春 Spring
秋 Autumn
彈樂 Music for Pluck Strings
影調 Shadow Play Tunes
悲歌 Song of Melancholy
月夜 Moonlit Night
琴詩 The Poem on Qin
粵魂 Gaohu Concerto : Guangdong Spirit
聽松 Listening to the Pines
對花 Dui Hua
旱天雷 Thunderstorm in a Sunny Day
流波曲 Roaming in Life
滿江紅 The River Is Red
烏尤黛 Wuyoudai, the Beautiful Girls
病中吟 Sigh of Ailment
蒙古馬 Mongolian Horses
閒居吟 Life in Leisure
陶愛格 Tao Aige, A Feeding Song
雙聲恨 Shuang Sheng Hen
楊翠喜 Yang Cui-xi
齊破陣 Arrays
小開門 Xiao Kaimen
京郊行 Outskirts of Beijing
夜深沉 Profound Nigh
大起板 Grand Overture
草原上 On the Prairie
憶秦娥 Lady of the Qin Dynasty
八大錘 Ba Da Chui
新春樂 Music for the New Year
柳葉錦 Liu Ye Jin
鍘美案 Beheaded Case
鳥投林 Birds in the Forest
二泉映月 Reflection of the Moon on Lake Erquan
娛樂昇平 Sing and Dance in Peaceful Times
春郊試馬 Gallopping in Spring
月牙五更 Crescent before Dawn
村間小童 Childhood in the Countryside
河南小曲 Tune of Henan
燭影搖紅 Red Candle Flickering in Wind
田間小唱 Singing in the Fielf
空山鳥語 Birds Chirping in the Mountains
葡萄熟了 Grapes Getting Ripe
鄉間小景 Landscape of the Countryside
醉翁撈月 A Drunkard Drags the Moon out of the Water
大姑娘美 Beautiful Girl
山東小曲 A Shangdong Tune
春風楊柳 Spring Willow in the Wind
月芽五更 Crescent before Dawn
春城節日 Festival in Changchun
平湖秋月 Autumn Moon on Quiet Lake
春到田間 Spring Comes to the Country
塞外情思 Thoughts beyond the Frontiers
寒鴉戲水 Ospreys Sporting with Water
禪院鐘聲 Toll from Temple
笙管合奏 Combination of Sheng and Guan
皮影牌子 Shadow Tune
萬馬奔騰 Horses Galloping
幻海情天 Fantasy Love
哥哥回來了 My Brother is Back
孤獨的駝羔 A Lonely Baby Camel
朝格溫都爾 Chaogewendur the High Mountain
豐收馬鈴響 The Harvest Horse Bells
河北花梆子 Hebei Huabangzi
秦腔牌子曲 The Tunes of Shaanxi Opera
西皮小開門 Xiao Kaimen
東可爾大喇嘛 Donkir,the Grand Lama
鄂爾多斯之春 The Spring of Erdos
錫林格勒隨想 Fantasy on the Xilinggele Prairie
馬頭琴的傳說 The Tale of Matou Qin
東可爾的戀歌 Love Song of Donkir
呼倫貝爾我的家 My Home is on the Hulunbeir Prairie
絲絲淚、三疊愁 Tears and Triple Sadness
茅草屋裡的歌聲 Song from Thatched Cottage
紅軍哥哥回來了 Brother Comes Back
《蘇武》思鄉 “SU WU” , Homesickness
《蘇武》榮歸 “SU WU” , Glorious Return
《蘇武》風雪 “SU WU” , Snowstorm
京劇鳳還巢 – 選段 A Tune from Beijing Opera
《四季套曲》
板胡系列《四季套曲》：
第一首〈春〉（次中音板胡）
樂曲取材於陝西「碗碗腔」劇種之曲牌及唱腔。曲調委婉而秀麗，描述了春日景和的大好景象。
第二首〈夏〉（次高音板胡）
樂曲採用河北絲弦戲及河北梆子等唱腔、曲牌為基本旋律，並加以發展、創作而成。此段曲趣熱情洋溢、通達流暢而突出了風格和特點。
第三首〈秋〉（中音板胡）
秋天是我國中原地區的收割時節，是農村的農忙季度。樂曲取材於河南豫劇曲牌和唱腔創作而成，內容描述了河南人民對著豐碩的收獲，那種喜悅而又樂觀的心情。
第四首〈冬〉（高音板胡）
樂曲以我國東北地區「節日中的風雪扒犁」為標題，並根據東北「二人轉」和民歌為基調創作而成。旋律歡快、熱情奔放，突出了東北人民的性格。
《彈樂》
《彈樂》是作者柔和了評彈音樂和江南絲竹《三六》的音韻而創作的樂曲。採取不用千斤的手法、音域寬廣、音色低沉渾厚。模擬出琵琶和三弦的演奏手法及音響效果。技巧艱深，樂風明快。據作者解釋，此曲意為“彈彈樂樂”演奏時邊拉邊彈，情緒快樂，趣味盎然。
