〈毀壞的城市 Tainan Qui Dort〉原為台灣詩人楊熾昌(1908-1994)以日語夾雜少許法語寫於1930年代的台南，在今日台灣讀來仍無比貼切。我於2012年初已將此詩標題寫入國樂團曲〈采風〉，現在再將全文參考原文與詩人葉笛之漢譯，翻譯為擬古泉州語，似乎反而更貼近原日文詩。不同時代用語造成的差異感與限制，再加上南管聲腔、洞簫、鋼琴的編制，除借重南管曲唱與洞簫演奏語法，鋼琴扮演大於南管琵琶的角色，但不做太多音畫式的寫作。以上做法成為我對此詩超現實色彩的詮釋。此詩四個段落，分別借用五首經典南管樂曲旋律片段以及原曲含意──《黎明》：五空管《疊韻悲‧睢陽》《生活的表態》：倍思管《望吾鄉‧繡成孤鸞》《祭歌》：五空管《棉搭絮》 五六四ㄨ管《寡疊‧風打梨》《毀壞的城市》：四空《水車‧共君斷約》。（原譜另附南管工尺譜）

Chih-Chang YANG’s poem about Tainan in the 1930s, Tainan Qui Dort, was written in Japanese with some French, but in my opinion it fits very well in today’s Taiwan. Its titles of four sections were programmed into my work Chai Found for Chinese Orchestra of 2012, and now with the reference of poet YEH Di’s Mandarin translation, the full text were translated into quasi-old Quanzhou language of Nanguan lyrics, which I personally prefer much more. The gap and limits created by the language of different time, the combination of Nanguan vocalist, Dongsiau and Piano, the typical style of Nanguan singing and dongsiau playing, with piano playing a role similar to but larger than the Nanguan Pipa, all helped my interpretation of this surreal poem. I have adopted from the following five classic tunes of Nanguan music and borrowed their original meanings to illustrate the four sections: Dawn: Tiapunpi – Chuiyong, Representation of Life: Bongwuhiong – Siuchiannkoluan, Song of Rite: Mitasu and Koatiap – Hoanphahlai, and Ruined city: Chuichhia – Kangkuntoaniok. Nanguan Kongche Notation for this work is also provided for Nanguan musicians.