Veát Chim Bay - huudesigns.weebly.comhuudesigns.weebly.com/uploads/2/3/2/4/2324874/cung_tien_program... · Hoäi Vaên Hoïc Ngheä Thuaät Vieät Myõ VIETNAMESE AMERICAN ARTS &

Hoäi Vaên Hoïc Ngheä Thuaät Vieät Myõ VIETNAMESE AMERICAN ARTS & LETTERS ASSOCIATION (VAALA)

Veát Chim Bay

Ñeâm Nhaïc Cung TieánA Cung Tieán Concert

The Flight of Birds

July 10, 2010 ° La mirada Theatre

Daøn Nhaïc Giao Höôûng HOÄI HIEÁU NHAÏC VIEÄT MYÕ, Nhaïc Tröôûng NGUYEÃN KHAÙNH HOÀNGBan Hôïp Xöôùng NGAØN KHÔI, Music Director VUÕ TOÂN BÌNH, Ca Tröôûng LEE LEE TRÖÔNG

Caùc tieáng haùt:LEÄ THU ° QUYØNH GIAO ° BÍCH LIEÂN ° ANH DUÕNG ° BÍCH VAÂN

MOÄNG THUÛY ° LEÂ HOÀNG QUANG ° PHAÏM HAØTRAÀN ÑAÏI PHÖÔÙC ° PHAÏM ÑAÊNG KHOA ° MAI PHI-LONG

Döông caàm thuû: ÑOÃ BAÈNG LAÊNG ° NGOÂ DIEÃM UYEÂN ° VUÕ DIEÃM ANHM.C.: Leâ Ñình Y-Sa ° Mai Phi-Long

Hoäi Vaên Hoïc Ngheä Thuaät Vieät Myõ (VAALA) Traân troïng giôùi thieäu

A Cung Tieán ConCerT: VeáT Chim BAy | 1

Veát Chim Bay

Ñeâm Nhaïc Cung TieánA Cung Tieán Concert

The Flight of Birds

2 | A Cung Tieán ConCerT: VeáT Chim BAy

Baûo trôï vieýn / Sponsors

mr. & mrs. nguyeãn Thaân

SUPPORTING MEDIA SPONSORS

VoCr 106.3 Fm ° meï Vieät nam radio 106.3 FmSaigon Times ° Viet Tribune ° Chí Linh magazine

Thö Vieän Toaøn Caàu www.tvvn.org

MAJOR MEDIA SPONSORS

PMS 293 C

PMS 279 C

PMS 278 C

PMS 277 C

PMS Warm Gray 11 C

The concert is sponsored by:

mr. JAyVee mAi Theá hieäp, Agent, Lic #0C29895(714) 265-9988 ° State Farm insurance

Vaên phoøng Luaät Sö TrAÀn KhAÙnh hÖngLaw offices of David K. Tran ° (714) 839-4077

www.BolsaTickets.com


hoäi Vaên hoïc ngheä Thuaät Vieät myõ (VAALA) chaân thaønh caûm ônVAALA would like to thank

CAÙC Cô quAn VAên hoÙA VAø TruyeÀn Thoâng / CuLTurAL AnD meDiA orgAnizATionSVietnamese American Philharmonic (VAP)

Ngaøn Khôi Chorus Hoäi Vaên Hoùa Khoa Hoïc Vieät Nam (Houston, Texas)

Vieät Baùo Daily NewsNgöôøi Vieät Daily News

Little Saigon TV NVR 1190 AM VOCR 106.3 FM

Meï Vieät Nam Radio 106.3 FMSaigon Radio Haœi Ngoaïi 106.3 FM

VNCR 106.3 FMSaigon TimesViet Tribune

Viet Herald Daily News Vieãn Ñoâng Daily News

Chí Linh MagazineThö Vieän Toaøn Caàu www.tvvn.orgSaigon Nhoû Weekly Magazine

Viet TideLittle Saigon Radio

Hoàn Vieät TVSET TVSBTN

VBS TV

Caûm

taï /

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ents

CAÙC BAûo Trôï Vieân / SponSorSMr. & Mrs. Nguyeãn Thaân, Wells Fargo, Brodard Restaurant, Chaulinh C. Mai, D.D.S. & All Children’s Dental,

Jayvee Mai Theá Hieäp & State Farm Insurance, Traàn Khaùnh Höng, Esq., Calvin Nguyeãn & Comandon Cognac, Thanh-Höông Vuõ & www.BolsaTickets.com

CAÙC nhAïC Só VAø CA Só / MusiciAns And VocAListsNguyeãn Khaùnh Hoàng & Vietnamese American Philharmonic Orchestra; Vuõ Toân Bình, Lee Lee Tröông & Ngaøn Khôi Chorus; Leä Thu, Quyønh Giao, Bích Lieân, Anh Duõng,

Bích Vaân, Moäng Thuûy, Leâ Hoàng Quang, Phaïm Haø, Traàn Ñaïi Phöôùc, Phaïm Ñaêng Khoa, Mai Phi-Long; Ñoã Baèng Laêng, Ngoâ Dieãm Uyeân, Vuõ Dieãm Anh, Ñaïo dieãn/Filmmaker Vuõ Traàn.

CAÙC hoïA Só / VisuAL ArtistsCao Baù Minh, Ñinh Cöôøng, Löông Vaên Tyû, Nguyeân Khai, Nguyeãn Ñoàng, Nguyeãn Thò Hôïp,

Thaùi Tuaán, Trònh Cung, Vuõ Cao Ñaøm, Ann Phong.

CAÙC nhAø VAên, nhAø BAÙo VAø xÖôÙng ngoân Vieân / Writers, journALists, And broAdcAstersNguyeãn Maïnh Trinh, Ñaëng Tieán, Bích Huyeàn, Nguyeãn Xuaân Hoaøng, Nguyeãn Ngoïc Baûo,

Hoaøng Troïng Thuïy, Baêng Chaâu, Phan Myõ Söông, Nhö Haûo, Quoác Thaùi, Thanh Lan, Giaùng Ngoïc, Höông Thô, Nhaõ Lan, Vieät Haûi, Vöông Truøng Döông, Thaùi Tuù Haïp, Orchid Laâm Quyønh,

OÂng Thuïy Nhö Ngoïc, Doaõn Quoác Höng, Ngoïc Lan, Traàn Thieän Huy.

VAALA cuõng chaân thaønh caûm ôn taát caû caùc thieän nguyeän vieân vaø thaønh vieân trong hoäi ñaõ laøm vieäc khoâng ngöøng nghæ ñeå chöông trình coù theå hoaøn thaønh toát ñeïp.

VAALA would also like to thank all of the dedicated and enthusiastic staff members, volunteers and supporters, in particular:

Darlena Traàn, Hieàn Chaâu, Tuyeát Sa Leý, Alex Vaên, Haûi Buøi, Titimary Traàn, Hoøa Bình (Nina) Leâ, Janine Trang Nguyeãn.


Cung Tieán sinh taïi Haø Noäi, ngaøy 27 thaùng 11, 1938. Töï hoïc nhaïc töø hoài nieân thieáu; sau ñoù hoïc caùc lôùp kyù aâm vaø xöôùng aâm phaùp taïi tröôøng trung hoïc Nguyeãn Traõi (Haø Noäi) vaø Chu Vaên An (Saøi Goøn). Trong thôøi gian theo hoïc ngaønh Kinh teá hoïc taïi Ñaïi Hoïc New South Wales, UÙc Chaâu, 1957-63, oâng ñaõ tham döï caùc lôùp hoïc tö nhaân taïi AÂm nhaïc vieän Sydney. Trong khi qua Anh quoác, 1970-73, theo hoïc cao hoïc ngaønh Phaùt trieån Kinh teá taïi ñaïi hoïc Cambridge vaø East Anglia, oâng ñaõ döï caùc lôùp saùng taùc hieän ñaïi, nhaïc söû, vaø aâm nhaïc hoïc.

Ngoaøi ca khuùc, oâng cuõng ñaõ saùng taùc moät toå khuùc cho daøn nhaïc giao höôûng, mang teân Chinh phuï ngaâm, minh hoïa baèng nhaïc moät soá tình, yù vaø caûnh chính yeáu trong thi phaåm noåi tieáng naøy cuûa Baø Ñoaøn Thò Ñieåm. Moät khuùc cheøo coå, Lô thô tô lieãu buoâng maønh, ñaõ ñöôïc oâng soaïn laïi cho gioïng haùt, thuï caàm, vaø daøn ñaøn daây. Hieän oâng ñang xuùc tieán hoaøn taát moät soá taùc phaåm khaùc cho daøn giao höôûng nhö Toå khuùc Baéc ninh (daân ca quan hoï), vaø cho gioïng haùt vaø ñoäi thính phoøng nhö Ta veà (moät soá khoå thô Toâ Thuøy Yeân).

Taïi Saint Paul, thuû ñoâ bang Minnesota, trong thôøi gian 1992-98, oâng ñaõ laø thaønh vieân vaø ñöôïc cöû vaøo ban giaùm ñoác cuûa toå chöùc Dieãn ñaøn Soaïn nhaïc gia Hoa Kyø (American Composers Forum), vaø naêm 1992-95 The Schubert Club (moät toå chöùc thaønh laäp töø 1882, nhaèm phaùt huy ngheä thuaät aâm nhaïc) choïn oâng laø Ngheä só Löu truù (Artist-in-Residence). Naêm 1993, oâng ñöôïc The Saint Paul Companies taïi Minnesota caáp moät ngaân khoaûn 30,000 MK, ñeå thöïc hieän moät döï aùn nghieân cöùu veà daân ca Vieät Nam.

Döôùi buùt hieäu Thaïch Chöông, oâng ñaõ vieát nhöõng baøi khaûo luaän vaên hoïc treân nhieàu dieãn ñaøn, vaø tröôùc naêm 1975 ñaõ dòch vaø xuaát baûn caùc taùc phaåm vaên hoïc quoác teá nhö hoài kyù vieát döôùi haàm (Dostoyevsky), vaø moät ngaøy trong ñôøi ivan Denisovitch (Solzhenitsyn). Cung Tieán hieän soáng taïi bang Minnesota, Hoa Kyø.

Tieåu Söœ Nhaïc Só C

ung Tieán


Cung Tieán was born on November 27, 1938 in Hanoi. He first studied music at Nguyeãn Traõi High School in Hanoi and Chu Vaên An High School in Saigon. While pursuing Economics at New South Wales University in Australia from 1957-1963, he enrolled in Sydney Music Conservatory, taking classes in piano, harmony, counterpoint, and orchestration. While on a British Council Fellowship to study Economic Development at Cambridge and East Anglia Universities in the United Kingdom from 1970 to 1973, he took classes on music history, musicology, and contemporary music theory.

Besides songs, Cung Tieán's works include an orchestral suite entitled Chinh phuï ngaâm, which was inspired by Ñoaøn Thò Ñieåm’s 18th century poem. His composition for voice, harp, and strings called Lô Thô Tô Lieãu Buoâng maønh draws on a North Vietnamese music and drama genre called cheøo. He currently is working on other works, Toå Khuùc Baéc ninh (The Baéc Ninh Suite), which is inspired by Northern Vietnamse folk songs, and a vocal and chamber ensemble called Ta Veà with lyrics drawn from poems by Toâ Thuøy Yeân.

He has received an Artist-in-Residence award from The Schubert Club of St. Paul, Minnesota, an organization established in 1882, and a $30,000 grant from The Saint Paul Companies in Minnesota to do research on Vietnamese folk songs. He served as a member and later a Board Member of the American Composers Forum from 1992 to 1998.

Under his pen name Thaïch Chöông, Cung Tieán has written numerous literary essays for various publications and forums. While living in Vietnam before 1975, he translated from English into Vietnamese and published the internationally acclaimed notes from the underground by Feodor Dostoevsky and one Day in the Life of ivan Denisovich by Aleksandr Solzhenitsyn.

Cung Tieán currently lives in Minnesota in the United States.

Abou

t Cun

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TríCh ñoAïn Chinh phuï ngAâm: giAÙo ñAÀu VAø ChÖông iiiExcerpts from ballad of a Warrior’s Wife: Prologue and Movement III

Daøn nhaïc giao höôûng Hoäi Hieáu Nhaïc Vieät Myõ, Nguyeãn Khaùnh Hoàng ñieàu khieån, Bích Lieân ngaâm ñieäu sa maïc / Vietnamese American Philharmonic; conducted by Nguyeãn Khaùnh Hoàng;

prologue verses recited in sa maïc style by Bích Lieân

Thu VAøng Hôïp ca Ngaøn Khôi / Ngaøn Khôi Chorus Golden Autumn

VeáT Chim BAy Bích Vaân The Flight of Birds (thô / poem by Phaïm Thieân Thö)

BAûn TAngo Cuoái Phaïm Haø The Last Tango

Keû ôû Leä Thu; Ngoâ Dieãm Uyeân, pianoFarewell(thô / poem by Quang Duõng)

Thuôû LAøm Thô yeâu em Leâ Hoàng Quang; Bob Morgan, flute; Leah Cecil, harpA Time When I Wrote Love Poetry for You(thô / poem by Traàn Daï Töø)

hoAøng hAïC LAâu Quyønh GiaoThe Yellow Crane Pavillion (thô Thoåi Hieäu / poem by Cui Hao, baûn dòch / transl. by Vuõ Hoaøng Chöông)

ñi nuÙi Traàn Ñaïi Phöôùc The Mountain Trip(thô / poem by Xuaân Dieäu)

mAéT BieáC Moäng ThuûyA Love Song

ñeâm Mai Phi-LongNight(thô / poem by Thanh Taâm Tuyeàn)

ñeâm hoA ñAêng Hôïp ca Ngaøn Khôi / Ngaøn Khôi Chorus Night of Light Flowers Ca tröôûng / Choir master Lee Lee Tröông

Ngoâ Dieãm Uyeân, piano

nghÆ giAûi LAo ° inTermiSSion

CHÖÔNG TRÌNH ° PROGRAM CHÖÔNG TRÌNH ° PROGRAM


gioïT nÖôÙC hAân hoAn . . . . . . . . . . . . . . . . . . . . . Phim taøi lieäu / Documentary filmA Joyful Drop of Water Ñaïo dieãn / Director: Vuõ Traàn

Kòch baûn vaø thuaät truyeän / Script and narration by Leâ Ñình Y-Sa

TríCh ñoAïn Lieân CA KhuÙC VAng VAng trôøi VAøo XuAânEXCERPTS FROM SONG CYCLE SPrINg reVerBerATIoNS (Thô / poems by Thanh Taâm Tuyeàn)

LONG GIAO . . . . . . . . . . . . . . . . . . . . . . . . . . .Leâ Hoàng Quang; Ñoã Baèng Laêng, pianoTRAêNG TUø . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Quyønh Giao; Ñoã Baèng Laêng, pianoNGAõ TREÂN NUÙI VIEäT HOàNG KHI ÑI VAÙC NöÙA . . . . . . Traàn Ñaïi Phöôùc; Ñoã Baèng Laêng, pianoNHOå COû HöôNG NHU NHôÙ BAïN . . . . . . . . . . . . . . . Moäng Thuûy; Vuõ Dieãm Anh, pianoCHIEàU NAéNG HANH TREÂN ÑOàI HöôNG NHU . . . . . . . . Moäng Thuûy; Vuõ Dieãm Anh pianoBAøI HAÙT Töï DO . . . . . . . . . . . . . . . . . . . . . . . . Phaïm Ñaêng Khoa; Ñoã Baèng Laêng, pianoVANG VANG TRôøI VAøO XUAÂN. . . . . . . . . . . . . Ngaøn Khôi Chorus; Ngoâ Dieãm Uyeân, piano

hoAøi CAûm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Leä ThuYearning

Leä ñAÙ xAnh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Phaïm Ñaêng Khoa Stone-Blue Teardrops(thô / poem by Thanh Taâm Tuyeàn)

ñoâi Bôø . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anh Duõng; Baèng Laêng, piano Two River banks(thô / poem by Quang Duõng)

Lô Thô Tô Lieãu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Anh DuõngSilken Willow (folksong)

hÖông xÖA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bích VaânPerfume from the Past

nguyeäT CAÀm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Phaïm HaøThe Moon Lute(yù thô / poem Xuaân Dieäu)

ñÖôøng hoA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Quyønh Giao & Leâ Hoàng Quang Flowered Roads(thô / poem by Quang Duõng)

muøA hoA nôû . . . . . . . . . . . . . . . . . . . . Ban hôïp xöôùng Ngaøn Khôi / Ngaøn Khôi ChorusSeasons of Flowers in Bloom

* Taát caû nhaïc phaåm trong chöông trình do Cung Tieán hoøa aâm vaø phoái aâm, ngoaøi tröø Ñeâm Hoa Ñaêng do Traàn Ñaïi Phöôùc soaïn cho ban hôïp xöôùng vaø piano. Rieâng Vang Vang Trôøi Vaøo Xuaân, phaàn caûi bieýn cho hôïp ca do Leâ Ngoïc Chaân soaïn, vaø Muøa Hoa Nôû do Daniel Kallman phoái aâm (caû hai vôùi hoøa aâm nguyeân thuûy cuûa taùc giaû / All orchestrations and piano arrangements are by Cung Tieán, except Night of Light Flowers is arranged for chorus and piano by Traàn Ñaïi Phöôùc. Daniel Kallaman orchestrate The Season of Flowers in the Bloom; Spring reverberations is arranged by Leâ Ngoïc Chaân for the chorus.


