Dunhuang, a land of mystery and history, shines like the brightest jewel on the age-old Silk Road, where its rich and vast heritage and innumerable historical sites and artwork bear witness to the confluence of Eastern and Western civilizations, and is a living testament to the ancient cultures that once flourished here. This piece deftly utilizes the characteristics of Chinese instruments in combining the tonalities of Western Chinese music with the Ragas of Indian music, symbolizing Dunhuang’s unique position as the only meeting point of the four ancient civilizations and its diverse and legendary nature. The music is divided into two main sections: the first section evokes the desolate and boundless Gobi Desert that envelopes the ancient garrison of Dunhuang, and the second section expresses the prosperity and vitality of the modern city it is today. The work opens with a low refrain from the guzheng, before the xindi, erhu, pipa and ruan enter in quick succession, in turns joyous and rousing, in turns lyrical and melancholic. The listener is transported back into the 4000 years of Dunhuang’s history, where power changed hands multiple times and the city experienced extreme fortunes. Famous scenes like “the post station on the weathered path” that show the vibrant city at the height of its glory come to mind, along with the emblematic “Flying Deities” and “Reverse Pipa-Playing Pose” that stand out among the multitude of artwork depicting music and dance in the legendary frescoes in the Mogao Caves. The second section replaces the xindi with the qudi, characterized by its higher register, luscious and clear tone, enlivening the piece. To further enhance the rhythmic drive, the performers tap the “sound boxes” of the erhu, pipa and zhongruan, emulating sounds of drums and galloping horses. In essence, this piece is an example of the wide-ranging expressive capabilities of traditional Chinese instruments, and seamlessly connects the legacy of Chinese folk music with its future creative possibilities.