好些個自律神經失調､行動遲緩的夜晚﹐耳鳴如雷､脖子有異物感､打嗝脹氣､心悸､強迫呼吸､腸躁､攝護腺發炎等等症頭﹐個別或結伴﹐接踵而至｡我伏案譜曲﹐總跟自己說︰｢One More Good Day﹐又是美好的一天｡不知敦仁的朋友們是怎麼想自己的每一個明天?」

整首作品以類似印象樂派的手法，圍繞並發展1分50秒左右出現的鋼琴主旋律｡主旋律出現前的每一個樂句都在模糊地問它︰｢你之前是否長這樣呢？」之後的每一個樂句則朦朧地自問︰｢難道這就是我未來的模樣？」直到結尾﹐在簡單的小提琴撥弦伴奏下﹐鋼琴的雙手八度主旋律再現﹐它說： 「原來是我小時候的模樣﹐都是我小時候的模樣｡｣

On many nights, I am plagued by autonomic nervous system disorders and sluggish movements, with roaring tinnitus, a sensation of foreign objects in the neck, frequent belching and bloating, palpitations, compulsive breathing, irritable bowel, prostatitis, and various other symptoms, whether individually or in tandem, they come one after another. Sitting at my desk composing, I always tell myself: “‘One More Good Day.’ It is another beautiful day. I wonder how the friends at Dun Ren Hospital view each of their tomorrows?”

The entire piece is crafted in a style reminiscent of impressionist music, revolving around and developing the piano melody that emerges around 1 minute and 50 seconds into the composition. Each preceding phrase before the main melody ambiguously questions it: “Were you like this before?” Each subsequent phrase after it hazily self-inquires: “Could this be my future appearance?” The octave main melody on the piano reappears until the ending, accompanied by a simple violin pizzicato, declaring: “So, this was how I looked as a child; it is all from my childhood.”

結構為簡單的 A-B-C-A ，以浪漫派的風格，從頭到尾貫穿著一段天鵝絨針織般、乍暖還寒的旋律。中間的B＆C段落為三拍子舞曲，音樂元素皆由A段的主題動機縮小翻轉而來。

The structure is a simple A-B-C-A format, styled in the romantic tradition. The melody is akin to a velvety, fluctuating warmth throughout. The B and C sections in the middle are like a little waltz, with musical materials derived and transformed from the main theme and motifs of the A section.

這首曲子的氣質像極了胡醫師！永豐老師說，於是命名為「兀自娛心的孤獨浪人」。這首曲子寫到一半時，發現另一首兒歌「晝夢 I」的音型就是孤獨浪人的翻轉，音樂素材正好相輔相成，因此決定兩首合一。樂曲旋律發想自台灣老歌、兒歌，我想像巴黎巷弄間，一個踩著雨滴跳舞的孤獨浪人。

“The essence of this composition perfectly embodies Dr. Hu’s elegance!” Yung-Feng remarked, thus naming it "To The Joyful Solitary Wanderer." While halfway through composing this piece, I discovered that the melodic motif of another nursery rhyme, "Daydreaming I," is actually an inversion of the musical gesture in "To The Joyful Solitary Wanderer," and the musical materials complement each other perfectly. Therefore, I decided to merge the two pieces. The melody of the music draws inspiration from old Taiwanese songs and nursery rhymes. I imagine a solitary entertainer dancing in the alleyways of Paris, gracefully stepping on raindrops.

