秋這個季節於四季中一向被賦予由繁茂轉入寂寥的意涵。蘇軾在其「秋聲賦」中對秋在這個面向上所呈顯的聲貌有令人執筆讚嘆的描述。然而東坡居士畢竟是才氣縱橫之士，乃能超逸地嘆道：「奈何以非金石之質，欲與草木而爭榮？念誰未知賳賊，亦何恨乎秋聲」要能對秋有如此脫俗之見，想必非得要跳脫出將其視為由夏入冬之過渡的角度方有可能。換言之，觀秋為其自身存在之唯一理由。果真如此，則秋之為美， 其聲狀必如蘇軾之書童所云：「星月皎潔，明河在天，四無人聲，聲在樹間。」我的「秋（唱•晚）鳴」便是在如此的心境下寫成。曲中之大小章節，孤聲殘響，也都應在類此的心境下被聆聽，方能品其境。

Among the four seasons, autumn has traditionally been perceived as the passage from the prosperous into the solitary. In his Ode to Autumn Sounds, the Sung Dynasty poet, Su Shih, succeeded in conveying the above sentiment with astounding vividness. Nevertheless, being an exceptionally talented artist, Su was able to bring up such insightful observation as ”Not being immortal, why do we compete against vegetation for the glory? And knowing who that did the harms, why do we hate the autumn”.In order to perceive autumn with such freshness, one must be able to relinquish the traditional perspective which takes autumn as the transition from summer to winter, in other words, to take autumn as a self-contained entity itself. If so, then the beauty of autumn will automatically reveal itself as described by Su's page boy, ”The stars and the moon are crystal clear, and the milky way spreads across the sky, not even a single human trace is visible, only the sounds in the trees.”My 'Autumn (al) Canti (cle)' was composed for such a new listening perspective, that is, all the sections regardless of their dimensions, any isolated sound or lasting echo should be listened to as though they are an entity by themselves in order to appreciate their exquisiteness.