Nhaïc giao höôûng vaø caùc ca khuùc ngheä thuaät trình baøy trong chöông trình nhaïc “Veát Chim Bay”, do Hoäi Vaên Hoïc Ngheä Thuaät Vieät Myõ (VAALA) toå chöùc taïi hí vieän La Mirada Theater, ngaøy 10 thaùng 7, 2010, ñaõ ñöôïc soaïn raûi raùc töø nhieàu thôøi ñieåm vaø nôi choán khaùc nhau Töø thôøi taùc giaû chuùng coøn laø hoïc sinh vaø sinh vieân, cho ñeán khi ñaõ ñöôïc nhieàu ngöôøi bieát ñeán Töø luùc coøn ôû queâ höông cho ñeán khi löu vong

Goïi laø “ca khuùc ngheä thuaät”, ñeå phaân bieät vôùi daân ca, vì hai lyù do Thöù nhaát, bôûi phaàn lôùn nhöõng ca khuùc naøy chuyeân chôû caùc vaên baûn coù phaåm chaát cao: aáy laø thô cuûa Xuaân Dieäu, Vuõ Hoaøng Chöông, Quang Duõng, Thanh Taâm Tuyeàn, Phaïm Thieân Thö, vv Thöù hai, thay vì chæ ñöôïc haùt vôùi phaàn “ñeäm nhaïc tuøy höùng”, giai ñieäu ca khuùc ñaõ ñöôïc choaøng cho nhöõng voøng hoa toâ ñieåm cuûa hoøa aâm vaø cuûa maøu saéc nhaïc cuï, ñaëc bieät ñan keát cho moãi ca khuùc

Daân ca vaø nhaïc “baùc hoïc” coå truyeàn cuûa ta, noùi chung, ñaõ ñöôïc saùng taùc trong khuoân maãu thang aâm naêm cao ñoä (aâm giai nguõ cung), moät khuoân maãu phoå bieán nhieàu nôi treân theá giôùi Thang aâm baûy cao ñoä chia thaønh 12 baùn cung haøi hoøa (tempered semitones) cuûa Taây phöông ñeán Vieät Nam theo chaân nhöõng nhaø truyeàn giaùo Thieân Chuùa trong theá kyû XVI-XVII vaø thöïc daân Phaùp hoài giöõa theá kyû XIX Thôøi aáy, taïi nöôùc ta, giôùi truyeàn giaùo daïy daân caûi ñaïo nhöõng khuùc bình ca Greùgorien (Gregorian plainsongs/chants) baèng tieáng La-tinh, vaø thöïc daân Phaùp, vôùi “söù maïng vaên hoùa” (“mission civilisatrice”) cuûa hoï, ñöa solfeøge (xöôùng- vaø kyù-aâm phaùp) vaøo chöông trình giaûng huaán cuûa hoï töø tieåu ñeán trung hoïc Vì ñöôïc giaùo duïc taïi thaønh thò töø khi yeâu meán aâm nhaïc, neân ña soá caùc ca khuùc cuûa toâi trong chöông trình “Veát Chim Bay” coù khung quy chieáu laø thang aâm vaø heä thoáng chuû aâm (tonality) Taây phöông

Chinh phuï ngaâm Khuùc - Thô noâm Theo nhaø vaên, nhaø Haùn hoïc, kieâm taøi chaùnh/kinh teá hoïc Nguyeãn Xuaân Nghóa, taùc phaåm Chinh Phuï Ngaâm cuûa danh só Ñaëng Traàn Coân saùng taùc baèng Haùn vaên vaøo khoaûng 1740, theo theå nhaïc phuû, goàm 476 caâu thô

Ñaëng Traàn Coân sinh khoaûng 1710-1720 taïi laøng Nhaân Muïc (laøng Moïc), huyeän Thanh Trì, tænh Haø Ñoâng Ñaäu cöû nhaân, laøm Huaán ñaïo trong ngaønh giaùo duïc, veà sau oâng ñöôïc boå laøm tri huyeän Thanh Oai (tænh Haø Ñoâng), vaø ñöôïc thaêng ñeán chöùc Ngöï söû ñaøi OÂng maát khoaûng 1745

Chinh Phuï Ngaâm ñöôïc vieát trong khoaûng thôøi kyø nöôùc ta coù raát nhieàu giaëc giaõ, ñeå noùi leân taâm traïng chaùn naûn chieán tranh vaø mong öôùc hoøa bình cuûa ngöôøi daân Ñoù laø thôøi kyø quyeàn lôïi chính trò ñích thöïc khoâng naèm trong tay vua Leâ Duï Toâng maø trong tay chuùa Trònh Cöông (cai trò töø 1729 ñeán 1740), moät keû ñoäc taøi chuû

tröông chính saùch aùp böùc daân gian vaø gieát haïi trieàu thaàn, khieán loaïn laïc noåi leân khaép nôi Ñeå deïp loaïn, giôùi caàm quyeàn ñaõ phaûi khoâng ngöøng tröng duïng quaân só khieán nhaân daân voâ cuøng ta thaùn

Sau khi ñöôïc saùng taùc, Chinh Phuï Ngaâm ñaõ gaây nhieàu xuùc ñoäng cho caùc danh só nöôùc ta neân coù nhieàu ngöôøi dòch ra thô Noâm Trong soá naøy, coù Nguyeãn Khaûn (anh cuøng cha khaùc meï vôùi thi haøo Nguyeãn Du), Phan Huy Ích, vaø Ñoaøn Thò Ñieåm Ñöôïc bieát ñeán nhieàu nhaát laø baûn dòch cuûa baø Ñoaøn Thò Ñieåm vôùi nhan ñeà Chinh Phuï Ngaâm Dieãn Ca vaø thöôøng ñöôïc goïi laø Chinh Phuï Ngaâm Khuùc, ñeå phaân bieät vôùi baûn baèng Haùn vaên cuûa Ñaëng Traàn Coân Tuy nhieân, cuõng coù thuyeát cho raèng baûn dòch naøy laø cuûa Phan Huy Ích

Ñoaøn Thò Ñieåm soáng cuøng thôøi vôùi Ñaëng Traàn Coân, sinh khoaûng 1705 vaø maát naêm 1748, ngöôøi laøng Hieáu Phaïm, huyeän Vaên Giang, tænh Baéc Ninh Baø laäp gia ñình khaù muoän vôùi oâng Nguyeãn Kieåu, moät vò quan thöôïng thö trieàu Leâ, ngöôøi huyeän Töø Lieâm, tænh Haø Ñoâng Voán noåi tieáng hay chöõ taïi Baéc haø, baø coøn ñöôïc bieát ñeán döôùi danh hieäu Hoàng Haø Nöõ Só Ngoaøi Chinh Phuï Ngaâm Khuùc, baø coøn laø taùc giaû nhieàu thi phuù khaùc, nhöng haàu heát ñaõ bò thaát truyeàn, nay chæ coøn laïi Truyeàn Kyø Taân Phaû baèng Haùn vaên

Baûn dòch cuûa Hoàng Haø Nöõ Só vaãn giöõ nguyeân veïn noäi dung nguyeân taùc Haùn vaên, nhöng qua theå ñieäu song thaát luïc baùt, vaø vôùi thieân taøi cuûa nhaø thô, 476 caâu thô chöõ Haùn cuûa hoï Ñaëng ñöôïc dòch thaønh 408 caâu thô chöõ Vieät, mang nhöõng tình caûm hoaøn toaøn Vieät Nam Vì leõ naøy maø baûn dòch ñöôïc löu truyeàn roäng raõi trong daân gian, vaø ñöôïc ngöôøi daân yeâu thích khoâng keùm gì Truyeän Kieàu cuûa Nguyeãn Du

Chinh phuï ngaâm - Toå Khuùc cho Daøn nhaïcÑöôïc thai ngheùn töø 1981, vieát naêm 1987, toå khuùc (orchestral suite) naøy nguyeân thuûy ñaõ ñöôïc soaïn cho moät daøn nhaïc giao höôûng vôùi ñaày ñuû nhaïc cuï goã, ñoàng, goõ, daây, vaø thuï caàm Taäp nhaïc ñöôïc trình taáu trong chöông trình, söû duïng nhöõng nhaïc

ñeà vaø yù nhaïc chính cuûa nguyeân baûn, ñöôïc soaïn laïi cho moät daøn nhaïc nhoû, goàm moät ñoäi keøn goã goàm saùo ngang (flute), cao moäc quaûn (oboe), ñôn hoaøng quaûn (clarinet), ñeâ aâm quaûn (bassoon), moät keøn ñoàng laø tuø-vaø ñoàng (French horn), moät daøn ñaøn daây goàm nhöõng tieåu vó caàm, trung vó caàm, ñaïi vó caàm vaø ñeâ aâm vó caàm (violin, viola, violoncello, contrabass), vaø thuï caàm (harp) Baûn thu goïn cuûa taäp nhaïc naøy ñaõ ñöôïc trình baøy laàn thöù nhaát taïi San Jose, California, cuoái thaùng ba naêm 1988

Thi phaåm cuûa Hoàng Haø Nöõ Só voâ cuøng suùc tích veà tình, veà caûnh, veà caùch söû duïng ngoân ngöõ cuõng nhö nhaïc ñieäu cuûa tieáng Vieät

Nhaïc giao höôûNg vaø caùc ca khuùc cuûa cuNg TieáNTroNg chöôNg TrìNh “veáT chim Bay” Chuù giaûi cuûa Cung Tieán

NHAïC GiAO HÖÔûNG vAø CAùC CA kHuùC CuûA CuNG TieáNTRONG CHÖÔNG TRÌNH “veáT CHiM BAy” Chuù giaûi cuûa Cung Tieán


Vì theá, khoâng ai daùm nghó ñeán vieäc phoå nhaïc taäp thô ñeå haùt, maø chæ duøng noù nhö moät caûm höùng cho saùng taùc cuûa mình Do ñoù, taäp nhaïc cuõng chæ laø moät coá gaéng “minh hoïa” chaám phaù baèng nhaïc moät soá tình, yù, vaø caûnh chính yeáu trong taäp thô maø thoâi Theo ñuùng thöù töï xuaát hieän trong taùc phaåm cuûa Hoàng Haø Nöõ Só, taäp nhaïc goàm nhöõng phaàn sau ñaây:

phaàn giaùo ñaàuVôùi söï phuï hoïa cuûa thuï caàm leân ñaây theo heä thoáng nguõ cung (ñeå gôïi aâm thanh ñaøn tranh), roài cuûa ñaøn ñaïi vó caàm vaø saùo, moät ñoäc taáu tieåu vó caàm (hoaëc moät gioïng ngaâm thô) seõ “ngaâm” gioïng sa maïc möôøi hai caâu thô môû ñaàu taäp Chinh Phuï Ngaâm:

Thuôû trôøi ñaát noåi côn gioù buïi,Khaùch maù hoàng nhieàu noãi truaân chuyeân,Xanh kia thaêm thaúm taàng treân,Vì ai gaây döïng cho neân noãi naøy!Troáng Traøng Thaønh lung lay boùng nguyeät,Khoùi Cam Tuyeàn môø mòt thöùc maây,Chín taàng göôm baùu trao tay,Nöûa ñeâm truyeàn hòch ñònh ngaøy xuaát chinh.Nöôùc thanh bình ba traêm naêm cuõ,AÙo nhung trao quan vuõ töø ñaây.Söù trôøi sôùm giuïc ñöôøng maây,Pheùp coâng laø troïng, nieàm taây saù naøo!

Chöông i (Uyeån chuyeån)nöôùc thanh bình - Côn gioù buïiMoät giai ñieäu gôïi caûnh “nöôùc thanh bình ba traêm naêm cuõ” Sau nhöõng yù nhaïc gôïi “côn gioù buïi” vaø “ngaøy xuaát chinh”, ñoäi ñaïi vó caàm (cello) giôùi thieäu nhaïc ñeà chinh phu, minh hoïa hai caâu:

Chaøng tuoåi treû voán doøng haøo kieätXeáp buùt nghieân theo vieäc ñao cung

Chuyeån ñoäng chaám döùt baèng caûnh tieãn bieät, chia tay cuûa ñoâi chinh phu/chinh phuï

Chöông ii (Chaäm)nhôù nhung - Côn moäng döõNhaïc ñeà chính laø taâm söï saàu muoän, nhôù nhung cuûa naøng chinh phuï trong moät ñeâm traêng Trong giaác moäng, naøng chieâm bao thaáy caûnh:

Hoàn töû só gioù uø uø thoåi,Maët chinh phu traêng doõi doõi soiChinh phu, töû só, maáy ngöôøi,Naøo ai maïc maët, naøo ai goïi hoàn?

Tænh moäng, ngöôøi chinh phuï laïi caøng caûm thaáy coâ ñôn vaø saàu muoän hôn

Chöông iii (Nhanh vöøa)moäng khaûi hoaønNgöôøi chinh phuï mô öôùc moät ngaøy:

Boùng kyø xí giaõ ngoaøi quan aûi,Tieáng khaûi ca trôû laïi Thaàn Kinh.