某晚﹐經過長期的靜坐、冥想﹐終能與自律神經失調及各種病發症和平相處﹐我輕輕地跟它們說： ｢親愛的﹐你們可以離開了。」

這首曲子速度極慢，四分音符=24，用心跳比喻，一分鐘24下。樂曲開頭標著「Dense Fog」，音樂家演奏時需想像自己在迷霧中緩慢前行；下一段鋼琴獨奏標著「Crystal of Fog」，希望鋼琴家能單純以音色描繪霧氣結晶的狀態。結尾前我標著「Fog Burning」，是小提琴與鋼琴二重奏的高潮，兼向影響我至深作品—梅湘的 「Quartet For the End of Time」 致敬。鋼琴在全曲中的行進大都以十六分音符為一組單位，如踩著堅定的步伐，在伸手不見五指的茫茫大霧中向前走。

One evening, after a long period of meditation, I finally found peace with dysautonomia and various complications. I gently said to them, “Dear ones, you may depart now.”

This piece is extremely slow, with a quarter note = 24, likening the experience to a slow heartbeat with 24 beats per minute. The music begins with the marking of “Dense Fog,” prompting musicians to imagine slowly progressing through the mist. The following piano solo section is marked with “Crystal of Fog,” hoping pianists to depict the crystalline state of fog purely through tone and color. Before the ending, I marked “Fog Burning,” representing the climax of the violin and piano duet, paying homage to Messiaen’s “Quartet for the End of Time,” a work that profoundly influenced me. Throughout the piece, the piano’s progression is primarily in groups of sixteenth notes, as though treading with resolute steps, forging ahead into the boundless mist where the hand’s reach fades into obscurity.

此曲開頭如輪轉般重複的旋律乃發展自《送別》前面幾個音，但此曲的視角意圖將聽者邀請至大霧之上，乍見明亮的太陽，暗指送別那些惱人症狀後再見本心之意。

The opening melody of this piece, like a revolving cycle, emerges from the introductory notes of "Farewell." However, the perspective of this composition intends to elevate listeners above the dense fog, where they catch a sudden glimpse of a radiant sun, subtly implying a farewell to the disturbing symptoms and a return to the essence of the heart.

敦仁醫院與東寧農村皆座落於彰化鄉野。夏日炎炎，病友們坐在窗旁、田邊，看著天空。造訪醫院時，我想像他們做著白日夢那般半睡半醒的狀態。整首曲子分七個樂章，頭尾相同。六段音樂的創作過程於我極為特殊：它們同時發展，同時完成，相互影響，但其素材與語彙又高度統一。錄音時討論其中幾段的境界，我向小提琴家魏靖儀說明：「就好比想像你在蘇格蘭唸佛經！」

Dun Ren Hospital and Dongning Village both nestle in the rural expanse of Changhua Township. In the sweltering summer heat, patients perch by windowsills or amid the fields, their gaze fixed upon the heavens. Stepping into the hospital, I envision them in a liminal state, drifting between sleep and wakefulness, lost in reverie. The composition unfolds across seven movements, its inception and conclusion mirroring each other. The process of crafting the six musical segments was profoundly distinctive: they evolved and concluded concurrently, mutually influencing one another, yet maintaining a remarkable cohesion of theme and expression. When discussing the boundaries of several sections during recording, I explained to violinist William Wei, "It's like imagining you're reciting Buddhist scriptures in Scotland!"

睡前若沒打坐，床上躺著經常胡思亂想。我好奇，病友們睡前想些什麼呢？是否跟我一樣，也有個小劇場，每天上演不同戲碼？

此曲是我創作生涯中的第一首極簡主義作品，整首音樂圍繞著三個音：B (si), E (mi), D (re) 發展。我從沒深入研究或受過極簡主義的音樂教育，就我而言，極簡音樂的創作核心在於每一段重複時間裡前後段聲音的重量差異，以及由此產生的失重與美感。

Before drifting to sleep without meditation, my mind often wanders aimlessly upon the bed. I ponder, what dreams do my fellow patients entertain before slumber? Do they, like me, stage a nightly theater with changing scenes?

This composition is my first approach to minimalism, woven delicately around three notes: B (si), E (mi), and D (re). Though I have no formal study of minimalist music, its essence lies in the subtle shifts of sound weight between each repeated interval, giving rise to a sense of weightless beauty.