The first movement "Immortal music is heard everywhere" (mixed chorus): It describes the scene of singing and dancing in the Huaqing Palace, with a trilogy structure. A series of light ascending semi-staccato notes in the right hand part of the first accompaniment depict the graceful dancing posture of the palace maidens with "white feathers and snowy feathers, red sleeves flying over the clouds". Each voice part responds to each other, imitating the slightly undulating melody, which reminds people of the changeable dance formations and the elegant dance posture of "the mantle is facing the wind, and the willow branches are spreading".

The second movement "The Palace of Eternal Life on July 7th": It describes the love oath between Emperor Ming of the Tang Dynasty and Concubine Yang, with an expanded duology structure. The piano introduction first plays the love theme of "Wish to be a winged bird in the sky", and then depicts the continuous sound pattern of the deep palace night where "the wind blows into the object and the leaves make a sound". Against this poetic and tranquil background, the maids sang softly in low voices as if from afar. Then came the passionate duets and duets between Yang Guifei and Tang Minghuang. In the accompaniment part at the end of the movement, the sound pattern depicting the rustling of tung leaves in the wind appears again, showing the artistic conception of "when no one is whispering in the middle of the night".

The third movement "Yuyang Pierg Encourages the Land to Come": It writes about the border alert of the rebels' invasion of Chang'an from the west. The melody is tragic, and the beginning theme is gloomy and gloomy. The texture of the chorus that appears three times is different, and the intensity becomes stronger each time, creating an aggressive momentum.

The fifth movement "The Sixth Army is Helpless Without Attack": describes the resentment of the three armies. The singing form is similar to that of the third movement, which also develops with greater intensity, showing that the soldiers' resentment continues unabated.

The sixth movement "Wanhuan'e Mei Ma died before her death": It describes the farewell between Yang Guifei and Emperor Ming of Tang Dynasty before her death. Set against the heavy rhythm of the funeral march on the piano, the weeping singing voice is sad and plaintive, expressing the painful mood of the imperial concubine before her death.

The eighth movement "Mountains in the Void": a three-part chorus for female voices written in free imitative polyphony, accompanied by strings and harp, and has a two-part structure.

The tenth movement "This Hate Will Endless": It describes the loneliness and endless sorrow of Emperor Ming of the Tang Dynasty, living alone in the palace on a miserable autumn rainy night. The first part uses a narrative tone to describe the depressed scene of "Nishinomiya Nannei". In the second part, the baritone solo, lead singer and accompaniment singer, uses sentimental tones to describe Tang Minghuang's mood of "old joys and new hatreds surging like a tide".

According to legend, there is Penglai Fairy Island in the east of the Bohai Sea, with immortal palaces on it. It is said that Concubine Yang became an immortal after her death and lived in the Taizhen Courtyard of Concubine Jade. The alchemists sent by Emperor Ming of the Tang Dynasty once saw her there. she. One movement in the song is about this ethereal fairyland.