Vaø chaøng trôû veà trong “tieáng nhaïc töø reùo raét”, ñeå vôùi chaøng “cuøng keå tröôùc sau moïi lôøi”, naøo nhaéc laïi caûnh thanh bình naêm tröôùc, vaø naøo

Giôû khaên leä, chaøng troâng töøng taám,Ñoïc thô saàu, chaøng thaåm töøng caâu.

phaàn BaïtBoán caâu choùt cuûa taäp thô:

Cho boõ luùc xa saàu, caùch nhôù,Giöõ gìn nhau vui thuôû thanh bình,Ngaâm nga mong göûi chöõ tình,Döôøng naøy aâu haún taøi laønh tröôïng phu.

Ñöôïc tieåu vó caàm (violin) ñoäc taáu hoaëc “gioïng ngaâm” ngaâm nhöõng caâu thô treân, roài toaøn ban ñaøn daây “ngaâm nga” theo ñieäu sa maïc, vôùi ñaøn thuï caàm (harp) hoïa theo vaø ñieåm caâu, chaám döùt nhaïc phaåm

Trong chöông trình “Veát Chim Bay”, daøn nhaïc chæ trình taáu hai ñoaïn: Phaàn Giaùo Ñaàu vaø Chöông III, vôùi gioïng ngaâm sa maïc cuûa Bích Lieân trong phaàn môû ñaàu

Bôûi caâu truyeän cuûa naøng chinh phuï trong taäp thô nguyeân thuûy, cuõng nhö trong baûn dòch, ñaõ khoâng xaûy ra taïi Vieät Nam, neân ngöôøi soaïn nhaïc ñaõ töï do söû duïng caùc loaïi aâm giai nguõ cung phoå bieán toaøn vuøng Ñoâng AÙ vaø Ñoâng Nam AÙ Cuõng vaäy, hoøa aâm ñöôïc cheá bieán vaø pha troän tuøy theo tình, yù, vaø caûnh maø taäp thô ñoøi hoûi hay gôïi yù

Thu Vaøng vaø hoaøi Caûm Thu Vaøng vaø Hoaøi Caûm laø hai trong soá nhöõng baøi haùt sôùm nhaát, ñöôïc vieát naêm 1952, hoài toâi ñang hoïc ñeä luïc / nguõ trung hoïc Ngöôøi ñaàu tieân ñem phoå bieán hai baøi naøy treân Ñaøi Phaùt Thanh Quoác Gia daïo aáy laø Ñoã Tuaán (Ñoã Ñình Tuaân), roài tôùi ca só Taâm Vaán, nhaát laø baøi nhaéc tôùi tröôùc Giai ñieäu vaø hoøa aâm cuûa chuùng ñôn giaûn, caáu truùc vaø nhaïc theå (form) raát chaân phöông (A-B-A), vaø lôøi ca mang aûnh höôûng naëng cuûa caùc nhaø thô laõng maïn Xuaân Dieäu, Huy Caän

Veát Chim Bay Phaïm Thieân Thö, naêm 1974, cho ñaêng baøi thô Veát Chim Bay treân moät soá baùo Teát naøo ñoù ôû Saøi Goøn maø toâi khoâng nhôù teân Toâi phoå nhaïc baøi naøy ñaàu naêm 1975, chæ moät vaøi thaùng tröôùc khi di taûn sang Hoa Kyø Toâi ñaõ giôùi thieäu ca khuùc naøy tröôùc coâng chuùng thuû ñoâ Hoa-thònh-ñoán naêm 1985 trong ñeâm giôùi thieäu taäp Vang Vang Trôøi Vaøo Xuaân (seõ nhaéc tôùi döôùi ñaây) Baûn Tango Cuoái Baûn Tango Cuoái toâi vieát naêm 1978 ñeå taëng vaøi moät ngöôøi baïn thuôû ñoù ñang “keït” ôû Vieät Nam Lôøi ca töôûng töôïng ñeâm gaëp nhau laàn cuoái cuûa moät caëp tình nhaân thôøi ñaïi, sau bieán coá 1975, roài chia tay, keû ra ñi ngöôøi ôû laïi Kim Töôùc trình dieãn laàn ñaàu baøi haùt naøy naêm 1987 taïi San Jose, California, vôùi thaønh vieân Daøn Nhaïc Giao Höôûng San Jose


Keû ôû Keû ÔÛ, nguyeân laø ca khuùc toâi phoå cho baøi thô maø nhieàu ngöôøi, trong ñoù coù nhaø thô Traàn Tuaán Kieät, cho laø cuûa Quang Duõng Baøi thô noùi veà caûnh ly bieät giöõa hai chò em döôøng nhö ñaõ xaûy ra trong thôøi kyø khaùng chieán choáng Phaùp (1945-54); keû ôû laïi vuøng haäu phöông taûn cö, ngöôøi boû haäu phöông trôû veà queâ mình

Thuôû Laøm Thô yeâu em Thuôû Laøm Thô Yeâu Em laø baøi thô tình naêm chöõ cuûa Traàn Daï Töø, vieát naêm 1958, moäng veà moät phieán trôøi Hueá töông tö, vôùi “caû doøng soâng thöông nhôù”, nhöõng ñaàu hoâm sôùm mai cuûa moät ñoâi tình nhaân treû khaéc khoaûi ñôïi chôø nhöõng heïn hoø saép tôùi Toâi phoå nhaïc baøi thô naêm 1969, nguyeân thuûy cho gioïng haùt vaø ñaøn ghi-ta coå ñieån Sau naøy, naêm 1999, ca khuùc ñöôïc soaïn laïi cho gioïng haùt, saùo ngang, vaø thuï caàm (harp) Laøn ñieäu ca khuùc ñöôïc vieát theo ñieäu thöù nhaát trong taùm “ñieäu nhaø thôø” (church modes) trung coå AÂu chaâu cuûa nhöõng khuùc bình ca (plain chants) Greùgoire, laø ñieäu Dorian

Thuôû laøm thô yeâu emTrôøi möa chöa öôùt aùoHoa cuùc vaøng beân theàmNaéng hanh löng bôø daäu

Chieàu söông daày boán phíaLoøng anh maáy ngaõ baTieáng ñôøi ñi raát nheïNhòp saàu leân thieát tha

Thuôû laøm thô yeâu emCaû doøng soâng thöông nhôùNöûa vai caàu tay nghieângTöông tö trôøi thaønh phoá

Anh ñi roài chôït ñeánBaøi thô khoâng heát lôøiBao nhieâu laàn hoø heïnSôùm chieàu oâi xa xoâi

Möôøi baûy naêm chôït thöùcBaây giôø laø bao giôø? Baøn tay treân maùi toùcNghìn sau coøn baâng quô

hoaøng haïc Laâu Naêm 1976, luùc toâi môùi qua UÙc Chaâu ñònh cö, coá hoïa só Ngoïc Duõng (1930-2000) töø Hoa Kyø göûi cho toâi baøi thô Hoaøng Haïc Laâu do Vuõ Hoaøng Chöông dòch thô Thoâi Hieäu (670-727) Xuùc ñoäng vì lôøi thô, vaø nhôù tôùi thi só (luùc aáy ñang bò coäng saûn giam caàm taïi khaùm Chí Hoøa), toâi ñaõ phoå nhaïc baøi naøy vôùi yù ñònh seõ göûi veà Saøi Goøn ñeà Thaùi Thanh haùt cho nhaø thô nghe Khoâng deø nhaø thô hoï Vuõ ñaõ maát khoaûng moät hay hai thaùng tröôùc khi toâi coù dòp göûi veà Vieät Nam Trong saùng taùc naøy, ñeå gôïi khoâng khí Ñoâng phöông cuûa Ñöôøng thi, toâi ñaõ duøng töï do thang aâm nguõ aâm ñeå soaïn giai ñieäu, vaø ñaây cuõng laø laàn ñaàu tieân toâi söû duïng moät caùch coù yù thöùc chaát lieäu quyù baùu naøy cuûa aâm nhaïc Vieät Nam

Xöa haïc vaøng bay vuùt boùng ngöôøiÑaây laàu Hoaøng Haïc chuùt thôm rôiVaøng tung caùnh haïc ñi ñi maátTraéng moät maøu maây vaïn vaïn ñôøiCaây beán Haùn Döông coøn naéng chieáuCoû bôø Anh Vuõ chaúng ai chôiGaàn xa chieàu xuoáng ñaâu queâ quaùnÑöøng giuïc côn saàu nöõa soùng ôi

ñi nuùi Toâi yeâu thô Xuaân Dieäu töø nhöõng naêm ñaàu ôû trung hoïc Sau khi phaûi hoïc thuoäc loøng nhöõng Baø Huyeän Thanh Quan, Nguyeãn Coâng Tröù, Tuù Xöông, Nguyeãn Khuyeán, thô Xuaân Dieäu ñeán vôùi toâi nhö moät luoàng gioù laï kyø, raát “taây”, raát Baudelaire/Rimbaud/Verlaine, laø caùc nhaø thô Phaùp toâi ñöôïc hoïc trong chöông trình Phaùp ngöõ Baøi Ñi Nuùi, moät saùng taùc raát öôùt aùt, vieát naêm 1964, giöõa thôøi kyø oâng ñaõ ly khai vôùi tieàn thaân laõng maïn cuûa mình ñeå ñi theo “caùch maïng” Ca khuùc phoå thô naøy toâi soaïn naêm 1966 cho gioïng haùt vaø piano, sau bieân soaïn cho daøn nhaïc giao höôûng Keøn ñeâ aâm quaûn (bassoon) ôû ñaây ñoùng vai ñoái thoaïi vieân vôùi gioïng ca

maét Bieác Maét Bieác ñaõ coù ñöôïc moät giai ñieäu phoùng tuùng hôn, vaø hoøa aâm pha maøu aán töôïng cuûa Gabriel Faureù, nhaø soaïn nhaïc ngöôøi Phaùp (1845-1924) Vieát naêm 1965, luùc môùi nhaäp nguõ taïi quaân tröôøng Thuû Ñöùc, naêm sau baøi haùt ñöôïc bieåu dieãn laàn ñaàu treân ñaøi Tieáng Noùi Töï Do, Saøi Goøn, do Anh Ngoïc ca vôùi Nghieâm Phuù Phi ñaøn piano

ñeâm Baøi Ñeâm, thô Thanh Taâm Tuyeàn vieát tröôùc 1960 vaø toâi phoå nhaïc döôøng nhö naøm 1969, thöïc ra chæ laø khuùc thöù nhaát trong 10 khuùc cuûa baøi thô daøi aáy, in trong taäp Lieân-Ñeâm-Maët Trôøi Tìm Thaáy do Saùng taïo xuaát baûn naêm 1964 Gaàn ñaây, khi ñöôïc hoûi “OÂng laøm baøi naøy trong taâm traïng naøo?”, nhaø thô, luùc aáy ñònh cö taïi tieåu bang Minnesota, ñaùp: “Töùc laø daïo aáy mình ñaõ chaùn laøm thô quaù roài Mieàn Nam thì coi toâi laø thi só taû phaùi, vaø mieàn Baéc thì coi toâi laø thi só höõu phaùi Theá thì toâi laø keû “untouchable” roài, laø huûi roài, chöù coøn gì nöõa? Thì laøm thô theâm laøm quaùi gì cho meät?” Baøi haùt muoán laáy nhaïc minh hoïa cho taâm traïng chaùn chöôøng, day döùt, cuûa caùi oâng thi só luùc naøo cuõng thaáy mình cöù vaãn “coøn coâ ñoäc” naøy

ñeâm hoa ñaêng Toâi vieát ca khuùc naøy (hình nhö ?) muøa heø 1956, naêm toâi thi ra trung hoïc, sau moät ñeâm “Ñaïi Nhaïc Hoäi Hoïc Sinh Toaøn Thaønh” cuûa caùc tröôøng trung hoïc Saøi Goøn, caû Vieät (nhö Gia Long, Tröng Vöông, Chu Vaên An ) laãn Phaùp (nhö Marie Curie, Jean-Jacques Rousseau ) Ñeâm nhaïc, kòch ñoù, toâi ñöôïc thaøy daïy nhaïc Chung Quaân giao phoù traùch nhieäm ñieàu khieån ñoaøn hôïp ca lieân tröôøng, trình dieãn baûn tröôøng ca Soâng Loâ cuûa Vaên Cao Theo sau moät dòp vui luoân luoân laø moät haãng huït, moät tieác nuoái Ñoù laø caûm töôûng cuûa moät chaøng trai laïc loái ñaøo nguyeân tieân caûnh (nhöõng nöõ sinh “maët lieãu maøy hoa” ) trôû veà nhaân theá


Vang Vang Trôøi Vaøo xuaân Hai thaùng sau khi Vieät coäng cöôõng chieám mieàn nam Vieät Nam naêm 1975, nhaø thô Thanh Taâm Tuyeàn cuøng nhieàu nhaø vaên ngheä só, giaùo duïc, vaø laõnh ñaïo toân giaùo bò coäng saûn giam giöõ trong caùc traïi lao caûi maø khoâng heà chính thöùc bò keát aùn Trong 10 naêm bò giam caàm, oâng ñaõ laøm thô vaø göûi ra ngoaøi cho theá giôùi

Naêm 1981, hoïa só Duy Thanh töø San Francisco göûi cho toâi taäp vaên/thô/nhaïc Taém Maùt Ngoïn Soâng Ñaøo, do nhaø Laù Boái môùi in ôû Paris, goàm nhöõng saùng taùc cuûa moät soá vaên ngheä só mieàn Nam göûi leùn ra töø caùc traïi caûi taïo Trong tuyeån taäp naøy coù moät soá thô cuûa moät Traàn Kha naøo ñoù Duy Thanh, haèng thö tín vôùi gia ñình Thanh Taâm Tuyeàn coøn ôû Saøi Goøn, baûo raèng aáy laø thô “baïn ta” ñaáy Quaû nhieân, khi ñoïc, toâi nghe thaáy ñuùng laø yù vaø lôøi cuûa Thanh Taâm Tuyeàn (sau naøy ñöôïc hoûi “Sao laïi Traàn Kha? Muoán laøm Kinh Kha chaêng?”, Thanh taâm Tuyeàn ñaùp: “Toâi ñaâu coù ñaët caùi teân kyø quaëc aáy Giaù nhö “Traàm Kha” thì nghe coøn ñôõ hôn”) Ñeå nhôù tôùi, vaø vinh danh ngöôøi baïn thieát, luùc aáy vaãn coøn ñang lao ñoäng trong caùc “traïi hoïc taäp”, naêm 1982-1983 toâi ñaõ löïa 12 baøi cuûa Thanh Taâm Tuyeàn ñeå soaïn thaønh moät lieân ca khuùc (song cycle) laáy teân Vang Vang Trôøi Vaøo Xuaân Taäp ca khuùc, soaïn cho gioïng haùt vaø piano, ñöôïc bieåu dieãn laàn thöù nhaát taïi thuû ñoâ Hoa-thònh-ñoán naêm 1985, vôùi Mai Höông vaø Quyønh Giao, Nghieâm Phuù Phi ñaøn piano vaø Leâ Vaên (ñaøi Tieáng Noùi Hoa Kyø, VOA) giôùi thieäu chöông trình Rieâng taäp thô trong tuø cuûa Thanh Taâm Tuyeàn ñöôïc xuaát baûn taïi Hoa Kyø naêm 1990, moät naêm sau khi nhaø thô sang ñònh cö taïi tieåu bang Minnesota, vôùi nhan ñeå Thô ôû ñaâu xa