《影調》
《影調》是根據河北唐山一帶流行的傳統皮影戲唱腔及曲牌，匯編而成。樂曲婉轉、流暢、具有濃郁的民俗文化氣息。
《悲歌》
《悲歌》又名《處世難》，創作於1927年，是一首抒情小品，吐出了一個有志者的內心感到的焦慮，孤獨及悲哀；表現事業及生活上受到挫折，內心的苦悶和徬徨；欲以發泄其抑鬱憤慨的訴苦之情而作。
《月夜》
《月夜》初步蘊思於1921年，南方夏天非常炎熱，在夏夜星空下的庭園裡，劉天華手持樂器在彈奏，使他自己和周圍的景色融合在一起，初步構思了月夜的主題；1924年他把它完成了，表達了對自然界的感受，以及當時他內心深處的感情和思想。
《琴詩》
高胡協奏曲《琴詩》描繪人生的道路有曲折、有徘徊，更有奮鬥、有希望。
樂曲時而憂傷沉鬱，時而動蕩不安，時而熱情激動。它透露出當代中國人情緒的騷動與理性的思考。
《粵魂》
高胡協奏曲《粵魂》由粵人吸取某些粵樂因素加上現代技法而創作，又由粵人奏粵胡，自然而然以粵人的心靈來感覺。
人類生命，面對這悠長的社會歷史、奇妙的大千世界、繽紛多彩的當代生活、深不可測的自然宇宙，他要發出深沉而慨然的浩嘆，唱出迷茫而清麗的意緒，抒出那瘋狂而激越的情懷。
此曲獲一九九九年第六屆羊城音樂花會中國交響樂新作品比賽二等獎第一名。
《聽松》
《聽松》原是阿炳所作的一首二胡獨奏曲。據阿炳說：“宋朝時候，金兀術給岳飛打得走投無路，狠狽逃至無錫惠泉山下，躺在聽松石上心驚肉跳地傾聽宋朝兵馬的聲音。這曲便是描寫這個故事，所以又名《聽宋》。”樂曲氣魄豪邁，感情奔放，改編為拉弦樂合奏後，音響層次更為豐富，益顯跌宕起伏，剛勁有力。
《旱天雷》
《旱天雷》是二十世紀初，清末粵樂家嚴老烈根據傳統樂曲《三寶佛》其中一段《三汲浪》改編而成此曲。改編後的樂曲原為揚琴曲，旋律生動活潑、朝氣勃勃，以旱天的雷聲暗示甘露將臨，表達在困境中的人們祈望美好的未來而奮發向上。及後該曲被改編為合奏曲，歷經各個時期而有不同發展。
《流波曲》
《流波曲》創作於1952年冬，是民間盲藝人孫文明的代表作品，亦是他流落異鄉困苦生活的自然寫照；原本是與《四方曲》為同一首樂曲，後將慢板段發展，獨立而成此曲。
《滿江紅》
《滿江紅》是中國古代民族英雄岳飛的詞作，早已膾炙人口，後人又將之譜成歌曲廣為流傳。本曲根據歌曲改編而成，描述岳飛回憶過去轉戰南北的艱苦歲月，想到如今卻是「三十功名塵與土，靖康之恥猶未雪」，發出了「臣子恨，何時滅」的感嘆，並表達了堅定的意志，決心收復舊山河。樂曲發揮了雙千斤二胡音域寬廣、音色深沉渾厚的特點，在演奏技術上具有相當的難度。
《烏尤黛》
『烏尤黛』是內蒙女孩的常用名字，她象徵著美麗、純潔、善良。小夥子深深地思念著遠方的他的『烏尤黛』，月影婆娑的夜裡，他望著窗外隨風擺動的樹枝，這枝枝丫丫彷彿是他內心如麻的紛亂情感。他多想在這月圓之夜化作一隻蝴蝶飛向心愛的人兒，他的眼淚化作一個美好的夢想飄揚在風中。他的心在呼喚，他的情在昇華：『好姑娘，你可知道遠方有一個人在想念著你？』在美妙的背景音樂襯托下，馬頭琴聲悠悠揚揚，很形象地刻劃出戀人分隔一方的那種隔不斷的深情。
《病中吟》
《病中吟》，又名安適，就是人生往那裡去的意思。旋律初稿創作於1915年，是描述在貧病失業下，內心的鬱悶及要與黑暗勢力作鬥爭的意志及抱負；病中吟不是在生病中的呻吟，而是心中苦悶如病。
《蒙古馬》
《蒙古馬》描述遼闊的蒙古大草原一望無垠，撤蹄飛奔的蒙古馬構築成草原上的獨特風景。無論是風和日麗或是漫漫風塵，只要牧馬人揚鞭吶喊，驃悍的馬兒就跳躍著衝向最需要它的地方。抑揚頓挫的馬頭琴與遙遠地方傳來的天籟般的聲音是草原上自豪的牧馬人想要唱出的心曲，是對忠誠的蒙古馬一曲熱情的讚歌。
《閒居吟》
《閒居吟》是劉天華創作於1928年暑假的一首二胡曲，是劉天華二胡曲中兩首大曲之一，篇幅較長。該曲是一首二胡變奏曲，並首次採用了泛音的演奏手法，整首曲子旋律清妙動聽，在體現作者返朴歸真、怡然自樂的同時表達了對事業的思慮及未來的憧憬。悠閒中缺少歡樂；安居中顯得空虛。這便是劉天華當時的處境和心態。
《陶愛格》
『陶愛格』在蒙古語裡是『勤奶』的意思。羊媽媽生下小羊羔，卻不肯喂養自己的羔兒。牧人唱起動聽的『陶愛格』，通過美妙的歌聲感化母羊。反復吟唱後，羊媽媽流出了眼淚，嗷嗷待哺的羊羔吮吸著源源不斷的乳汁，慢慢地慢慢地茁壯成長，樂曲中柔和的琴聲及純真樸實的女中音相映成輝，構成了一幅動人的畫面。
《鍘美案》
擂琴獨奏《鍘美案》移植自京劇唱段，劇情所述 “包龍圖打坐在開封府” 。裘派花臉唱段（西皮導板、原板、快板）。裘盛戎先生的唱腔剛中見柔、情酣意飽，神完氣足，唱來如火山噴湧，動人心魄。裘派唱法影響極大，有 “十淨九裘” 之譽。包公在開封府大堂上的這個唱段流傳很廣，深為大家所喜愛。
《鳥投林》
《鳥投林》寓意：中國音樂很多時候加入大自然的聲響；因此，鳥叫、蟲鳴、水流、風動，皆常為音樂素材。以鳥為主題並模仿鳥叫的名曲就有多首，《鳥投林》即為其中之一。與《百鳥朝鳳》、《蔭中鳥》、《百鳥引》等曲相比，《鳥投林》具有廣東小曲獨有的柔美怡然，群鳥競鳴的意味。置身田園，觸目皆為可親，所謂 “好鳥枝頭亦朋友，落花流水皆文章” ，如此得體自然之趣就是樂曲所要表達的情感。
《小開門》 京劇曲牌
此曲是用京胡西皮調演奏的京劇曲牌，又名小拜門，曲調明朗、流暢，常為皇帝上場及各戲之更衣、寫信、打掃、拜賀、上朝、回府等配用。
楊寶忠：一九六○年演繹 2:28
Xiao Kaimen a qupai of Beijing Opera
