Viet kieu musician sets traditional Vietnamese songs in
eclectic traditions
“Thank you so much. Cam on
qua!”
The Vietnamese was not perfect
(it should have been cam on nhieu), but it added to the applause because Nguyen
Le’s music had transcended spatial boundaries while remaining rooted in
Vietnam.
Critics praised his Que nha
(Motherland) concert, held earlier this week at the Ho Chi Minh City Opera
House, as a “perfect music party,” but he had done more.
He had reintroduced traditional
Vietnamese melodies to a Vietnamese audience in a new musical setting, giving
them an added verve that never jarred but made them more charming.
After serving the audience a
hot aperitif, the passionately beautiful Overture with Vietnamese American
zither player Van Anh, the French jazz musician and composer followed his
thanks in imperfect Vietnamese with a perfect sentiment that drew fervent
clapping of hands: “I am so proud to be Vietnamese!”
Then he proved what he had just
said with a series of Vietnamese traditional works that were perfectly blended
with Arabian, African and Indian musical influences.
Qua cau gio bay (The wind on
the bridge), a love duet from Bac Ninh Province and Ly ngua o (The black horse
song), the popular southern folksong, were given added zest by diva My Linh and
the new arrangement by Le. The couple in the Ly ngua o seemed to come out and
travel around the world on an African horse before they reached their
destination.
Daisy flowers and My story,
compositions by Van Anh, arranged by Le, were superb demonstrations of
compatibility between the traditional zither and the modern guitar.
There is not much to say about
Le’s superb guitaring skills. Composer Huy Tuan, who organized the concert,
said, “Nguyen Le’s music is of a different class compared to current levels in
Vietnam.”
But I disagreed with Tuan when
he said later that the music of the French composer cannot help the music of
the motherland now. It seems, he said, that Nguyen Le’s music may not be
“useful for the development of Vietnamese music now.”
I am not sure what that comment
meant, but at the concert last Tuesday, we Vietnamese heard our childhood folk
songs come out in a strange harmony of saxophone, drum, bass guitar and even
unusual sounds from the familiar zither. The songs seemed to get a new lease of
life when played in a much stronger and faster style.
Huy Minh, 32, shared his
feelings when he first heard these works. “It’s like an uncanny feeling when I
saw my grandmother taking off her old costume to wear a western-style vest, but
when she smiled and began to sing, her old melodies were still there, sweet and
familiar. Honestly, I felt weird at watching her in the new outfit, but the
songs reached out as they always do.
“Here, today, the music was so
perfect, though it is not easy to accept that your familiar slow sweet melodies
have become faster, stronger, hotter and even sexier. And I love that his jazz
harmony was kept as a background to set off the traditional music, not to kill
it”.
For Hans Mueller, a German
tourist who stays in the center of the city and accidentally found an
announcement about the concert, it was his first “official chance” to listen to
Vietnamese traditional music.
“And I loved it at first sight.
Nguyen Le played splendidly, and at one moment when he played solo, I felt I
could see what he was feeling.”
Singer Tung Duong, one of the
guest performers on Le’s stage, lavished praise on the composer’s spirit of
generosity in an interview with the Tien Phong newspaper.
“Nguyen Le has the greatness
not only in his skills but also in the [music playing] spirit. He doesn’t use
his refined skills to swallow his partner, but he creates a beautiful moment
where both can play and reach a pinnacle. This is a rare thing, since an artist
usually has a very big ego.”
The smile on Le’s face as he
directed attention with his body to other musicians on the stage, thoroughly
enjoying their virtuosity, was evidence that Duong was right.
Le, who will turn 53 next
month, visited Vietnam for the first time six years ago, but the country has
always been a part of him, maybe through folk songs that his mother sang during
his childhood, he told the audience on Tuesday.
However, it was after hearing
some Vietnamese folk songs at a friend’s house in France in 1994 that he could
not even understand that a new chapter was opened in his musical journey – and
a blending of Vietnamese traditional music and jazz emerged that has earned
applause worldwide.
On Tuesday, he took Vietnamese
music and the audience to new musical places. Places that they will want to
visit again.
By Dang Hanh, Thanh Nien News
(The story can be found in the December 30th issue of our print edition, Thanh
Nien Weekly)
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