Trong chöông trình “Veát Chim Bay”, 7 trong 12 baøi trong lieân ca khuùc naøy seõ ñöôïc trình baøy Ñoù laø baøi Long Giao, Traêng Tuø, Ngaõ Treân Nuùi Vieät Hoàng Khi Ñi Vaùc Nöùa, Baøi Haùt Töï Do, Nhoå Coû Höông Nhu Nhôù Baïn, Chieàu Naéng Hanh Treân Ñoài Höông Nhu, vaø Vang Vang Trôøi Vaøo Xuaân

Vang Vang Trôøi Vaøo Xuaân

Maët trôøi hoàng nhö traêngThöùc loøng ta buoåi sôùmGioù nuùi thoåi roän raøngGoïi nghe bieån daäy soùng

Ñöùng vöõng khoâng khuîu chaânTreân maûnh ñaát ngheøo khoåTa thôû hít voâ cuøngSay ngaây ñoùn hoàng laï

Vang vang trôøi vaøo xuaânTa baät keâu möøng rôõ Tim ta cuõng chaùy ñoûRöïc thaém boâng traêng ngaàn

Leä ñaù xanh Leä Ñaù Xanh, cuõng cuûa Thanh Taâm Tuyeàn, ñöôïc saùng taùc trong nhöõng naêm ñaàu thaäp kyû 50 vaø xuaát hieän trong taäp thô ñaàu tay cuûa oâng mang teân Toâi Khoâng Coøn Coâ Ñoäc, Saùng Taïo in naêm 1956 Toâi phoå nhaïc thi khuùc naøy naêm 1957, luùc ñang hoïc naêm thöù nhaát ñaïi hoïc ôû Sydney, UÙc Chaâu “Ñaù xanh” chæ giaûn dò laø thöù ñaù cöùng, maøu xanh, ñaäp nhoû ra ñeå traûi ñöôøng tröôùc

khi traùng nhöïa Ví vôùi nhöõng vieân ñaù xanh, coù leõ vì nhöõng haït leä thaàm “khoùc khoâng rôi ngoaøi traùi tim mình” cuûa nhaø thô ñaõ khoâng chaûy ñöôïc thaønh doøng, maø ñoùng thaønh khoái cöùng, voâ hình Ngöôøi nhaïc só baïn quaù coá Phaïm Ñình Chöông (1930-1989), naêm 1970 (?) ñaõ “trích möôïn” maáy giai ñieäu gaàn cuoái cuûa ca khuùc naøy ñeå vieát Nöûa Hoàn Thöông Ñau, baøi haùt chính trong phim Chaân Trôøi Tím

ñoâi BôøÑaây laø moät baøi thô raát phoå bieán cuûa Quang Duõng, sau Ñoâi Maét Ngöôøi Sôn Taây Baøi thô dieãn taû tình nhôù nhung cuûa moät caëp tình nhaân trong thôøi khaùng chieán choáng Phaùp, keû ôû beân naøy, keû ôû beân kia moät con soâng (Soâng Hoàng, Soâng Ñuoáng & ?) Con soâng chia ñoâi vuøng tieàn tuyeán, nôi chaøng ôû laïi, vaø vuøng “teà”, nôi naøng trôû veà (“teà” laø teân Coäng saûn Baéc Vieät hoài ñoù ñaët cho vuøng “Taây taïm chieám”) ôû ñoù laø soá daân Vieät Nam Quoác gia

Lô Thô Tô Lieãu Soaïn cho gioïng ca, thuï caàm (harp) vaø daøn ñaøn daây, nhaïc khuùc naøy toâi vieát naêm 2003 theo moät “ñôn ñaët haøng” (commission) cuûa Ñoäi Ñaøn Daây Roseville (Roseville String Ensemble) Bích Lieân ñaõ laø ngöôøi ca baûn naøy laàn ñaàu tieân trong buoåi hoøa nhaïc ñaàu xuaân 2003 cuûa ban nhaïc taïi thaønh phoá Roseville, Minnesota

Toâi saùng taùc nhaïc khuùc naøy döïa treân moät khuùc cheøo coå toâi hoïc haùt vôùi moät ñaøn anh naøo (maø toâi khoâng coøn nhôù teân) hoài môùi voâ trung hoïc taïi Haø Noäi Baûn cheøo ñaõ baùm saâu kyù öùc toâi keå töø ñoù

Cheøo xuaát phaùt töø vuøng chaâu thoå Soâng Hoàng, Baéc Vieät Noäi dung laøn ñieäu vaø lôøi ca cuûa cheøo laø nhöõng ñieäu lyù, ñieäu hoø nôi thoân daõ, nhöõng baøi thô daân gian nhö ca dao, nhöõng vaàn luïc-baùt laáy ra töø nhöõng thi phaåm coù saün, nhö Nhò Ñoä Mai, Truyeän Kieàu, Bích caâu kyø ngoä, v v Quaû theá, nhan ñeà nhaïc khuùc Lô thô tô lieãu buoâng maønh chính laø caëp luïc-baùt trích töø taùc phaåm noùi treân cuûa Nguyeãn Du: “Lô thô tô lieãu buoâng maønh / Con oanh hoïc noùi treân caønh mæa mai” Baøi haùt, do ñoù, laø moät loái toû tình & vaên veû cuûa moät anh trai laøng vôùi moät coâ thoân nöõ trong moät ñeâm saùng traêng

höông xöa Höông Xöa, soaïn naêm 1955, mang nhaïc ngöõ, nhaïc phaïm, vaø cuù phaùp theá kyû XVIII AÂu chaâu, laø keát quaû nhöõng laàn toâi nghe Mozart vaø Beethoven treân caùc ñaøi phaùt thanh, vaø nhaát laø laàn ñaàu tieân ñöôïc döï caùc buoåi hoøa nhaïc coå ñieån Taây phöông do Daøn Nhaïc Giao Höôûng Quoác Gia taïi Saøi Goøn, vôùi Nguyeãn Phuïng ñieàu khieån, trong caùc chöông trình nhaïc Mozart nhaèm kyû nieäm 200 naêm sinh (1756) cuûa thieân taøi aâm nhaïc “voâ tieàn khoaùng haäu” naøy Duy Traùc laø ngöôøi ñöôïc ñeà taëng, vaø cuõng laø ngöôøi thöù nhaát ñaõ phoå bieán ca khuùc naøy treân Ñaøi Phaùt Thanh Quoác Gia Saøi Goøn

nguyeät Caàm Baøi Nguyeät Caàm laáy yù baøi thô cuøng teân cuûa Xuaân Dieäu, ñaõ ñöôïc vieát trong naêm ñang hoaøn taát hoïc trình trung hoïc ôû Chu Vaên An Luùc ñaàu soaïn cho gioïng haùt vaø ghi-ta coå ñieån, sau naøy toâi bieân soaïn cho daøn nhaïc, vôùi phaàn ñaïi vó caàm (violoncello) ñoäc taáu nhö moät ñoái thoaïi vôùi gioïng haùt


ñöôøng hoa Ñoâi Maét Ngöôøi Sôn Taây, baøi thô noåi tieáng cuûa coá thi só Quang Duõng (1921-1988), saùng taùc naêm 1949, ñaõ ñöôïc Phaïm Ñình Chöông duøng moät soá caâu vaø ñem phoái hôïp vôùi vaøi caâu khaùc cuûa baøi Ñoâi Bôø, cuõng cuûa Quang Duõng, ñeå soaïn thaønh ca khuùc Ñoâi Maét Ngöôøi Sôn Taây Naêm 1973, toâi phoå nhaïc toaøn veïn baøi thô noùi treân vaø, ñeå traùnh truøng teân vôùi taùc phaåm baïn, ñaët teân ca khuùc laø Ñöôøng Hoa Thoaït ñaàu, toâi soaïn cho moät gioïng haùt vaø piano, roài ñeán naêm 1986, bieân soaïn cho hai gioïng song ca vaø daøn nhaïc thính phoøng (chamber orchestra), laáy hình thöùc moät cuoäc ñoái thoaïi giöõa moät ngöôøi nöõ vaø moät ngöôøi nam, cuøng moät sinh quaùn, Sôn Taây (Baéc Vieät), tình côø gaëp nhau taïi tieàn tuyeán trong thôøi khaùng chieán choáng Phaùp

muøa hoa nôû Giai ñieäu ca khuùc Muøa Hoa Nôû ñöôïc soaïn taïi Saøi goøn naêm 1955 (neáu toâi nhôù khoâng laàm), ñaùp öùng thoâng caùo veà cuoäc thi cuûa Ñaøi Phaùt Thanh Quaân Ñoäi baáy giôø ñang kieám moät ca khuùc naøo noùi veà cuoäc di cö vaøo Nam cuûa nhöõng ngöôøi mieàn Baéc ñeå traùnh cheá ñoä coäng saûn Ca khuùc ñöôïc chaám giaûi nhaát Toång Thoáng Vieät Nam Coäng Hoøa, vaø ñöôïc hai ñaøi phaùt thanh Quaân Ñoäi vaø Quoác Gia quaûng baù nhieàu laàn, nhieàu naêm, vôùi hoøa aâm vaø phoái

cuï cho daøn nhaïc cuûa coá nhaïc só Hoaøng Troïng Noäi dung lôøi ca cuûa ca khuùc naøy noùi veà giaác mô khaûi hoaøn cuûa nhöõng ñoaøn chieán só quoác gia tieán veà giaûi phoùng Haø Noäi Baüng ñi moät thôøi gian 44 naêm, tình côø toâi ñöôïc ca só Mai Höông göûi cho toâi giai ñieäu aáy vaøo naêm 1999 (maø toâi khoâng coøn giöõ) Nhaân dòp Hoäi Hieáu Nhaïc Vieät Myõ naêm ñoù toå chöùc moät buoåi ca nhaïc cuûa toâi taïi Santa Ana, California, ban toå chöùc muoán toâi ñoùng goùp moät hôïp xöôùng khuùc cho moät soá ca vieân cuûa Ban Hôïp Xöôùng Ngaøn Khôi taïi Quaän Cam, California, toâi ñaõ duøng giai ñieäu Muøa Hoa Nôû ñeå soaïn laïi cho moät ban hôïp xöôùng hoãn hôïp boán gioïng (nöõ cao, nöõ traàm, nam cao, nam traàm) theo phong caùch “a cappella” (“phong caùch nhaø nguyeän”), nghóa laø nhaïc hôïp xöôùng khoâng nhaïc cuï ñeäm Trong buoåi ca vaø hoøa nhaïc “Veát Chim Bay”, baûn hôïp xöôùng ñaõ ñöôïc soaïn theâm phaàn phoái cuï cho daøn nhaïc giao höôûng (symphony orchestra) Trong chöông trình “Veát Chim Bay”, Ban Hôïp Xöôùng Ngaøn Khôi trình baøy hôïp xöôùng khuùc naøy vôùi Daøn Nhaïc Giao Höôûng cuûa Hoäi Hieáu Nhaïc Vieät Myõ, döôùi söï ñieàu khieån cuûa nhaïc tröôûng Nguyeãn Khaùnh Hoàng

Cung Tieán (Vôùi moät vaøi söûa ñoåi vaø theâm thaét môùi, thaùng Saùu, 2010)

Nhaïc tröôûng Nguyeãn Khaùnh Hoàng, Daøn nhaïc giao höôûng Hoäi Hieáu Nhaïc Vieät Myõ vaø Ban Hôïp Xöôùng Ngaøn Khôi / Conductor Nguyeãn Khaùnh Hoàng, Vietnamese American Philharmonic (VAP), and Ngaøn Khôi Chorus.


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The selected art songs performed in tonight’s concert have been written at different times and places They were composed in Vietnam, my birthplace, and in other countries from the time I was a schoolboy until after I left university Called “art songs” - as opposed to folk songs - because, firstly, they set to music texts of high literary quality: poems of renowned Vietnamese poets such as Xuan Dieu, Vu Hoang Chuong, Quang Dung, Thanh Tam Tuyen, and Pham Thien Thu Secondly, rather than being sung with more or less improvised “accompaniment”, they include specifically written instrumental backgrounds which serve as integral parts of the texture

Vietnam’s folk music and “learned” music generally employ scales of five pitches (the “pentatonic” scales), which are also widely used in other parts of the world The Western seven-pitch scale, further divided into twelve equally-tempered half tones, came to Vietnam first with the European missionaries in the seventeenth century, then later with the French colonialists in the second half of the nineteenth century The former taught the converted natives to sing the Gregorian chants (in Latin!); and the latter, eager to accomplish their “mission civilisatrice”, introduced solfeøge into their colony’s primary and secondary educational system

I grew up and was educated in cities where the only type of music I first heard, learned and came to love was of Western European origins Most of the fruits of that love (the songs of tonight’s program) therefore cannot but bear some of the traits, colors and flavours of Western tonal, art music

Ballad of a Warrior’s Wife was written in Chinese in 1740 by Dang Tran Con, a scholar and a mandarin of Ha Dong province Doan Thi Diem, a contemporary of Dang Tran Con, translated the poem into Vietnamese Ballad of a Warrior’s Wife has become one of the most loved and highly regarded masterpieces of Vietnamese literature

Tonight, parts of Ballad of a Warrior’s Wife are recited by Bích Lieân in sa maïc style, with orchestral accompaniment The following are the last four lines of this famous 476-line poem

Now that we are back together,Let us cherish each other,and enjoy the peace timeto make up for the days of our separation.I recite this poemwith all my lovefor you.

Golden Autumn and Yearning, my earliest compositions, were written in 1952 They are only exercises in rudimentary song-writing Their melodies and harmonies exhibit simple tonal (“dominant-tonic”) principle; their rhythmic and formal schemes are regular Their texts breathe the aromatic, fin-de-sieøcle lyricism of Xuan Dieu and Huy Can, two of Vietnam’s Westernized poets whose fan I was as a boy:

…Alone I walk the city streetsPossessed by a vague melancholyMy mind drifting far away, weighed down with immense sadness:Do you hear the heavy-hearted fall of the leaves?(Golden Autumn)

As evening gloom stealthily invades my soulAs vaguely it listens to the rain on the autumn leavesLike echoes from the past it pervades the atmosphereLike lingering melodies that will not die...(Yearning)

The Flight of Birds, written by the Buddhist monk-poet Pham Thien Thu, was published in 1974 The Zen-inspired poem was set to music in early l975 -just a few months prior to my departure from Vietnam to the United States

Years ago I was waiting for youIn that pagoda’s bell-towerWhere a passing bird left its footprints on the doorAs if to myself I said softly:Birdie, where can I find you?

Years ago I waited for youOn that pagoda’s bell-tower.Today I passed by the same;I still can find our initials on the bell.I am now a saffron-robed priestWhile you are gone who knows where.Whose name is it that’s still recalledIn the slow pealing of the evening bell?

Years ago you came by hereAnd made love blossom in meLike the eternal footprints of the birdThat are left on the mossy threshold.A lifetime is not all that long;Why is love’s sadness so infinite?What is left of Life’s false appearancesBesides the traces of a bird’s flight?

The Last Tango was written in 1978 in dedication to some friends left behind in Vietnam after the Communists’ takeover in April 1975 The text is about an imaginary couple’s last meeting before one of them departs for overseas,

Blue evening, melancholy eveningEvoking the image of so many evenings in years pastI see in your eyes a certain longingAs if you are loathe to leavePrimeval evening, depressing eveningSuddenly it hits me that tomorrow you’ll be on your waySuddenly I am hit by waves of emotionOh the passionate melody of this moment!