It is a qupai (set tune) played by jinghu in xipi tone, another name for it is Xiao Baimen. The tune is bright and mellifluous, usually used as an incidental music of Beijing Opera, when the Empire goes on the stage, performers change clothes, writing letters, do some cleaning, celebration, officials hold court and go back home, etc.
YANG Bao-zhong : Performed in 1960 2:28
《夜深沉》 京劇曲牌 李慕良編曲
《夜深沉》是以崑曲《思凡》中《風吹荷葉煞》曲牌為基礎，經過京劇琴師的加工改編而成，並取唱詞首句「夜深沉」三字命名。曲調結構嚴謹、節奏堅定有力、旋律一氣呵成，造成剛勁有カ的精神氣質。常在京劇《擊鼓罵曹》及《霸王別姬》中，用來配合彌衡擊鼓和虞姬舞劍等場面。李慕良改編的版本，是反映了衝破封建禮教的束縛而獲得美好生活的願望。
李慕良：一九六○年八月二十七日演繹 3:45
Profound Night a qupai of Beijing Opera adapted by LI Mu-liang
Profound Night is based on Lotus in the Wind, a qupai (set tune) from the Kun Opera Thinking of the Earth. It has been polished by numerous Beijing Opera musicians and got its title from the first few words of the lyrics. The music has well-organized structure, with a firm beat and a smooth melody. Having bold and sturdy quality, it is often used in Beijing Opera Beating the Drum in Defiance of CHAO and The Conqueror Parting from His concubine, as background music to the scenes where Mi-Heng beats the drum or Yu-Ji dances with the sword. In the edition adapted by LI Mu-liang, it is used to reflect the good willing to fight against feudal rules and obtain better life.
LI Mu-liang : Performed on August 27, 1960 3:45
《京郊行》 吳厚元曲
樂曲以清新的格調，明快的節奏，描繪出新時代的京郊景致和那迷人的風景畫與風俗畫；曲調生動活潑，獨特鮮明，情趣雋永，具有新時代的氣息。
姜克美：一九九三年十二月演繹 王甫建指揮中國廣播民族樂團伴奏 4:25
Outskirts of Beijing composed by WU Hou-yuan
With a refreshing style and lively rhythms, this piece depicts the charming, picturesque scenery of the outskirts of Beijing. The special, energetic tune is filled with the spirit contemporary.
JIANG Ke-mei : Performed in December 1993; accompaniment: WANG Pu-jian conducted the China Broadcasting Chinese Orchestra 4:25
《平湖秋月》 呂文成曲
本曲乃呂文成先生早期作品，約創作於二十世紀二十年代後期至三十年代初之間，在《琴弦樂譜第一集》中，此曲名為《醉太平》。曲趣意深情綿，使人有悠然自得之感，曲成即已風行，用《平湖秋月》之名以寄其意，借意杭州西湖每至秋天，湖平如鏡，夜臨觀望，人間天上，月影成雙，令人心曠神怡。
呂文成：一九四六年演繹 3:17
Autumn Moon on Quiet Lake composed by LU Wen-cheng
This piece is the early work of Mr. LU Wen-cheng and was composed in the period between 1920s and 1930s. It was named as Inebriating Peace in Music Score of Qin (Vol.1). The melody is filled with deep feelings and makes people feel leisure and content. It became popular as soon as it came into birth. The title Autumn Moon on Quiet Lake means that in autumn, the surface of the West Lake is as flat as a mirror, and when night comes, people will have the company of the moon, and the night scene is so pleasant.
