Qinshu Daquan includes three poems by Su with a qin theme:

1. 聽演化琴 Listening to Yan Hua (Play my) Qin, with Preface ⁴
   (This poem mentions an episode when Yan Hua played for the Song dynasty's Zhenzong emperor [r. 998-1022; capital Kaifeng] during the xiangfu reign period [1008-1016]. Translation is by Jonathan Chaves.)

   Yanhua is a master of the qin zither. In the past, he once performed for a former emperor. When Yanhua heard that I have a fine instrument in my collection, he asked to play it, but having played, was reluctant to put it down. I have therefore written this poem to describe his feelings.

   The old master from Twin Pagodas,
           of ancient, rugged mien,
   Has asked to borrow my rare zither,
           and play upon it once.

   Winds waft the music of the immortals
           from the vast void—
   All who hear are entranced by the sound,
           their hair standing on end!

   As he plays the zither, we forget
           that the music comes from his fingers,
   Nor are the fingers conscious
           of the music of the heart.

   The rhythm may stop, the tones fade away—
   And in the midst of this sparse, soft sound
           he expresses deep feeling,

   Deep feeling — a thin flavor I alone understand
   As I am swept, ecstatic,
           back to the antiquity of the sages.

   The piece at an end, the master closes his eyes,
           and doesn’t say a word;
   Then suddenly tells us that he once played
           in the august Presence.

   The emperor of the xiangfu years
           had few affairs of state,
   And so he had the leisure to call
           great artists to the palace.

   When the regalia were withdrawn from the imperial precincts,
           and the cold sun glowed red,
   The master was led on horseback to the Palace of Paradise.

   With one performance of Pacifying the Barbarians
           he soothed His Majesty’s ears,
   And the nobles, at attention in their furs and jewels,
           were noticeably moved.

   A robe in Purple Cocoon pattern
           was brought from the Imperial Wardrobe,
   And in one day his fame had spread to a thousand noble homes.

   Now, old and sick, he lies in retirement
           in a land of lakes,
   Having met no connoisseurs of music,
           the past completely gone.

   A pair of jade-white cranes may be flying in the heavens,
   But people here see only the old wutong tree were they perched,
           withered and dying.

   Happily, he has found this precious zither,
           in tune with his heart and hands;
   Moved by the sound to recall the past,
           tears dampen his breast.

   Looking back at me, hesitating, unable to depart,
   He wants to leave behind him still another sorrowful song.

2. 聽懷月琴 Listening to a Qin of Huaiyue (Folio 19B, #84; V/432) 正聲今遁矣，古道此焉存。
   商緩知臣僭，風薰見帝尊。
   雄豪尚余勇，淡泊忽忘言。
   䌓極殊無閒，來長若有源。
   已能通變化，直可探胚渾。
   此理師應得，西風獨掩門。

   Huaiyue is also mentioned in another poem

3. 謝張生抱琴 Thanking Student Zhang for Carrying the Qin
   (the attribution was not clear with its inclusion in QSDQ Folio 20B #46; V/456)
   晚泊野橋下，暮色起古愁。
   有士不相識，通名叩余舟。
   鏗鏗語言好，舉動亦風流。
   自鳴紫囊琴，瀉酒相獻酬。
   余少在仕宦，接納多交遊。
   失足落坑阱，所向逢弋矛。
   不圖田野間，佳士來傾投。
   山林益有味，足可銷吾憂。　

Nothing is known of Su Shunqin's skills as a qin player. And although the title of the following poem by Fan Zhongyan suggests it is about Su Shunqin studying qin, perhaps Fan's references to "I" (余 and 我) suggest he (as an accomplished players) was simply encouraging Su to study (or study more).

 
Footnotes (Shorthand references are explained on a separate page)

1. Su Shunqin (蘇舜欽 1008 - 1048)
33250.221; ICTCL p.730.
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2. Suzhou's Canglang Ting

ancient stele (enlarge)

It seems generally to be translated either as "Surging Waves Pavilion" or as "Blue Wave Pavilion". According to Professor Chaves,

3. ICTCL p.730.
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4. 聽演化琴 Listening to Yan Hua (Play my) Qin, with Preface
The original text, as in Qinshu Daquan Folio 19B, #83 (V.432) is as follows:

演化琴德素高,昔嘗供奉先帝.聞予所藏寶琴，求而揮弄不忍去.因為作歌以寫其意云：

Prof. Chaves translation was originallly published in the 1970s in the poetry journal Pequod.
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