Program NotesPROGRAM NOTes By Cung Tieán


Then a new spring comes, and the flowersSilently I repeat your name - now so far awayAnd when the bleary wind comesMy soul like an autumn leaf falls away...Then a rain comes on this frozen landI recall the way to your home, also on a rainy dayAnd in the evening light of this day far from homeSadness suddenly wells up, and tears in my eyes.

Tonight we are in each other’s armsYet we feel already the longing of days to comeHere we are sharing this kissYet it feels as if we are sharing bitterness!

We will part after tonightTo be worn away by longing after tomorrowBut in the haze of dusky eveningsYour image will shine in my soulWhite clouds, like ships, will move in the sky-oceanCarrying my longing to the far horizonSo that in that far, far landYou will feel a bit less sad

Farewell was written based on a poem attributed to being written by Quang Dung The poem tells of a story about the separation of two sisters during wartime One sister remained at the evacuated region, the other returned home

Tomorrow I will return homeDo you want me to bring home something?I will miss your lovely pink cheek.On the long way home there was no windWhy in my heart I feel so cold...I have not lost sight of youyet my heart is already torn by sorrow...

A Time When I Wrote Love Poetry for You was written by Tran Da Tu in l958 It recalls memories of a pair of young lovers and their heartfelt encounters in the idyllic City of Hue and on the shores of its famous Perfume River I set the poem to music in 1969 for voice and classical guitar and later adapted it for voice, flute, and harp

A time when I wrote love poetry for youIt rained too lightly to dampen my shirtThe lovely yellow chrysanthemums lined the entranceThe fence warmed under the afternoon sun.

The serene evening was covered in dewI found my heart at the crossroadI heard inside me the tender voice of love,A melancholic mood seemed to arise.

A time when I wrote poetry for youThe river shared the same feelings with myselfIt seemed half of the river’s bridgewas missing the city sky as well.

I had gone as suddenly as I had comeMy poem was not yet completedOur rendezvous of many days and nightshave long gone”.

17 years have gone by, I suddenly wake upHardly know what the time is now.My hand once on your long hairWill forever remain lost in love...

I consciously used the Eastern pentatonic scales for the first time in a setting of the T’ang dynasty poet Cui Hao’s famous poem, The Yellow Crane Pavilion, translated into Vietnamese by the late Vu Hoang Chuong who died of maltreatment by the communists shortly after release from prison in 1976 It was also the last work of this most famous and prolific of Vietnam’s modern poets The entire poem reads as follows:

The yellow crane flew away, without a traceOnly a hint of perfume is left, here at Yellow Crane PavilionA flash of yellow, and it’s gone foreverOnly white clouds remain for an eternityThe sun still shines on the trees along Hangyang RiverBut no one is left to play on the Yingwu groundsEverywhere the sun is setting but where is my home?O waves, do not add to my sorrow.

The Mountain Trip is a setting of the late Xuan Dieu’s l964 poem:

Love, I've just come back from the mountainsMy head still filled with the mountain breezeMy skin tingling with the forest sunMy voice mingled with the brooks’ murmur

Love, step by cautious stepI hold in my hands just such flagrant windThis beautiful wild bouquetThat waves in the mist-laden valleyThere are even wild banana flowersShining red amidst the green of forest

Love, I just came from the mountains,Ran into low-flying clouds wrapping round my feetThe blue sky over the peaks embraces me.And from the heights I behold the sea and the woodsMy eyes still drunken with the blue.

Higher and faster I wentinto the mountains for a whole monthToday, by quiet stepSoftly I come to you, love.

A Love Song carries a freer melody and is painted with the harmonic palette of late nineteenth-century French Impressionism, in particular that of Gabriel Faure (1845-l924) Written in 1965 for voice and Piano, the song was later arranged for full orchestra Some verses of the text:

Memory-tinted eyes of a love begun long agoSun-tinted hair flowing on shoulders that seem lostDreamy eyes lost in the pastTear-drenched eyesO eyes still steeped in the age of innocence...

Lying there, I listened to each leaf’s fallingO how melancholy each birdcall on top of the treesMy soul fluttered down onto your lips -- O how glorious!


Night is actually only the first part of a l0-part poem by Thanh Taâm Tuyeàn which was published in 1964

Then on nights forgotten by the warBlack eyes, silenceI will go on, I will go on -forever - in the solitary cityAt noon the sun burns deep into this rejectionWith blood coursing, coursing mechanically - a sick machineat the end of nightYou shake loose your hair and talk deliriouslyDark signal of a loveless black ocean, an ocean of despair

And on night forgotten by the warBlack eyes, silenceI will split your hair together with the dead autumn leavesLeaving a gash on your close-fisted wristI will push you down from the peak of happinessYour face will splinter like marble like tears like never, no regretsThe fall leaving a gash on your wrist, a gash on your wrist...

I must walk this solitary road by myself

And at the end meet with the naked animal truthWith the gaping abyss of life without you...With the gaping abyss of life without you…

On the other side of the wall I am confined in a leprosariumYour voice calling, echoing from a thousand years agoWe have loved a lifetime, a lifetime and still want moreWhen Oh! When will we meet again?You curse with the words of a trampDo not confine geniusLet it go wild to become a tragic tornadoLet it go wild to become a tragic tornadoTo carry you along so you could whirl in space

Asked recently what had driven him to write such violent lines, the poet (who passed away in Minnesota in 2006) said: “At that time I was so fed up with writing poetry; I wanted to quit writing altogether The South [Vietnamese authorities] labeled me a leftist poet; while the North called me a fascist So I belonged to the class of untouchables, of lepers So what’s the point in producing untouchable, leprous poetry?”

I wrote Night of Light Flowers in the summer of 1956, when I graduated from high school, after a night attending “The City-Wide Students’ Musical Festival” of all the high schools in Saigon, both Vietnamese schools (like Gia Long, Tröng Vöông, Chu Vaên An…) and French ones (like Marie Curie, Jean-Jacques Rousseau, …) That night, the music teacher Chung Quaân gave me the responsibility of conducting the inter-school chorus, to perform The Epic Song of the Loâ River by Vaên Cao Following a joyous occasion, however, is always a sense of wistfulness Those were the feelings of a young man lost in a fairy-tale setting (all those young lady students with “faces of willow and flowers”) now returning to earth

Two months after South Vietnam had fallen to the communists in l975, Thanh Tam Tuyen and many other writers, artists, educators and religious leaders were incarcerated in Gulag style “re-education camp” without any formal charge of crime During his ten years in prison, he composed poetry and sent it out to

the world In l982-83, I selected 12 of these poems and set them to music in a song cycle entitled Spring Reverberations for voice and piano, Southeast-Asian five-pitch scales are used freely in these songs Below are the texts of two of the seven excerpts from this cycle performed here tonight

‘Long Giao’

at the break of dawn the trucks reach Long Giaoawaiting us are a few clumps of roadside thatch grasslooking up: the hills float amidstscuttling clouds and a lingering rain keeps falling.,the [old] military camp looks drab and soullesswhile a red sloshy clay mud sticks to one’s feet,here, there, are abandoned military hardware of all kindsamidst a luxuriant underbrush, punctured by weather-beaten blockhousea wind whooshes through the bare walls and deserted barracks,gone are all those I miss but their memories rush up.lying down on the ground I let my thoughts drifthere I land in this patch of sky, uncertain of where myfate is leading me.

‘Spring reverberation’

the sun, like a big moon, is rose-redawaking me at dawnthe mountain breeze seems briskcalling to the sea waves to rise

standing firm, I do not knuckle underon this poor and miserable landI breathe in infinityDrunkenly welcoming the strange rose

Resonantly the spring is hereAnd I burst into a song of joyMy heart also burns redTo lend color to the flower moon.

Thanh Tam Tuyen, Vietnam’s foremost contemporary poet, is represented tonight by several settings that I composed sporadically between l957 and l983 The first of which is Stone-Blue Teardrops, which I adapted in a 1957 setting and recently arranged for full orchestra The adapted text:

‘I know people who cry in solitudeUnrequited souls, with unrelieved sadness,those to whom life will deny peace.That’s how unhappiness came about:Tears that do not fall outside one’s soulTears that don’t -- in a lonely soulSuppressing a sob on one of those nightsYou watch the stars and moon floatingYou will cry tears, you will cry stony tearsInvisible on those nights,Invisible stony tears, oh lonely nights of sadness,Oh lonely nights when one’s soul is weighed down with melancholy.Sometimes I want to believe, yes sometimes I doThat out there only the sky and stars countJust like your glittering eyes next to those stars


Glittering eyes that will not cease, till the last day.Sometimes I want to believe, yes I doThat out there next to the flagrant flowers and grassthat conceal such wonderful perfumeThere is still the sweetness of your lips next to the delicious fruitsYour sweet lips o yes your sweet lips...The original source of milk and honey

Sometimes I want to believe that out there exists only the pristine vegetationAnd next to the flowers there are your alluring armsLocked in love, locked in intimacySometimes I want to believe, yes I doO you people who cry in solitude, you who cry in solitudeThat the most painful tears are frozen and invisibleYou whose hearts are crushed...

Two River Banks is a very popular poem by Quang Dung, right after The Eyes of A Son Tay Woman The poem describes the longing of two lovers during the Vietnamese Anti-French war (1945-54); they live on opposite banks of a river (the Red River or the Ñuoáng River…?) The river divides the front line, where the man must stay, from the teà area where the girl must return to her folks (“Teà” is the term that the northern Communists back then used for areas “temporarily occupied by the French”, under the Vietnamese nationalist administration)

Arranged for voice, harp and strings, the orchestrated song Silken Willow was written in 2003 on a commission by the Roseville String Ensemble Bích Lieân premiered it at the Ensemble’s 2003 Spring Concert in the City of Roseville, Minnesota

I wrote this song based on an old cheøo (Vietnamese traditional music and theatre) tune that I learned to sing with an older musician (whose name I cannot now recall) when I entered high school in Hanoi That cheøo tune has stayed deeply in my memories from that time

Cheøo originated in the Red River Delta region in northern Vietnam Its melodies and lyrics are the folk songs and call-and-response songs from the countryside, folk poems like ca dao (a genre of folk poems transmitted in the form of songs), and simple six-and-eight-syllable verses taken from existing famous tales in poems such as Nhò Ñoä Mai (Two Blooms of Yellow Apricot Flowers), Truyeän Kieàu (The Tale of Kieu), Bích caâu kyø ngoä (Strange Encounter at Bich Cau Village), etc Indeed, the title of Silken Willow is a six-eight couplet from The Tale of Kieàu by Nguyeãn Du: “With silky willow strands draping down / The oriole speaks-sings teasingly atop the branch” The song, then, is a literary way to…flirt, as expressed by a village young man to a country girl on a moonlit night

Perfumes from the Past, written in 1955-56, bears the vocabulary, syntax, and formal structure of eighteenth-century European art music An exercise in the occidental medium and in song writing, it nevertheless carries a very oriental text which yearns for a Vietnamese “Golden Age”, now long past Friend, do you dream on one of those lovely sunny afternoons

of a distant past?Friend, it is so very far that long road leading home to our native villages -A road still resonant with the call of river ferry boats.It is still there, that soft-lulling voice of bamboo grovesThey are still there, the banyan trees of lovers’ trystsYes, they are still there, those dim-starred nights whenwe let our souls drift into the immense skies following the fluttering kites...

Friend, I still remember those golden afternoons filled with butterflies by the pondsFriend, I can still hear those melancholy lullabies, treasured folk songs of our landIt is still there, the soft murmur of spindlesAnd the slowly fluttering kitesThey are still all there, there being no end to all the beloved images that come to mind…

O lovely long nights as we dreamed forever of a long-distantprevious life when early we stepped on to the road of lifeNights resonant with the poetry of T’ang verses in mist-ladenDrizzle, even though the yeast of yearning actually never settles.Yes the Hu fiddle is still in love with ancient tunesAnd the moon-lute still in love with Gutu cityWhich is why I can still hear in dream this vague melody full of yearningAnd I am still in love with [Xiang] Qiongru...

O lovely long nights when we slept dreaming the same dreams of someone [of yesteryear]Even though we forgot exactly what we promised each otherSuch a Golden Age is just too far, now long forgottenWhen, I wonder, will it be reborn?Life was built since those pristine nightsAs peaceful as those simple afternoons

Yet now, life vanishes into the great NothingAfter piling mounds and mounds of hatredAfter shedding many autumns’ worth of blood and bonesFriend, oh for a lovely golden afternoon when the sun can warm every corner of the landFriend, oh for an autumn evening when I can go gather autumn leavesWhen love can be imprinted on sensual lipsWhen sadness can disappear from our livesWhen we can love mankind, live and let live!Life will be as uneventful as the love between the two loversIt will be like the song of love between a man and a woman...

The Moon Lute was originally written for voice and classical guitar, on a text adapted from Xuan Dieu in 1955, when I was completing my final year of high school in Vietnam The orchestral accompaniment was arranged after I immigrated to the United States Excerpts:

The night of a withered moon season shatters my soulAs if hesitant, the autumn brook pushes the autumn leaves past oneAutumn melancholia rises all the way up to the clouds


Yet one still misses the fragrances of the fallThe Hsinyang moon glitters with tears that seem at times to lingerAnd my soul, lost in quandary, is mad with yearningShimmering the Moon Lute’s bass playing:Who remembers still the young lady on a bright moonlit nightDying, dying with the green waters -- in a song?O ancient moon lute that shatters my soul!

Flowered Roads, the famous poem by the late Quang Dung, has received more than one musical setting since it was written in 1949, during the war against the French (1945-1954) My rendering takes the form of a conversation between a man and a woman from the same natal village who met by chance in a war zone Originally written for voices and piano, the song was rearranged for voices and orchestra in 1987

You came from Son Tay, running away from the enemyI left home since the war startedI could not count the daysI have been awayfrom my home Bat Bat.Many evenings have passed,I have not seen the mountain Ba Vi.

The homeland’s blue sky adorn your face,And your eyes are filled with Tay Phuong melancholyHow I miss the white clouds of Doai county!Do you yearn for home?

Since that autumn, the enemies combed through my villageRavage upon ravageHow many streams of tears have been shed and dried on our lamenting soil?Have you cried your eyes out for the turmoil?

My mother, have you seen her?Corpses of our old people now cover the whole rice field…I also have a little younger brother,Countless children ‘s corpses float in the river!

The Son Tay eyes,Lost sadly in the evening of our driftingfrom war and hatredCould your homesickness ever be alleviated?

To lighten your sorrowful heart,Just dream with meFor a tomorrow without enemy.On our homeland the morning sun will riseOn our victorious roads, tears will be all dried

When shall we be back to Buong Can countrysideto Sai Son mountain to gaze at the ripening riceThe Day River will calmly meander through Quoc County,And the whistling fluting kites

Will fly through the moonlit night!When shall I see you again?Peace shall have blossomed by then.This cruel war shall become history,Shall you still remember me?