LU Wen-cheng : Performed in 1946 3:17
《春到田間》 林韻曲
樂曲創作於一九五六年，是為中國高胡譜寫的第一首獨奏曲目，富有嶺南廣東音樂的韻味，當年即以使高胡音域有效地擴展，演奏技巧也提高到一個新高度，內容描寫春天田間的景色，帶出一幅欣欣向榮，萬木逢春的新景象。
劉天一：一九六四年演繹 廣東民間音樂團伴奏 3:37
Spring Comes to the Country composed by LIN Yun
The music is composed in 1956, and it is the first solo piece created for the Chinese gaohu. It has a strong Cantonese folk music style. It made an extension of the range of gaohu, and the instrumentalists need more techniques to play the score. The musician gave us a new scene of a flourishing and prosperous country and farmland in spring.
LIU Tian-yi : Performed in 1964; accompanied by Guangdong Folk Ensemble 3:37
《雙聲恨》 佚名曲 伍日生傳譜
此曲又名《聲聲恨》，作者不可考，據老藝人憶述為二十世紀二十年代首先由棚面上手伍日生介紹出來，是廣東音樂譜子中最早的分段體式作品，樂曲旋律幽怨，曲調取材自《粉紅蓮》、《殺雄雞》等民間樂曲。按明代女詩人張紅橋《大江東》詞有「恨聲聲玉漏，今宵易歇」句，則所恨乃聲聲玉漏，時留之短促也；後有人將「聲」 與「星」同音，諧聲附會為《雙星恨》，是為嘆述銀河「商」、「參」（亦雙聲之諧音）二星，七夕一相逢之恨怨，概亦恨時留之短促也。樂曲主調為「正線乙反調」，中段轉用「正線正調」再轉回「正線乙反調」，末段以催板收結。
CD 1 (6) 朱海：一九六四年演繹 廣東民間音樂團五音合奏 3:22
Shuang Sheng Hen (Double Woe) anonymous music passed down by WU Ri-sheng
This piece was said to be popularized by a performance by WU Ri-sheng in the 1920s, the real composer is anonymous. It is in the form of the sectional structure of the earliest Cantonese music. The melodies of this composition are aggrievedly sounding. ZHANG Hong-qiao of the Ming dynasty wrote the poem entitled Big River Running East and there are the lines as “Resentful be it that the sound of the time dropper so disturbing, Tonight there is no slumber for me”. Later somebody used these lines to express the woe of the two planets in the milky-way because they have to wait as long as seven years for them to meet. Others say that it is a sigh over the flying of time. The main tune is yi fan, in the middle section the tune is changed to zheng xian and then back to yi fan again. In the last section the music is ended in presto.
CD 1 (6) ZHU Hai : Performed in 1964; ensemble: Guangdong Folk Ensemble 3:22
《楊翠喜》 佚名
清末天津有著名藝伎楊翠喜，因涉與皇族親屬有風化案，一時間傳聞甚廣，北洋畫報等媒介均有報導，天津廣東音樂會因此亦籌排「楊翠喜」之粵劇，以湊熱鬧，惟遭當局反對而未能上演，但其劇曲已創作完成，該會遂將之作為譜子演奏。尹自重等於上世紀二十年代中應邀赴天津演出，南返時帶回此曲，其後流傳就廣泛起來，成為經典名曲。
CD 1 (7) 盧家熾：一九六○年代演繹 香江粵樂隊演奏 4:04
YANG Cui-xi anonymous music
Famous Tianjin prostitute YANG Cui-xi became more and more famous because she has relationship with the Empire’s relatives. Media such as Bei Yang Pictorial reported it. And Guangdong music Institute in Tianjin rehearsed an opera called YANG Cui-xi to reflected it. But the government reject to came it on. The score had been accomplished and the institute performed it. When YIN Zi-zhong went to act in Tianjin in 1920s, he brought the score back, and made popular as a classical music.
CD 1 (7) LOO Kah-chi : Performed in 1960s; accompanied by Hong Kong Cantonese Music Ensemble 4:04
《齊破陣》 呂文成曲 李助炘配器
抗敵救國，烽火連天，健兒殺敵，英姿風發。
CD 1 (8) 余其偉：一九九○年演繹 施明新指揮廣東民族樂團伴奏 2:08
Arrays composed by LU Wen-cheng orchestrated by LI Zhu-xin
The conflagration of war is burning. We have to fight against the invader and save our country. The warriors are bravely killing the enemies.
