自民國五年（1916年）梅庵派祖師王燕卿始授琴南京梅庵，距今已近百年；而《梅庵琴譜》從民國二十年（1931年）初版至今，亦已逾八十年。近一世紀以來，梅庵派從無而有、風行一世的崛興過程，堪稱近代琴史上的一段傳奇，梅庵琴曲也隨著梅庵琴派與《梅庵琴譜》的廣布，而益為人所知。梅庵琴曲中經王燕卿潤飾者，以〈平沙落雁〉增改的幅度最大，最能顯露王燕卿的藝術創作功力；而從其間所體現古琴音樂的活傳統，尤可一窺近現代古琴音樂嬗變的樞機所在。今年適逢王燕卿逝世九十週年，藉由梅庵琴曲〈平沙落雁〉所體現古琴音樂的活傳統，回顧梅庵派問世的這段歷史，以為紀念，應是別具意義的。

It has been nearly hundred years since the founder of Mei An qin school Yan-qing Wang began to teach qin in 1916 in Mei An (Plum Bloom), Nanjing. In addition, it also has been over 80 years since the first edition of Mei An Qin Anthology published in 1931. Just about a century ago, Mei An Qin School which grew out of nothing and caught on overwhelmingly, have become a marvelous event in modern history of qin music. The qin compositions of Mei An were more well-known as the spread of Mei An Qin School as well as Mei An Qin Anthology. Ping Sha Luo Yan (Wild Geese Landing on the Sandy Shore) is modified most greatly among the qin compositions of Mei An polished by Yan-qing Wang, so it can reveal Wang’s creativity most adequately. Through living tradition of qin music embodied in this piece, we can scan key points of the evolution of qin music in modern times. Because this year is just the 90th anniversary of the death of Wang, it should be very significant in memory of him to look back on the process of Mei An qin school present to the public by living tradition of qin music embodied in Ping Sha Luo Yan.