I composed Season of Flowers in Bloom in 1955 in response to an announcement of a contest by the South Vietnam Army Radio Broadcast The contest called for a submission of songs related to the exodus of millions of northern Vietnamese in 1954 to escape from communism Season of Flowers in Bloom was awarded first prize by the President of Republic of Vietnam and was broadcasted by the National Radio and Army Radio for many years The song focuses on the national army’s dream of liberating the City of Hanoi from the communists In 1999, the singer Mai Huong fortuitously sent me the music for this song - I no longer possessed a score of it Her deed enabled me to rearrange the song for a concert sponsored by the Vietnamese-American Philharmonic The song, then performed by the Ngan Khoi Chorus, was arranged for a chorus of four voices (soprano, alto, tenor, and basso) in “a cappella” style For tonight’s concert, the song has been arranged for full orchestra and chorus

The rain never stops this evening,As I never stop longingFor my homeland,The route to the North is too far away.The flock of birds seems to share in the pain of our parting.Oh, our old capital!‘Wait for my return. Keep our promise’.Little white flowers cover my pathThe old road home stays forever in my mind‘Keep our promise. And do not lament over my departure’,It rains still this evening.The sad autumn leaves are still falling.The end of the season is coming, hesitantly,with the green river filled with falling leaves.An evening at the army base.

Ha ha ha ha ha!We are shouting with joy.We are coming home from thousands miles.We are shouting with joy to welcome everyone home.A glorious tomorrow filled with triumph and excitement.We will all sing, shout and laugh happily.The capital’s ten grand entrances, waving flowers and flags, welcome the returning army.We come back to build an eternal garden of Love.

Liberty will forever blossom on our homelandRebuilding a Free Vietnam, we will join hands.

Note: All English translations of the text quoted in these program notes are by Nguyen Ngoc Bich, Duong Phuong Mai, with occasional modifications by Cung Tien and the Vietnamese Culture and Science Association in Houston, Texas.


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nguyeãn Khaùnh hoàng Nhaïc tröôûng / Conductor

Moân sinh cuûa giaùo sö Ñoã Theá Phieät, Nguyeãn Khaéc Cung vaø Hoaøng Cöông, Nguyeãn Khaùnh Hoàng toát nghieäp vôùi danh döï haïng nhaát ngaønh Bieåu

Dieãn Vó Caàm taïi tröôøng Quoác Gia AÂm Nhaïc vaø Kòch Ngheä Saøi Goøn Sau ñoù oâng daïy moân vó caàm taïi tröôøng naøy töø 1973 ñeán 1988 Naêm 1970, oâng ñöôïc nhaän giaûi nhì trong Giaûi Vó Caàm Toaøn Quoác Esso naêm 1970 Khaùnh Hoàng ñaõ töøng bieåu dieãn raát nhieàu vôùi daøn nhaïc giao höôûng cuûa tröôøng Quoác Gia AÂm Nhaïc vaø Kòch Ngheä Saøi Goøn Ñònh cö taïi Hoa Kyø töø naêm 1989, oâng hoïc vó caàm, nhaïc thính phoøng, vaø ñieàu khieån daøn nhaïc taïi Brooklyn Conservatory (New York) vaø California State University, Fullerton Khaùnh Hoàng laø thaønh vieân cuûa ban töù taáu cuûa thaønh phoá Queens khi oâng coøn ôû New York Sau khi dôøi qua California naêm 1991, oâng ñaõ tham gia nhieàu cuoäc bieåu dieãn cuûa caùc daøn nhaïc nhö Long Beach University Symphony Orchestra, Bellflower Symphony Orchestra, Torrance Symphony Orchestra, Chapman University Orchestra, Pacific Symphony Orchestra, vaø Pacific Symphony Orchestra Institute vaø laø Concertmaster cho Pacific Symphony Institute trong nhieàu buoåi hoøa nhaïc taïi quaän Cam Trong nhöõng naêm qua, oâng töøng bieåu dieãn ñoäc taáu vôùi daøn nhaïc cho nhieàu buoåi hoøa taáu cuõng nhö lieân hoan aâm nhaïc taïi Quaän Cam, San Jose, San Diego, vaø Virginia OÂng cuõng laø nhaïc tröôûng khaùch môøi cho daøn nhaïc Houston Civic Symphony Orchestra vaø Saigon Chamber Ensemble Nguyeãn Khaùnh Hoàng hieän laø giaùm ñoác aâm nhaïc vaø nhaïc tröôûng cuûa Hoäi Hieáu Nhaïc Vieät Myõ vaø daïy vó caàm taïi Westminster Music School A student of Professors Do The Phiet, Nguyen Khac Cung, and Hoang Cuong, Nguyen Khanh Hong graduated from the highest level in Violin Performance from the National Conservatory of Music and Drama in Saigon, where he also taught violin from 1973 to 1988. In 1970, he was awarded the Second Prize of the Esso National Violin Competition. Khaùnh Hoàng had played with the Conservatory symphony orchestra for many years. After his arrival in the United States in 1989, he studied violin, chamber music and conducting at the Brooklyn Conservator in New York, and Cal State Fullerton in California. Khaùnh Hoàng was a member of the Quartet of the Queens City when he lived in New York. After moving to California in 1991, he has participated in various performances with the Long Beach University Symphony Orchestra, Bellflower Symphony Orchestra, Torrance Symphony Orchestra, Chapman University Orchestra, Pacific Symphony Orchestra, and Pacific Symphony Orchestra Institute and has been a Concertmaster of the PSI and Festival in many concerts in Orange County. Khaùnh Hoàng is currently CEO, Music Director and Conductor of the Vietnamese American Philharmonic Symphony Orchestra. In past years, he has played as a solo violinist with numerous concerts and festivals in Orange County, San Jose, San Diego, and Virginia and as a guest conductor of the Houston Civic Symphony Orchestra and the Saigon Chamber Ensemble. He teaches violin at the Westminster Music School.

Leä ThuCa só / Vocal soloist

Böôùc leân saân khaáu moät caùch baát ngôø vaøo naêm 1970, tieáng haùt Leä Thu trôû thaønh tieáng haùt "ñaét giaù" cuûa Saøi Goøn Vôùi moät gioïng haùt "trôøi cho" noàng aám, tình caûm, trong suoát nhieàu thaäp nieân qua, Leä Thu ñaõ chinh phuïc haøng trieäu khaùn thính giaû aùi moä qua nhöõng nhaïc phaåm baát huû cuûa

caùc nhaïc só taøi danh nhö Phaïm Duy, Phaïm Ñình Chöông, Trònh Coâng Sôn, vaø ñaëc bieät cuûa Cung Tieán

Leä Thu came to music fortuitously in 1959. She then became one of the most popular and higest-paid singers in Saigon. During the past five decades, Leä Thu has acquired million of fans and continues to draw large audience with her singing of popular songs written by Phaïm Duy, Phaïm Ñình Chöông, Trònh Coâng Sôn, and especially Cung Tieán.

quyønh giao Ca só / Vocal soloist

Quyønh Giao teân thaät laø Coâng Taèng Toân Nöõ Ñoan Trang, sinh quaùn taïi Vó Daï, Hueá Baét ñaàu söï nghieäp ca haùt khi leân baåy vôùi teân Ñoan Trang Töø luùc môùi 15 tuoåi, döôùi ngheä danh Quyønh Giao, coâ trôû thaønh moät gioïng haùt chuû yeáu cuûa nhieàu ban nhaïc treân caùc ñaøi phaùt thanh Saøi

Goøn, Quaân Ñoäi, Tieáng Noùi Töï Do vaø ñaøi Voâ Tuyeán Truyeàn Hình Vieät Nam Sau baûy naêm hoïc vaø toát nghieäp thuû khoa hai moân "nhaïc phaùp" vaø "döông caàm" töø tröôøng Quoác Gia AÂm Nhaïc vaø Kòch Ngheä Saøi Goøn naêm 1963, Quyønh Giao daïy nhaïc töø naêm 1968 Töø naêm 1975, coâ tieáp tuïc söï nghieäp ca haùt vaø daïy nhaïc taïi Hoa Kyø Naêm 1986, Quyønh Giao baét ñaàu vieát tuøy buùt, tieåu luaän vaø truyeän ngaén cho moät soá taïp chí vaên hoïc ôû haûi ngoaïi vaø töø naêm 2005, giöõ muïc taïp ghi haøng tuaàn cho nhaät baùo Ngöôøi Vieät taïi California

Born to a royal family in Vó Daï, Hueá, Quyønh Giao is a soprano known for her agile voice and silvery tone. Coâng Taèng Toân Nöõ Ñoan Trang began her singing career at the age of seven with the name Ñoan Trang. At fifteen, under the stage name of Quyønh Giao, she became a key vocalist in the greatest music ensembles for national broadcast stations, such as Saigon, Quaân Ñoäi (Armed Forces), Tieáng Noùi Töï Do (Voice of Freedom), and on Vietnamese television. The top graduate in music theory and piano from the National Conservatoire of Music and Drama in 1963, Quyønh Giao began teaching piano in 1968. Since coming to the United States in 1975, she has continued her vocal and teaching careers. In 1986, Quyønh Giao began contributing essays, commentaries, and short stories to a number of overseas magazines, and since 2005, has had a weekly column on art and literature in the Nguoi Viet Daily in California.

Veà nhöõng ngheä só trình dieãn / About the Artistsveà NHÖõNG NGHeä só TRÌNH dieãN / ABOuT THe ARTisTs


Bích LieânCa só / Vocal soloist

Tuy laø moät baùc só chuyeân veà ung thö taïi quaän Cam, California, Bích Lieân raát ñam meâ aâm nhaïc, nhaát laø ngheä thuaät ca haùt Vôùi gioïng soprano ñieâu luyeän vaø truyeàn caûm, Bích Lieân luoân luoân ñöôïc söï taùn thöôûng noàng nhieät cuûa khaùn giaû trong caùc chöông trình nhaïc choïn loïc taïi haûi

ngoaïi trong suoát nhieàu thaäp nieân qua Bích Lieân laø moät trong nhöõng saùng laäp vieân cuûa ban hôïp xöôùng Ngaøn Khôi Bích Lieân ñaõ thöïc hieän CD mang töïa ñeà "Bích Lieân Haùt Nhaïc Buoàn" (1996) vaø goùp tieáng haùt trong caùc CD vaø DVD do Ban Hôïp Xöôùng Ngaøn Khôi hay do Hoäi Ung Thö Vieät Myõ phaùt haønh nhö "Phaïm Ñình Chöông - Maøu Kyû Nieäm" vaø "Meï Trong Loøng Ngöôøi Ñi"

Although she is a practicing oncologist in Orange County, California. Bích Lieân's passion is music and singing with her well-trained soprano voice, Bích Lieân's performances have been very-well received by audiences throughout several decades. Bích Lieân is a co-founder of the Ngaøn Khôi Chorus. She has produced an album entitled "Bích Lieân and Sad Songs" (1996). She has also been featured in CDs and DVDs produced by Ngaøn Khôi Chorus and the Vietnamese American Cancer Foundation.

Anh DuõngCa só / Vocal soloist

Anh Duõng sinh tröôûng taïi Ñaø Laït Ñònh cö taïi Hoa Kyø Giaùng Sinh 1991 Anh ñoaït giaûi nhaát trong chöông trình Tuyeån Choïn Taøi Naêng Môùi do nhaïc só Ngoïc Chaùnh toå chöùc naêm 1993 Anh Duõng ñaõ coäng taùc vôùi caùc trung taâm Dieãm Xöa, Thuùy Nga, Tình, Asia, Theá Giôùi Ngheä

Thuaät Anh ñaõ töï phaùt haønh cho rieâng mình ñöôïc naêmCD: "Toâi coù em chieàu thu", "Trôøi coøn möa khoâng em", "Hình nhö laø tình yeâu", "Thu vaøng Coù chaøng", vaø "Tieãn em"

Anh Dung was born in Dalat. He migrated to the U.S. on Christmas Day, 1991. He received the first place award from the Singing Talent Scouting Competition organized by Ngoïc Chaùnh in 1993. Anh Duõng has worked with the following musical productions: Dieãm Xöa, Thuùy Nga, Tình, Asia, Theá Giôùi Ngheä Thuaät. He also released five albums featuring his own voice: "I've got you in an autumn evening", "Is it still raining, my love?" "Seems like love", "Yellow Autumn... Having him", and "Bidding farewell".

Bích VaânCa só / Vocal soloist

Bích Vaân, gioïng haùt nöõ cao (soprano), toát nghieäp vôùi haïng danh döï töø Nhaïc vieän Bob Cole Tröôùc ñoù coâ ñaõ ñöôïc huaán luyeän veà thanh nhaïc taïi Nhaïc Vieän Saøi goøn Coâ ñaõ töøng ñoaït raát nhieàu giaûi thöôûng trong nöôùc tröôùc khi ñònh cö taïi Hoa Kyø vaøo naêm 2003 Bích Vaân tieáp tuïc

theo hoïc thanh nhaïc taïi Hoa Kyø Coâ ñaõ töøng laø gioïng ñôn ca chính cho nhöõng buoåi trình dieãn cuûa Ban hôïp xöôùng Nhaïc vieän Bob Cole, Hoäi Hieáu Nhaïc Vieät Myõ, Ban hôïp xöôùng Ngaøn Khôi, daøn nhaïc thính phoøng Saigon ôû San Jose, vaø trung taâm Asia

Bích Vaân ñoaït nhieàu giaûi thöôûng cuõng nhö hoïc boång veà Thanh Nhaïc nhö Matsumoto Opera Scholarship, Fine Arts Affiliates Scholarship Coâ ñaõ tham döï nhöõng cuoäc thi nhö Carlsbad to Karlovy vaø Cafeù 322

Bích Vaân töøng goùp tieáng haùt trong ban hôïp ca cuûa vôû Aida vôùi Opera Pacific, ban hôïp ca trong L'Orfeo, vaø dieãn xuaát trong caùc vai Nanetta trong Falstaff vôùi Bob Cole Opera Institute, Cleopatra vôùi Celestial Opera Company, vaø Tuptim trong The King and I taïi The Rose Center Theater vaø Curtain Call Theater Coâ cuõng laø giaùm ñoác aâm nhaïc cho vôû ca nhaïc kòch The King and I taïi Camino Real Palyhouse

Bích Vaân hieän tham gia nhieàu buoåi trình dieãn, daïy thanh nhaïc vaø döông caàm Coâ seõ tieáp tuïc theo ñuoåi boä moân thanh nhaïc trong khoùa hoïc muøa thu saép tôùi ñaây Bích Vaân is a soprano, recently graduated with high honors from the Bob Cole Music Conservatory with previous vocal trainings at National Music Conservatory, Vietnam. She has won many prestigious awards, including First Place at the Young Artist Piano Competition at age 12, First Place at the University of Architecture's Vocal Competition and Fourth Place at the Vietnamese National Literature Competition.

She appeared as a soloist at the National Music Conservatory Recital Hall in Vietnam and the Vietnam National Television. Since immigrating to the US in late 2003, she has continued performing internationally. She has performed as a featured soloist with the Bob Cole Conservatory Chamber Choir, the Vietnamese-American Philharmonic, the Ngan-Khoi chorus, the Saigon Chamber in San Jose and ASIA Entertainment.

Winner of the Music Honor Scholarship (Vietnam), the Matsumoto Opera Scholarship, the Fine Arts Affiliates Scholarship, Bích Vaân also placed at the Carlsbad to Karlovy Vary and the Cafeù 322 Vocal Competitions.

Her recent roles include ensemble in Aida with Opera Pacific, ensemble in L'Orfeo, Nanetta in Falstaff with Bob Cole Opera Institute, Cleopatra in Giulio Cesare with Celestial Opera Company, and Tuptim in The King and I with the Rose Center Theater and the Curtain Call Theater. She was also the musical director for The King and I production at the Camino Real Playhouse.