CD 1 (8) YU Qi-wei : Performed in 1990; accompaniment: SHI Ming-xin conducted the Guangdong Chinese Orchestra 2:08
《對花》 陝北民歌 雷雨聲改編
《對花》是一首流行在我國西北地區的民間小調，以對歌般的型式，作互相問答，對猜花名，比賽智能，傳授知識，娛樂嬉戲，交流感情。現改編為器樂曲，用板胡演奏滑音效果，造成了爭問搶答和互相逗趣的情調。
樂曲創編於一九五八年，是根據陝北民間小調改編而成，用高胡仿原對歌的形式，一問一答對唱花名，從正月唱到十二月，曲調歡快流暢，節奏工整，曲趣活潑。
唐毓斌：一九六一年十月七日演繹 張惠琴鋼琴伴奏 2:21
Dui Hua a melody of Shaanbei arranged by LEI Yu-sheng
This piece was composed in 1958, according to a folk melody of north Shaanxi province. The musician designed to use gaohu to imitate the antistrophic melody about the flowers of each month. It is lively, interesting as well as well-knit.
TANG Yu-bin : Performed on October 7, 1961; Piano accompanied by ZHANG Hui-qin 2:21
《寒鴉戲水》 潮州民間樂曲
《寒鴉戲水》是潮州十大套曲中最具代表性的一套；屬重六調六十八板，由頭板、拷板及三板組成。寒鴉即魚鴉，學名鸕鷀，俗稱魚鷹，潮人叫它鸕兒。曲意為在那春寒料峭的江河中，魚鴉們在為漁人捕魚之後，嬉戲追逐於水面，成為一幅大自然中的禽樂圖。
郭鷹：一九九六年六月八日演繹 4:56
Ospreys Sporting with Water Chaozhou traditional music
This popular melody is from the Chaozhou (also called ‘Teochew’ by people in South-east Asian countries) region of Guangdong province, where Guangzhou (Canton) is the capital. Despite its geographical location, the Chaozhou language and culture are quite different from other parts of Guangdong. Music is no exception. This piece portrays the picture of Chaozhou fishermen making use of ospreys to help them do their fishing. At the end of the day, the ospreys play with one another after finishing their work.
GUO Ying : Performed on June 8, 1996 4:56
《禪院鐘聲》 崔蔚林曲 陳葆坤配器
樂曲創作於一九三九年，作者路過香港九龍油蔴地榕樹頭，聽到廟宇間傳來紅魚青磬靜修之聲，因感懷寫成此曲。借喻空門遁跡，禪房寂寂，聽寺鐘迴鳴，嘆人間虛幻，反映出在紛亂時勢中人民的心聲，及與世無涉的超然冥想，同時宣洩一種壓抑、哀愁、憤怒的情緒。樂曲原為洞簫而寫，後有人將之填詞演唱，使此曲益更風行。
甘尚時：一九九四年演繹 4:36
Toll from Temple composed by CUI Wei-lin orchestrated by CHEN Bao-kun
This piece was composed in 1939. When the composer passed through Kowloon Yaumatei, he was moved by the sound of pattering in the temple, and composed the music. The melody reflects what the Chinese people thought in the war, and catharsis a strong feeling of depression grieving and anger. So the musician wanted to help them get rid of the real world through this music. It was originally composed for the solo xiao, and became more and more popular when people wrote words to the music and started to sing it as a song.
GAN Shang-shi : Performed in 1994 4:36
《草原上》 劉明源曲
此曲是劉明源於一九五六年編創，並作為參加國際比賽演奏用的曲目之一。樂曲的風格具有鮮明的蒙古地方色彩，表現當地人民勤奮、勇敢的性格，面對著富饒美麗而無際的草原，所抒發的內心讚歌，是作者體驗草原生活的寫照，亦是展現了從馬頭琴演奏家色拉西學習的成果，樂曲模擬了馬頭琴的演奏特色，把人帶入了「天蒼蒼，野茫茫，風吹草低見牛羊」的遼闊草原意境之中。
劉明源：一九九四年六月演繹 中國音樂學院民族樂隊伴奏 7:25
On the Prairie composed by LIU Ming-yuan
LIU Ming-yuan arranged and composed this piece in 1956, and it was chosen as one of the pieces for participating in an international competition. The music is obviously flavoured with Mongolian musical style, expressing the hard-working and brave character of people there and their heart-felt praise for the beautiful LIU Ming-yuan : Performed in June 1994; accompanied by the Chinese Orchestra of China Conservatory 7:25
《塞外情思》 劉長福曲 王甫建配器
這是一首描繪塞外風情的獨奏曲，樂曲以真摯的情感、如歌如訴的旋律，通過幾個不同的音響畫面，表現了作者對塞外生活的深切懷念，和對已逝青春年華的無限眷戀之情。在使用中胡來模仿馬頭琴與蒙古說書四胡的手法來演奏，更加突出了音樂風格，豐富了樂曲的表現力，使人聽來如臨其境。
劉長福：一九九五年三月演繹 王甫建指揮中央音樂學院民族樂隊伴奏 7:09
Thoughts beyond the Frontiers composed by LIU Chang-fu orchestrated by WANG Pu-jian
With genuine feelings and singing melodies, this piece expresses the nostalgia of the composer for life beyond the frontiers. The zhonghu is used to imitate the sound of traditional Mongolian instruments to reinforce the exotic flavour of the music.
