsides, calm returns, and the boat drifts peacefully toward shore, cradled once again by still waters.

This piece draws inspiration from Fisherman’s Song, composed in 1925 by guzheng master Wei Ziyou. Developed from the ancient tune Gui Qu Lai Xi (“Return to Tranquility”), it marked a turning point in the history of guzheng music. Its elegant pentatonic melody reflects a graceful simplicity and enduring folk charm—expressing the harmony between human spirit and nature’s ever-changing sea.

將軍詠嘆調 | General's Aria 
Contemporary guzheng, inspired by orig. composition by Wang Xunzhi
arrangement by Winnie Wong (2023)
Solo by Winnie Wong, CSME’s Jade Ensemble and guest percussionists Nick Sager and Crystal Jang

An unfolding tale of war through the eyes of a general, performed by Winnie Wong and CSME’s Silk Ensemble on the guzheng.

General' Aria takes the listener on a Soul-stirring cinematic journey through the emotional landscape of war, inspired by the melodies of the original composition General's Command. The piece transforms fragments of this earlier work, reimagining them into a sweeping narrative that follows a General from the first distant echoes of the war drums to the final surge of victory.

Through the expressive tones of the guzheng, General's Aria explores themes of duty, loss, and hope. The original melody serves as a foundation, evolving to depict the havoc of battle, the sorrow of destruction, and the fierce determination to protect and prevail. Each movement builds upon this transformation—turning past themes into a vivid portrayal of a soldier’s internal and external struggle, where every note speaks of the agony, passion, and ultimate triumph of war.

戰颱風 | Battling the Typhoon
Composed by Wang Cangyuan (1965)
arranged for guzheng ensemble and percussion by Winnie Wong (2018)
Performed by Winnie Wong, CSME members and guest percussionists Nick Sager and Crystal Jang

Composed in 1965 by Wang Cangyuan, Battling the Typhoon vividly portrays the indomitable spirit of pier laborers as they confront one of nature’s fiercest tempests. The music unfolds like a cinematic journey—from the bustling energy of the docks and the ominous approach of the storm, to the workers’ valiant struggle against the raging winds, and finally, the triumphant calm that follows their victory.

With its powerful rhythms and evocative melodies, this distinctive work immerses listeners in both the physical and emotional intensity of the storm.

In 2018, Ms. Wong reimagined this piece for guzheng ensemble, expanding its dramatic scope enhancing the natural elements of mother nature’s wrath through guzheng effects and the addition of drums and percussion. The new arrangement deepens the sonic landscape, bringing the typhoon’s raw, untamed force vividly to life—transforming this classic composition into a multi-sensory experience that is as exhilarating as it is moving.