She is still currently performing as well as teaching voice and piano. She will also be pursuing graduate study in Voice this coming fall.


moäng ThuûyCa só / Vocal soloist

Moäng Thuûy sinh tröôûng trong moät gia ñình yeâu thích aâm nhaïc Coâ meâ nhaïc vaø thích haùt töø thuôû nhoû Luùc coøn ôû baäc tieåu hoïc, coâ ñaõ ñöôïc choïn ñôn ca treân ñaøi truyeàn hình Saøi Goøn, trong caùc buoåi vaên ngheä cuûa tröôøng cuõng nhö trong caùc sinh hoaït cuûa nhaø thôø

Ñònh cö taïi Hoøa Kyø naêm 1986, Moäng Thuûy theo hoïc döông caàm vaø chæ huy hôïp xöôùng taïi California State University, Fullerton Naêm 1994, coâ toát nghieäp cöû nhaân chuyeân ngaønh Sö Phaïm Döông Caàm Coâ cuõng ñaõ theo hoïc Thanh Nhaïc döôùi söï höôùng daãn tröïc tieáp cuûa tieán só Elizabeth Makino

Moäng Thuûy töøng ñôn ca vôùi daøn nhaïc giao höôûng trong caùc chöông trình cuûa Hoäi Hieáu Nhaïc Vieät Myõ, Ñeâm Ngaøn Khôi, vaø caùc chöông trình vinh danh nhaïc só Phaïm Duy Coâ cuõng laø ca tröôûng Ca Ñoaøn Costa Mesa trong nhieàu naêm, moät trong nhöõng saùng laäp vieân vaø thaønh vieân Ban quaûn trò cuûa Hoäi Hieáu Nhaïc Vieät Myõ Moäng Thuûy hieän laø giaùo sö döông caàm taïi Westminster Music School

Moäng Thuûy was born into a music-loving family. She has been a devotee to music and singing since childhood. In elementary school, she was selected to perform solo on Saigon Television, in musical shows at her school, as well as in events at her church in Vietnam.

After she migrated to the US in 1986, Moäng Thuûy majored in piano and choir conducting at California State University, Fullerton. In 1994, she attained her Baccalaureate degree in Piano Pedagogy. She also took vocal training under the direct guidance of Dr. Elizabeth Makino.

Moäng Thuûy has performed as a solo vocalist with the orchestra with the Vietnamese American Philharmonic (VAP), the Ngaøn Khôi Night concerts, and shows honoring the composer PhaÏm Duy in California. She was also the leader of the Costa Mesa Choir for many years. She is the co-founder and board member of the Vietnamese American Philharmonic (VAP). She is currently a piano professor at the Westminster Music School.

Leâ hoàng quangCa só / Vocal soloist

Leâ Hoàng Quang sinh tröôûng taïi Saøi Goøn vaø toát nghieäp thuû khoa veà Thanh Nhaïc taïi Nhaïc Vieän Saøi Goøn Sau khi rôøi Vieät Nam ñeán ñònh cö taïi Nam California töø naêm 1995, Leâ Hoàng Quang ñaõ tham gia trình dieãn trong raát nhieàu buoåi nhaïc choïn loïc taïi nhieàu nôi treân nöôùc Myõ Leâ Hoàng

Quang tieáp tuïc theo ñuoåi Thanh Nhaïc taïi Cal State Fullerton vaø nhaän baèng cao hoïc taïi ñaây Anh hieän môû lôùp daïy Thanh Nhaïc taïi quaän Cam vaø phuï traùch lôùp Thanh Nhaïc cuûa Hoäi Vaên Hoïc Ngheä Thuaät Vieät Myõ (VAALA) töø naêm 2006

Leâ Hoàng Quang received a master's degree in Vocal Performance from California State University, Fullerton. He has been one of the featured tenor vocalists in the Ngaøn Khôi Chorus. He is also a member of the Chamber Singers of Fullerton College and University Singers of California State University, Fullerton. Quang has performed in Europe, China and the United States. He has been teaching Voice Classes at the Vietnamese American Arts & Letters Association (VAALA) since 2006.

phaïm haøCa só / Vocal Soloist

Phaïm Haø laø thaønh vieân cuûa Ca Ñoaøn Costa Mesa tröôùc khi trôû thaønh ca só Sau laàn trình dieãn ñôn ca ñaàu tieân vaøo naêm 1999, Phaïm Haø ñöôïc môøi trình dieãn trong raát nhieàu chöông trình aâm nhaïc cuûa Hoäi Hieáu Nhaïc Vieät Myõ, Ban Hôïp Xöôùng Ngaøn Khôi, vaø Hoäi Ung Thö Vieät

Myõ Töï luyeän gioïng, khoâng qua moät tröôøng lôùp naøo, Phaïm Haø coù theå trình baøy caùc ca khuùc baèng boán thöù tieáng: Vieät, Phaùp, Anh vaø Taây Ban Nha Phaïm Haø thöôøng ñöôïc khaùn giaû yeâu caàu trình baøy caùc baûn nhaïc Phaùp tröõ tình

Phaïm Haø was a member of the Costa Mesa Choir before becoming a soloist. After his debut as a soloist back in 1999, Phaïm Haø was invited to perform in many concerts in Orange County including those organized by the Vietnamese American Philharmonic (VAP), the Ngaøn Khôi Chous, and the Vietnamese American Cancer Foundation. A self-taught vocalist, Phaïm Haø can sing in four different languages: Vietnamese, French, English and Spanish. Phaïm Haø is frequently requested by the audience to perform romantic French pop songs.

phaïm ñaêng KhoaCa só / Vocal Soloist

Ñeâm nhaïc Cung Tieán "Veát Chim Bay" ñaùnh daáu söï xuaát hieän laàn ñaàu cuûa tieáng haùt treû Phaïm Ñaêng Khoa taïi Quaän Cam Hieän laø sinh vieân Nha Khoa naêm cuoái taïi Baylor College of Dentistry ô ûDallas, Texas, Phaïm Ñaêng Khoa ñam meâ aâm nhaïc töø nhoû, thích haùt nhöõng

nhaïc phaåm ngheä thuaät Vieät Nam Anh hieän laø moät trong nhöõng gioïng ñôn ca vaø thaønh vieân trong ca ñoaøn cuûa nhaø thôø Caùc Thaùnh Töû Ñaïo Vieät Nam taïi Arlington, Texas

The Cung Tieán concert "Flight of the Birds" marks the first appearance of the young vocalist Phaïm Ñaêng Khoa in Orange County. In his last year at the Baylor College of Dentistry, Phaïm Ñaêng Khoa's passion remains singing. He especially loves to sing artistic Vietnamese and "heart-felt" songs. He is currently a solo vocalist and a member of the choir at the Vietnamese Martyrs Catholic Church in Arlington, Texas.


Traàn ñaïi phöôùcCa só / Vocal soloist

Thuôû beù, soáng trong moät gia ñình thöôøng xuyeân roän raõ tieáng ca haùt Ñeán tuoåi thieáu nieân, ñöôïc thaân phuï "vôõ loøng" cho vaøi ñieàu caên baûn trong lyù thuyeát aâm nhaïc nhaân coù laàn cuøng oâng taäp moät baøi hôïp ca hôi khoù Töø ñoù veà sau, töï ñoïc saùch vaø taäp luyeän ca haùt, xöôùng aâm,

soaïn ca khuùc, hôïp ca, ñeäm ñaøn, ñieàu khieån ca ñoaøn, traûi daàn theo nhöõng giai ñoaïn hoaøn caûnh vaø sinh hoaït khaùc nhau cuûa cuoäc soáng Tuy vaäy, ñaõ choïn löïa con ñöôøng aâm nhaïc cuûa mình trong phong caùch "taøi töû" - theo caû hai nghóa: raát ñam meâ nhöng khoâng heà chuyeân nghieäp Thöôøng chæ goùp maët giuùp vui cho nhöõng buoåi ca nhaïc coäng ñoàng cuõng nhö giuùp ñôõ höôùng daãn, ñieàu khieån caùc ca ñoaøn trong ñòa phöông Cuõng ñaõ vaø ñang aâm thaàm giuùp ñôõ hoã trôï cho moät ca ñoaøn thieáu nhi trong vuøng Chöa bao giôø daùm nghó mình laø moät nhaïc syõ hay ca syõ thöïc thuï, nhö moät soá baïn beø coù loøng yeâu meán vaãn thöôøng goïi

Tran Dai Phuoc grew up in a family that was often filled with singing voices. In his teenage years, he was introduced to music theory for the first time by his father when practicing a relatively difficult multi-voiced song. From then on, he continued self-taught singing, solfege, composing, and conducting at different stages in his life. However, he decided to choose an "amateur" musical path: with passion but only as a hobby. Usually, he contributes to community music events or assists local choirs. Also, he has quietly supported a parish children choir. He has never classified himself as a true composer or singer, as some friends usually call him.

mai phi-Long Ca só / Vocal soloist

Mai Phi-Long töøng theo hoïc Thanh Nhaïc taïi Nhaïc Vieän Saøi Goøn Anh hieän laø thaønh vieân Hoäi ñoàng quaûn trò cuûa Hoäi Vaên Hoïc Ngheä Thuaät Vieät Myõ (VAALA) Ñoàng saùng laäp ban kòch Club O' Noodles, Phi-Long ñaõ vieát vaø ñaïo dieãn vôû kòch "Who wants to be the Vietnamese

community president?", vaø vôû kòch ñaõ ñöôïc coâng dieãn trong chöông trình möøng Giao Thöøa naêm 2000 treân ñaøi Little Saigon TV Phi-Long hieän phuï traùch chöông trình "Hoà Sô Noùng" treân ñaøi phaùt thanh NVR 1190 AM

Mai Phi Long majored in Voice Performance at the Saigon Music Conservatory. Phi-Long currently serves on the Board of Directors of VAALA. He was the co-founder of the theatre troupe Club O' Noodles. Phi-Long is the playwright and director of the play "Who wants to be the Vietnamese community president?", whose debut was included in the New Year's Eve program broadcasted on Little Saigon TV. He is now the host of the show "Hot Files" on NVR 1190 AM.

Lee Lee TröôngCa tröôûng / Choir master

Lee Lee Ngoïc Tröông nhaän baèng cöû nhaân Giaùo Duïc AÂm Nhaïc vôùi phaàn chuù troïng veà Thanh Nhaïc-Hôïp Xöôùng töø California State University, Fullerton Coâ ñaõ theo hoïc ñieàu khieån hôïp xöôùng vaø daøn nhaïc vôùi caùc nhaïc só Vuõ Toân Bình, Robert Istad, Mitchell Fennell vaø Hanan

Yacub Ngoaøi vieäc hoïc taïi Cal State Fullerton, coâ ñaõ hoaøn taát Master Classes vaø nhöõng buoåi hoäi luaän döôùi söï daãn daét cuûa nhaïc só Donald Neuen taïi nhaø thôø Crystal Cathedral, thaønh phoá Garden Grove, California; cuûa nhaïc só James Jordan vaø Sabine Hortsmann taïi Westminster Choir College, Princeton, New Jersey; vaø nhaïc só Charlene Archibeque vaø Elena Sharkova töø San Jose State University, California

Lee Lee ñaõ hoaøn taát caùc khoùa hoïc cuûa Orff-Schulwerk Teacher Training Music and Movement for Children töø Chapman University vaø tieáp tuïc chöông trình huaán luyeän cuûa Orff-Schulwerk baèng caùch tham döï moät Master Class do nhaïc só Steven Calantropio huaán luyeän taïi St Thomas University, Saint Paul, Minnesota

Hieän taïi Lee Lee tieáp tuïc theo ñuoåi ñam meâ cuûa mình laø giaùo duïc treû em qua aâm nhaïc trong vai troø cuûa coâ laø Giaùm ñoác aâm nhaïc cho Ban Hôïp Xöôùng Thieáu Nhi Ngaøn Khôi, Laguna Niguel Presbyterian Church, vaø laø Phuï taù giaùm ñoác cuûa Ban Hôïp Xöôùng Ngaøn Khôi

Lee Lee Ngoc Truong holds a Bachelors of Arts in Music Education with a Vocal-Choral Emphasis from California State University, Fullerton. She has studied choral and instrumental conducting with Vu Ton Binh, Robert Istad, Mitchell Fennell and Hanan Yacub. In addition to her education at Cal State Fullerton, she has completed Master Classes, as well as attend symposiums given by the distinguished Donald Neuen at the Crystal Cathedral in Garden Grove, California; the highly respected James Jordan and Sabine Hortsmann at Westminster Choir College, Princeton, New Jersey; and the greatly admired Charlene Archibeque and Elena Sharkova from San Jose State University, California.

Lee Lee has completed all three certification courses of the Orff-Schulwerk Teacher Training Music and Movement for Children through Chapman University and continued further training of the Orff-Schulwerk by attending a Master Class given by Steven Calantropio at St. Thomas University, Saint Paul, Minnesota. Currently Lee Lee continues to follow her passion of enabling and educating children through music by splitting her time working as the Children's Musical Director for Thieu Nhi Ngan Khoi Chorus and Laguna Niguel Presbyterian Church, and the Assistant Musical Director for the Ngan Khoi Chorus.


ñoã Baèng Laêng Döông caàm thuû / Pianist

Ñoã Baèng Laêng hieän laø giaùo sö döông caàm taïi Divine World College, tieåu bang Iowa Tröôùc ñoù, coâ ñaõ laø giaùo sö taïi caùc tröôøng University of Wisconsin-Platteville, VanderCook College of Music ôû Chicago, Beabody Institute ôû Baltimore, Brandon University ôû Manitoba, University of

Montreal, vaø Mahidol University ôû Bangkok

Baèng Laêng ñaõ töøng bieåu dieãn ôû nhieàu quoác gia treân theá giôùi nhö Boà Ñaøo Nha, Canada, Phaùp, Hoøa Lan, Vieät Nam, Thaùi Lan, vaø Hoa Kyø Coâ ñaõ töøng ñöôïc thaâu thanh nhieàu laàn taïi ñaøi phaùt thanh Canada vaø Canadian Broadcasting Corporation, cuõng nhö trình dieãn vôùi caùc daøn nhaïc nhö Houston Civic Orchestra, daøn nhaïc cuûa University of Montreal vaø Conservatory of Quebec Baèng Laêng ñoaït nhieàu giaûi thöôûng goàm coù Eckhardt Gramattee vaø Canadian National Competitions, Canadian Stepping Stone International, giaûi Baldwin, giaûi French Music, vaø nhieàu giaûi thöôûng khaùc ôû caùc ñaïi hoïc Nhöõng buoåi trình taáu gaàn ñaây cuûa Baèng Laêng goàm coù loaït Galena (IL), loaït Dubuque's Fabulous Good Friday, Midwest tours, vaø moät soá buoåi trình dieãn treân truyeàn hình (trong vai troø laø moät giaùo sö cuûa University of Dubuque vaø Northeast Iowa School of Music) Coâ ñaõ daïy Master Classes taïi Thaùi Lan, Vieät Nam, Calgary, Boà Ñaøo Nha

Currently an assistant Professor at the Divine Word College in Iowa, Bang Lang Do was a faculty member at the University of Wisconsin-Platteville, at the VanderCook College of Music in Chicago, the Peabody Institute in Baltimore, Brandon University in Manitoba, the University of Montreal and the Mahidol University in Bangkok.

