Crimson candlelight illuminates the heavy night. Silence is replaced by the cacophony of chatter and cups hastily placed on tables only to be lifted away immediately. The gentle song of a biwa somehow breaks through all of it, as if on a different plane. The ethereal shakuhachi emits its song from beneath a gauze canopy. The generous roar of the drums resonates throughout the floors of the inn, piercing deep into its corners, making way for the wave of memories that ensue. Even after more than a millennium, the huqin still plays its aching song, the moon above following it through dynasty after dynasty, long after the city has fallen to ruin and disappeared from living memory. 

The Tang capital Chang’an, now known as Xi’an, was during its heyday in 14^th century one of the world’s most populous cities at the time, and an impressive center of economy, politics and culture, which gave rise to incredible feats of breakthroughs in music. Throughout the beautiful, gilded palace halls song and dance were always underway, and were a treat for anyone fortunate enough to witness them first-hand. This splendid musical array soon caught the attention of the kentoushi (Japanese ambassadors to Tang China), who for the next two centuries would study these arts, and bring their knowledge of them, along with musical scores and instruments, in large sturdy boats across the raging sea back to their homeland, thus perpetuating the culture of the Tang dynasty there. These bold songs from Daming Palace could be heard throughout the castles of Japan, during festive banquets and solemn ceremonies, inspiring many poets to leave behind works full of vigor and sadness. Even in the Zen gardens of Buddhist temples, as the monks strolled past the falling cherry blossom petals, they would play melodies originating from the Great Tang. And on the banks of rivers in the countryside, young cowherd boys would hum tunes, not knowing how far they travelled to reach them.

Rhymoi Music producer Ye Yunchuan, who has been fascinated by classical Chinese music since his childhood, has since gone on to hold a deep understanding and affection for it. In 2018, with his album Moonlight glow over Dunhuang, he showed the world the marvel that is the rich history of Dunhuang and the Tang Dynasty. Here, he once again is propelled by his deep admiration for Chinese classical music, to bring the listener to the most important successor of Tang culture—Japan. Though the original palaces of Chang’an no longer stand, its spirit still lives on. Mr. Ye calls upon a group of talented musicians from both Japan and China, and in a 1200-seat music hall in Kanagawa, reveals a stunning portrayal of Chinese folk music and Japanese hogaku, featuring improvised performances of classic pieces. The shakuhachi, Japanese flute, Japanese biwa and taiko drums all originated from Tang China, and today Japan is the world’s greatest showcaser of extant classical songs from this era. Outstanding young instrumentalist Mao Ya plays the guzheng and other Chinese instruments, which forms a dialogue with a range of Japanese instruments, for an incredible cultural exchange spanning millennia.