LIU Chang-fu : Performed in March 1995; accompaniment: WANG Pu-jian conducted the Chinese Orchestra of Central Conservatory 7:09
《憶秦娥》 周成龍曲
「簫聲咽，秦娥夢斷秦樓月，年年柳色，灞陵傷別。樂游原上清秋節，咸陽古道音塵絕，西國殘照，漢家陵闕。」作曲家根據以上這首李白詩詞《憶秦娥》之詞意，專為中胡創作的一首獨奏曲。
馬曉暉：一九九五年五月二十二日演繹 魏國范阮伴奏 8:09
Lady of the Qin Dynasty composed by ZHOU Cheng-long
The composer composed this piece according to the content of a piece of poem with the same title written by LI Bai of the Tang Dynasty. It was specially written for the solo zhonghu.
MA Xiao-hui : Performed on May 22, 1995; ruan accompaniment: WEI Guo-fan 8:09
《新春樂》 馬光陸曲
樂曲採用河南曲劇音調作素材，以墜胡與樂隊為演奏形式，是一首具有濃郁地方色彩的器樂曲。音色明亮的板鼓、小鈸、小鑼引出樂隊歡快流暢的旋律，使人呼吸到醇厚的鄉土氣息，沉浸於新春歡樂之中；在慢板部分，作者充分發揮墜胡的各種滑奏技法，使旋律更為優美抒情。
馬光陸：一九九三年演繹 中國廣播民族樂團伴奏 4:17
Music for the New Year composed by MA Guang-lu
This piece was developed from themes of Henan operas and was written for zhuihu and orchestra. It is an instrumental piece with rich local style. The bright sound of percussion instruments introduces the lively melody played by the orchestra, creating an air of village life during the joyful New Year. In the adagio section, the composer fully utilizes various glissando techniques on the zhuihu, which makes the melody even
MA Guang-lu : Performed in 1993; accompaniment: China Broadcasting Chinese Orchestra 4:17
《秦腔牌子曲》 郭富團曲 劉明源改編
樂曲是根據我國四大聲腔之一的陝西梆子「秦腔」中若干曲牌聯綴改編而成。引子以《官譜》曲牌，先聲奪人，奔放而出；其後節奏拉寬，帶出情緒舒展、悠情的第一段；第二段以《殺妲姬》曲牌發展而成，情緒由悲哀轉激昂；第三段快板，以音型短小的《入洞房》曲牌，配合節奏頓挫，喜悅之情，溢表弦外；第四段趨向熱烈，在旋律放慢後，出現一段由板鼓伴奏的華彩樂段，繁音急節，推向全曲高潮；最後是延續的變化再現。全曲的速度時慢時快，力度時弱時強，節奏多變，極富戲劇性的效果。
劉明源：一九九四年六月演繹 中國音樂學院民族樂隊伴奏 6:30
The Tunes of Shaanxi Opera composed by GUO Fu-tuan arranged by LIU Ming-yuan
The music is based on several excerpts from Qin-qiang (the tunes of Shaanxi Opera), which is one of the four major tune systems of Chinese local operas. The introduction heralds the emotion with the materials from Guan Pu (a qupai-set tune). Afterwards, the first section arrives with more expanse mood. The second section is developed from the materials of To Kill Da-ji (qupai). The third section is fast in tempo, the short motive is based on the qupai–Ru Dong-Fang. The joyful atmosphere fills the whole section. It becomes more vigorous in the fourth section. After the augmentation of the melody, the Ban (a kind of drum) accompanies a cadenza which brings the music to the climax. This is a piece with frequent changes of tempo and strength which facilitate the dramatic effect throughout.
LIU Ming-yuan : Performed in June 1994; accompanied by the Chinese Orchestra of China Conservatory 6:30
《紅軍哥哥回來了》 張長城、原野編曲
樂曲創編於一九五八年，樂曲根據西北劇種「碗碗腔」音樂編寫而成。快板段熱情奔放；緩慢處則深情細膩，聽來別有情趣。
張長城：一九五九年八月六日演繹 4:26
Brother Comes Back compiled by ZHANG Chang-cheng, YUAN Ye
This piece is compiled from the music of a kind of North-western opera called wanwan tune. The allegro section is passionate while the lento section is full of refined feeling, and it sounds quite special.
ZHANG Chang-cheng : Performed on August 6, 1959 4:26
《山東小曲》 原野、何化均編曲
樂曲創編於一九五八年，此曲是以山東惠民地區民歌，和聊城嗩呐曲牌《海青歌》編寫而成。快板詼諧幽默；慢板深情如訴；最後快板更為歡快，熱情奔放。
原野：一九六○年代演繹 3:31
A Shangdong Tune compiled by YUAN Ye, HE Hua-jun
This piece is compiled from a folk song from the Huimin region of Shangdong Province and from a piece of Liaocheng suona music called Haiqing Song. The allegro is humorous, the adagio is like telling a touching story and the final allegro is even more lively, merry and passionate.
