Lu Liang Hui is a Chinese Indonesian composer who has been active in Taiwan in recent years. Lu loves music since he was a child and keens on learning music. During the process of learning, he experienced four regions with different cultural and social backgrounds: Indonesia, China, Hong Kong and Taiwan, respectively. All of the music he exposed to at each stage has deeply influenced his path of composing. Lu Liang Hui lives in Taiwan for more than thirty years and is still constantly innovating. Lu is the model of creating the Chinese music in recent years.

“Spring Breeze Night Rain” was originally composed by Lu in 2012 and commissioned by Taipei Chinese Orchestra, for the flute performer who has been traveling in France, Hua Pei, and the Chinese orchestra. Then it was adapted into the Bangdi version in 2016. After that, there are interpretations of the Dadi version, the Dadi and Bangdi version and the Xiao version sequentially. The material of this piece is taken from Taiwanese ballads, the composer used this material as his musical thought and applied his creative techniques to compose it. It describes a memory of recalling the beautiful things to the purpose of saluting to Deng Yu Shian, for his contribution to Taiwanese music.

This thesis chooses to study the analysis and interpretation of the Dadi version of “Spring Breeze Night Rain”, finds out the composing techniques and musical characteristics that the composer commonly used in this piece. The relationship between the musical material and this piece makes this consequence and the way of performing more closely to the musicality and thinking that the composer wants to express. It explores the different interpretation comparison between distinct versions, makes objective analysis and selection, and provides a reference for those performers who perform the “Spring Breeze Night Rain” and the scholars who study the piece of Lu Liang Hui in the future.