YUAN Ye : Performed in 1960s 3:31
《河北花梆子》 閻紹一曲
樂曲創作於一九五八年，根據河北梆子中的《行弦》和花梆子《么二三》等音調作素材改編而成。引子由板胡奏出富有戲劇性的倒板腔調。緊接著小行板以連續的十六分音符構成的一氣呵成的旋律，板胡與樂隊競奏，表現了熱烈奔放的情緒。慢板段落，板胡常以倚音、滑音、顫音等技法潤飾如歌的旋律，優美婉轉。尾聲再次出現小行板的曲調，並將演奏速度推高，渲染了異常熱烈的音樂氣氛。
閻紹一：一九六○年九月十四日演繹 總政文工團民樂隊伴奏 6:59
Hebei Huabangzi composed by YAN Shao-yi
This piece is arranged using main themes from the traditional music of Hebei huabangzi. In the introduction, a dramatic tune is played on the banhu. It is immediately followed by an andantino section which makes use of a melody consisting of consecutive semiquavers, in which the banhu competes with the orchestra and expresses passionate emotions. In the adagio section, many ornamental techniques are used on the banhu to make it sing out the beautiful tune. In the finale, the tune of the andantino reappears with a faster pace, giving the music an energetic atmosphere.
YAN Shao-yi : Performed on September 14, 1960; accompanied by the Chinese Orchestra of the Song and Dance Troupe of the General Political Department 6:59
《春城節日》 周其昌、丁永盛曲
樂曲創作於一九六○年，內容描寫東北長春地區人們慶祝節日的熱鬧情景，樂曲以較多的節奏變化和對位旋律來描繪節日的歡樂氣氛，全曲旋律充滿歡欣、快樂和動力。
周其昌：一九六二年七月十九日演繹 長春電影製片廠民樂隊伴奏 6:42
Festival in Changchun composed by ZHOU Qi-chang, DING Yong-sheng
This piece was composed in 1960 to describe the lively scene of people in Changchun celebrated their festival. It demonstrates the happiness of the festival by using many changes in rhythm and antistrophic melody. So the musician creates a powerful and lively tune.
ZHOU Qi-chang : Performed on July 19, 1962; accompanied by the Chinese Orchestra of the Changchun Film Studio 6:42
《春風楊柳》 劉洙、晁東旭曲
嚴冬過後，大地回春，作者有感於小河岸邊的楊柳，迎著微風在飄蕩的情景，創作了這首抒情寫景，描繪萬物更生的樂曲。
晁東旭：一九六○年十月十五日演繹 中央實驗歌劇院民樂隊伴奏 5:00
Spring Willow in the Wind composed by LIU Zhu, CHAO Dong-xu
After the cold winter, spring comes back to the earth. Willow has its branch flowing in the wind. The composer describes the scene to express his love of nature and the reborn of life.
CHAO Dong-xu : Performed on October 15, 1960; accompanied by the Chinese Orchestra of the Central Experimental Opera House 5:00
《月芽五更》 東北民歌 劉明源編曲
此曲是以流傳較廣的兩首東北民歌《月芽五更》及《瞧情郎》編寫而成，樂曲委婉、含蓄、嬌俏、明朗、細膩。慢而不憂，細而不燥。
沈誠：一九九五年演繹 中國音樂學院民樂隊伴奏 5:40
Crescent before Dawn North-eastern folk song arranged by LIU Ming-yuan
This piece is arranged from two well-known North-eastern folk songs called Crescent before Dawn and Visiting the Lover. The music is delicate, indirect, light and refined. It is slow but not sad, gentle and not rush.
SHEN Cheng : Performed in 1995; accompanied by the Chinese Orchestra of the China Conservatory 5:40
《大起板》 何彬編曲
樂曲是根據河南板頭曲《小調大起板》改編而成。粗獷潑辣的引子帶出了宏大的氣魄；第一段對答呼應般的旋律，將樂句的幅度逐漸擴大；在二拍子和三拍子的交替出現及連續的切分節奏和調性對比下，第二樂段表現了熱情奔放和跳躍活潑的情緒；接著第三樂段的音區向上移，速度轉快，下行大滑音的出現，使樂曲更詼諧風趣；當大滑音穩定後，又八度大跳入高音區，然後以模進手法重複了前半段的旋律；最後重複了第三段的前半部，速度更快，力度更強，將全曲推向高潮。全曲短小精悍，結構簡練，具有濃郁的鄉土氣息。
劉湘：一九九五年七月演繹 中央民族樂團伴奏 3:13
Grand Overture arranged by HE Bin
This piece was arranged according to a traditional piece of Henan instrumental music with similar title. The primitive, dominant introduction builds up a grand atmosphere; in the first section, the dialogue-like melody gradually increases its amplitude; with syncopation and the alternate appearance of 2-beat and 3-beat rhythms, the second section is passionate, jumping and lively; in the third section, the pitch of the music moves up the scale and the tempo also grows faster: with the appearance of downward glissandos, the music becomes even more humorous; when the glissando has eventually leveled off, the music jumps up an octave and repeats a previous melody; finally, first half of the third section is repeated with even faster tempo and greater force, reaching the climax of the whole piece. The whole piece is short and sweet and well-structured, without the need of mentioning its rich traditional spirit.
LIU Xiang : Performed in July 1995; accompanied by the National Traditional Orchestra of China 3:13
《大姑娘美》 東北民歌 彭修文改編
一九五七年胡琴大師劉明源約請彭修文為他譜寫一首板胡獨奏曲，因之採用了東北的嗩呐曲牌為素材加以發展而成此曲。樂曲共分四個部分，曲調柔美而抒情，描寫出少女婀娜多姿的美態。
姜克美：一九九六年六月演繹 華韻九芳小民樂團伴奏 6:44
Beautiful Girl North-eastern folk song arranged by PENG Xiu-wen
In 1957, the banhu master LIU Ming-yuan invited PENG Xiu-wen to compose a banhu solo piece for him, and PENG Xiu-wen used a piece of North-eastern suona music to develop this piece. The music can be divided JIANG Ke-mei : Performed in June 1996; accompanied by the Ladies’ Ensemble of Chinese Music 6:44
《八大錘》 大擂拉戲（唱腔仿拉）
著名盲藝人王殿玉於一九二二年將墜琴改制而成擂琴，亦稱大擂，起初作為獨奏樂器，仿奏戲曲唱腔、伴奏、鑼鼓等，均可以由一人操琴奏出，《八大錘》就是用擂琴仿拉余叔岩京劇唱腔的一種演奏，叫作「大擂拉戲」。
王殿玉：一九五七年演繹 5:03
Ba Da Chui leiqin imitating on operatic song
The famous artist WANG Dian-yu, who was also a blind, modified the zhuiqin to leiqin, which has another name called dalei. It was a solo musical instrument at first. By using it, the performer can imitate the operatic songs and the sound of percussion instruments. Ba Da Chui is a singing tune of a Beijing opera. This kind of performance has another name Da Lei La Xi.
WANG Dian-yu : Performed in 1957 5:03
《笙管合奏》 大擂拉戲（器樂仿拉）
「大擂拉戲」其後發展起來，除特善戲曲說唱外，還能仿拉百鳥爭鳴、六畜歡叫、鑼鼓鈸鑔及笙管笛簫，此曲《笙管合奏》又名《歡樂歌》，就是用擂琴模擬笙管合奏的效果，是仿拉人聲外的一種奏法，屬器樂仿拉器樂類。
韓鳳田：一九六二年十二月四日演繹 2:55
Combination of Sheng and Guan leiqin imitating on wind instruments
Developed after Da Lei La Xi, besides accompaniment for the opera, it can imitate bird-call, the sound of animals, wind instruments and percussions as well as other instruments. This piece has another title called Joyous Songs. Performer imitates the traditional instrumental music of Sheng and Guan. Leiqin is such an instrument good at imitation. It can imitate the voice of human beings as well.
HAN Feng-tian : Performed on December 4, 1962 2:55
《柳葉錦》 白鳳岩編曲
此曲是作者根據河北的曲藝音樂改編而成，在原有的曲牌基礎上加工，渙發出一種新的氣質。
白鳳岩：一九六一年五月十一日演繹 1:44
Liu Ye Jin compiled by BAI Feng-yan
The composer compiled the melody of this sihu piece from Hebei traditional music. Iit was developed BAI Feng-yan : Performed on May 11, 1961 1:44
《皮影牌子》 趙義民、劉鈞曲
樂曲根據河北唐山一帶流行的傳統皮影戲唱腔及曲牌，參編而成。樂曲婉轉、流暢，具有濃郁的民俗文化氣息。
劉鈞：一九六○年十月二十六日演繹 河北歌舞團民樂隊伴奏 3:47
Shadow Tune composed by ZHAO Yi-min, LIU Jun
This is arranged from songs and music of the traditional Leather Shadow Operas popular in the region of Tangshan in Hebei Province. The regional style is obvious, and the music is gentle and flowing.
LIU Jun : Performed on October 26, 1960 3:47
《萬馬奔騰》 齊‧寶力高曲
作者以馬頭琴的獨有音色及特性配合歡快奔騰的節奏而創作此曲，意圖表現出萬馬馳騁於遼闊的內蒙草原上，在那寬廣宏大的氣勢中，展示出一往無前及不停進取的精神氣質。
布仁特古斯：一九九三年演繹 中國廣播民族樂團伴奏 2:38
Horses Galloping composed by Qi Baoligao
In this piece, the composer makes use of the unique tone colour and characteristics of the matouqin and combines them with a fast and lively rhythm, trying to express the scene of multitudes of horses galloping on the wide grassland of Inner Mongolia. The music sounds brave and aggressive.
Burentegusi : Performed in 1993; accompanied by the China Broacasting Chinese Orchestra. 2:38
《東可爾的戀歌》 內蒙民歌 李波改編
本曲根據蒙古民謠改編，主要講述了東可爾的戀愛故事，全曲幽默詼諧，節奏明快，有很強的表現力。熱戀中的東可爾與愛人難捨難分，他時時刻刻牽掛著自己的愛，跌宕起伏的音樂非常活潑地表現了這樣一位痴情的男李波：一九九八年六月演繹 2:27
Love Song of Donkir Inner Mongolian folk song arranged by LI Bo
This piece is based on the love story of Donkir and his lover. The music is humorous, with fast rhythm and rich expressiveness. Donkir is head over heels in love, unable to tear himself from the girl he loves, thinking each minute of his lover. The situation is described vividly by the varied musical emotions, where one can hear two erhu accompanying matouqin. This combination is full of imagination for its vitality.
LI Bo : Performed in June 1998 2:27