As a performing artist and accompanist, Bang Lang has given concerts in Portugal, Canada, France, Holland, Viet Nam, Thailand, and the U.S. She has recorded many times with Radio Canada and the Canadian Broadcasting Corporation, and performed with the Houston Civic Orchestra, the University of Montreal and the Conservatory of Quebec Orchestras. Bang Lang won numerous first prizes including the Eckhardt Gramattee and the Canadian National Competitions, the Canadian Stepping Stone International competition, the Baldwin competition, the French Music competition, the Conservatory of music in Quebec as well as concerto competitions from several Colleges. More recent concerts include the Galena (IL) concert series, Dubuque's Fabulous Good Friday concert series, Midwest tours, and televised performances (as faculty at the University of Dubuque and the Northeast Iowa School of Music). She has given master classes in Thailand, Viet Nam, Calgary, Portugal…

ngoâ Dieãm uyeânDöông caàm thuû / Pianist

Ngoâ Dieãm Uyeân baét ñaàu hoïc piano töø luùc 6 tuoåi vaø thi vaøo tröôøng Quoác Gia AÂm Nhaïc taïi Saøi goøn vaøo naêm 8 tuoåi Coâ toát nghieäp tröôøng nhaïc vaøo naêm 1982 Sau khi ñònh cö ôû Myõ, coâ toát nghieäp ñaïi hoïc ngaønh Döôïc vaø hieän ñang laøm vieäc taïi Kaiser Permanente ôû thaønh phoá

Anaheim Dieãm Uyeân thöôøng tham gia bieåu dieãn vôùi Hoäi Hieáu Nhaïc Vieät Myõ (VAP) vaø caùc hoäi ñoaøn ngheä thuaät trong coäng ñoàng Vieät taïi haûi ngoaïi

Uyen Diem Ngo was born in Saigon, Vietnam, where she began her piano studies at age six and spent eleven years at the Saigon Music Conservatory. After coming to the United States, Diem Uyen has often performed and accompanied many musicians for VAP and different Vietnamese organizations abroad. Currently she practices pharmacy at Kaiser Permamente in Anaheim, California.

Vuõ Dieãm AnhDöông caàm thuû / Pianist

Vuõ Dieãm Anh ñaäu cöû nhaân aâm nhaïc töø Biola University, La Mirada, California Vuõ Dieãm Anh laø giaùo sö döông caàm vaø moät ngheä só coäng taùc vôùi nhieàu hoäi ñoaøn Coâ ñeäm ñaøn cho caùc hoïc sinh taïi Costa Mesa High School, Concorde University Irvine, Hoäi Thaùnh Tin Laønh

Vieät Nam CMA in Santa Ana, First Presbyterian ôû Garden Grove, El Modina High School, South Coast Community College Coâ laø ngheä só döông caàm vaø organ taïi St Paul Letheran Church ôû Garden Grove töø naêm 1983 cho ñeán nay Hieän nay, coâ laø ngöôøi chuyeân ñeäm ñaøn taïi Santa Ana College vaø giaùo sö döông caàm taïi Westminster Music School, Westminster, California Coâ ñaõ töøng coäng taùc vôùi nhieàu ca só chuyeân veà nhaïc coå ñieån vaø trình dieãn taïi caùc ñaïi hoïc cuõng nhö nhaø thôø ôû vuøng Quaän Cam

Vuõ Dieãm Anh received her Bachelor of Music at Biola University in La Mirada, California. She is an instructor of piano and a collaborative artist. She has worked as an accompanist at Costa Mesa High School, Concordia University Irvine, Vietnamese Alliance Church in Santa Ana, First Presbyterian in Garden Grove, El Modina High School, South Coast Community College. She has been the pianist/organist at St. Paul's Lutheran Church in Garden Grove from 1983 to present. Currently, she is the Staff Accompanist at Santa Ana College and Piano Instructor at Westsminster Music School, Westminster, Californnia. She has collaborated with classical vocalists and performs in colleges and churches throughout Orange County.


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Hoäi Hieáu Nhaïc Vieät-Myõ laø moät toå chöùc voâ vò lôïi, ñöôïc thaønh laäp vaøo naêm 1994 do moät soá nhaïc só xuaát thaân töø tröôøng Quoác Gia AÂm Nhaïc vaø Kòch Ngheä Saøi Goøn vaø caùc ñaïi hoïc Hoa Kyø hieän ñang sinh soáng taïi Orange County, nhaèm muïc ñích phaùt huy vaø duy trì ngheä thuaät aâm nhaïc, ñaëc bieät laø nhaïc hoøa taáu vaø thính phoøng Trong tinh thaàn ñoù, thôøi gian qua Hoäi ñaõ baûo trôï vieäc thaønh laäp Daøn Nhaïc Thính Phoøng Thieáu Nieân Vieät-Myõ, Daøn Nhaïc Giao Höôûng Vieät-Myõ, vaø ñaõ toå chöùc nhieàu chöông trình giôùi thieäu nhaïc Vieät Nam vaø coå ñieån Taây Phöông ñeán nhieàu khaùn thính giaû Vieät Myõ

Vietnamese-American Philharmonic (VAP) was founded as a non-profit organization in June 1994 by a group of Vietnamese-American musicians and music lovers from Orange County, California with the purpose of promoting and maintaining the musical arts, mainly orchestral and chamber music. Since then, VAP has organized the Youth String Orchestra, and the VAP Symphony Orchestra. VAP has sponsored many concerts presenting Vietnamese and Western classical music.

VioLin 1Nhan Nguyen, concertmistressLisa NguyenAnh-Thu PhamVincent LamTina NguyenMy-Tien Nguyen

VioLin 2Michelle NguyenHai NguyenKim LuongKania GandasetiawanHenry Ngo

VioLASi TranVinh LuongAdriana RogersTri Luong

CeLLoEffy HuangAnna KoitoNaoko Maruko

STring BASSTony KoreaAndy Bumatay

hornSAdrian DunkerJohn Acosta

TrumpeTJohn Cross

TimpAni / perCuSSionKris Mettala

hArp Leah Cecil

FLuTeBob Morgan

oBoeAngela Wells

CLArineTZack Nichols

BASSoonSarah Widmer

hong nguyen (nguyeãn KhAÙnh hoÀng), conductor

VieTnAmeSe AmeriCAn phiLhArmoniC Symphony orCheSTrADaøn nhaïc giao höôûng hoäi hieáu nhaïc Vieät myõ


Ban Hôïp Xöôùng Ngaøn Khôi, moät toå chöùc baát vuï lôïi, ñaët cô sôû ôû mieàn Nam California, ñaõ ñöôïc thaønh laäp töø thaùng 4 naêm 1989 vôùi muïc ñích khuyeán khích vaø coå vuõ vieäc haùt hôïp xöôùng trong coäng ñoàng ngöôøi Myõ goác Vieät Ngaøn Khôi tin raèng vieäc haùt hôïp xöôùng seõ nuoâi döôõng söï thaêng hoùa taâm linh vaø tinh thaàn traùch nhieäm trong coäng ñoàng Moãi ca vieân, khi duøng gioïng ca cuûa chính mình nhö moät nhaïc khí, seõ tìm ñöôïc moät caûm giaùc saâu ñaäm gaây ra bôûi nhöõng rung ñoäng cuûa daây thanh quaûn vaø töø tröôøng sinh lyù cuûa aâm thanh Moãi ca vieân taùc ñoäng hoã töông vôùi caùc ca vieân khaùc ñeå ñaït tôùi moät caûm quan tuyeät dieäu do söï hoøa thanh hoaøn haûo cuûa caùc gioïng ca Nhö vaäy haùt hôïp xöôùng seõ ñöa ñeán traïng thaùi thaêng baèng veà caûm xuùc, vaø goùp phaàn taïo döïng moät cuoäc soáng haøi hoøa

Ban Hôïp Xöôùng Ngaøn Khôi ñaõ töøng tieân phong ñöùng ra toå chöùc vaø khuyeán khích vieäc thöôûng thöùc nhöõng chöông trình nhaïc daân gian vaø coå ñieån trong coäng ñoàng ngöôøi Myõ goác Vieät vôùi muïc ñích giao hoøa neùt nhaïc truyeàn thoáng Vieät Nam vaø Hoa Kyø Treân ñöôøng höôùng ñoù, aâm nhaïc seõ laø nhòp caàu vaên hoùa giöõa daân toäc Vieät vaø daân toäc Hoa Kyø

Ngaøn Khôi Chorus, a Southern California based not-for-profit organization, was established in April, 1989 for the purpose of promoting choral singing among Vietnamese Americans. Ngan Khoi believes that choral singing nurtures both spiritual growth and social responsibility. Using one's own voice as an instrument, a singer gains a profound sensation caused by the vibration of the vocal chords and the physiological impact of the sound. In the choral environment, a singer interacts with others to achieve a state of perfect sensation by the sheer synchronization of vocal sounds. Choral singing leads to a balanced sensitivity, which contributes to harmonious living.

Ngan Khoi Chorus has been on the forefront of producing and promoting the appreciation of folk and classical music in the Vietnamese American community in an effort to bring about a consonant blend of Vietnamese and American music traditions. This way, the music speaks as an ambassador acting as a cultural bridge between Vietnamese and American People.

Vuõ Toân Bình, Giaùm Ñoác AÂm Nhaïc - Vôùi nhieäm vuï Giaùm Ñoác AÂm Nhaïc vaø Nhaïc Tröôûng, Vuõ Toân Bình ñaõ phuïc vuï nhieàu coäng ñoàng treân ñaát Myõ cuõng nhö taïi Vieät Nam vaø nhöõng nöôùc AÂu Chaâu OÂng toát nghieäp ngaønh Ñieàu Khieån Nhaïc Giao Höôûng vaø Hôïp Xöôùng vôùi baèng Doctor of Musical Arts töø tröôøng Claremont Graduate University Ngoaøi ra, nhaïc tröôûng Vuõ Toân Bình coøn toát

nghieäp Master of Music veà nhaønh Ñieàu Khieån Hôïp Xöôùng vaø cöû nhaân veà Bieåu Dieãn Döông Caàm taïi California State University, Northridge OÂng ñaõ ñoaït giaûi thöôûng veà ñieàu khieån nhaïc cuûa Chorus America taïi New York naêm 1992 vaø taïi Conducting Institute, Hopkins Center, tieåu bang New Hampshire, naêm 1991

Ngoaøi nhieäm vuï Giaùm Ñoác AÂm Nhaïc cuûa ban Ngaøn Khôi vaø caùc ban hôïp xöôùng taïi nhieàu nhaø thôø Myõ, nhaïc tröôûng Vuõ Toân Bình ñöôïc giôùi yeâu nhaïc quoác teá bieát ñeán töø nhöõng buoåi trình dieãn cuûa nhöõng daøn nhaïc giao höôûng chuyeân nghieäp taïi caùc quoác gia nhö Romania, Taây Ban Nha, Moldova, Nga, vaø Ukraine OÂng baét ñaàu laøm vieäc taïi Laguna Niguel Presbyterian Church trong vai troø Giaùm Ñoác AÂm Nhaïc töø naêm 2005

Binh Ton Vu, Music Director - As a conductor and music director, Maestro Binh Vu serves multiple ethnic communities in the USA, Vietnam, and many countries in Europe. His credentials include a Doctor of Musical Arts in Choral and Orchestral Conducting from The Claremont Graduate University and two degrees from California State University, Northridge: a Master of Music in Choral Conducting and a Bachelor of Arts in Piano Performance. He has won conducting awards from Chorus America, New York (summer 1992) and the Conducting Institute, Hopkins Center, New Hampshire (summer 1991).

In addition to his role as music director of Ngan Khoi Chorus, Maestro Vu has developed an international reputation as guest conductor of philharmonic symphony orchestras in several countries in the world including Romania, Spain, Moldova, Russia and Ukraine. He started in 2005 to work at the Laguna Niguel Presbyterian Church as a music minister/director.

Ban hôïp xöôùng n

gaøn Khôi / ngaøn Khôi C

horus

muSiC DireCTor - Vuõ Toân Bình ° Choir mASTer - Lee Lee TrÖông

Ñoaøn Bích Thuûy Hoà Thanh ThanhLaâm Leâ Thanh Mai MaiNgoâ Ñan TaâmNgoâ TaëngNguyeãn Bích LieânNguyeãn Hoaøng MaiNguyeãn Ngoïc MaiNguyeãn Phöông Chaâm

Nguyeãn Thanh MinhNguyeãn ThuûyNguyeãn Toá PhöôïngPhaïm Thanh TanyaPhaïm ThoaTraàn Ngoïc MaiVuõ Anh ThöVuõ Nguyeãn SöôngVuõ Thieân NgaVuõ Thuùy Haèng

SoprAnoÑoã Coco Ñoã Lan VöôngNguyeãn Baïch TuyeátNguyeãn Ñoã Quyeân Nguyeãn Thò Nhuaän

Nguyeãn Maét NaâuTraàn Kim LieânTraàn Ngoïc Mai LinhTrònh Thuøy Dung

ALTo

TenorDöông Vieät TröôøngLeâ Kim AnhNgoâ Vieät HaûiTraàn Loäc Traàn Vónh TínVuõ Huøng Don

BASSBuøi Quyønh GiaoHoaøng Kyø Khang Löu LongNguyeãn Baûo TrungPhaïm Ngoïc TuyeánVuõ Duy Hieån


Hoäi Vaên Hoïc Ngheä Thuaät Vieät Myõ VIETNAMESE AMERICAN ARTS & LETTERS ASSOCIATION (VAALA)

www.VAALA.orgMake art. Create community.

Thaønh laäp vaøo naêm 1991 bôûi moät soá nhaø baùo, ngheä só vaø thaân höõu, Hoäi Vaên Hoïc Ngheä Thuaät Vieät Myõ (VAALA) laø moät toå chöùc vaên hoùa baát vuï lôïi VAALA ñaõ toå chöùc nhieàu sinh hoaït vaên hoùa nhö trieån laõm, ra maét saùch, trình dieãn nhaïc, kòch, Hoäi Luaän Ñieän AÛnh, Ñaïi Hoäi Ñieän AÛnh Vieät Nam Quoác Teá (ViFF), lôùp Haùt Boäi, Cuoäc Thi Veõ Thieáu Nhi Trung Thu, caùc lôùp hoïc aâm nhaïc vaø ngheä thuaät, vaø chöông trình smART Program vôùi workshop ngheä thuaät mieãn phí cho moät soá hoäi ñoaøn phuïc vuï thieáu nieân vaø thieáu nhi taïi vuøng Orange County vaø Los Angeles

Founded in 1991 by a group of Vietnamese American journalists, artists, and friends, Vietnamese American Arts & Letters Association (VAALA) is a community-based, 501(c)(3) non-profit organization that promotes and enriches arts and culture by, for, and about the Vietnamese communities.

VAALA has organized numerous cultural events such as art exhibitions, book fairs, book signings, recitals, plays, lectures, the biennial Vietnamese International Film Festival (ViFF), the biennial Cinema Symposium, the annual Children's Moon Festival Art Contest, and year-long art and music classes. VAALA recently develops smART Program, which offers free art workshops for non-profit youth organizations in the Orange County and Los Angeles areas.

BoArD oF DireCTorS:

exeCuTiVe STAFF:

Abou

t VAA

LApreSiDenTAnn Phong

ViCe-preSiDenTDan Traàn

exeCuTiVe DireCTorYsa D. Leâ

TreASurerHelena Traàn

SeCreTAryKyø-Phong Traàn

TeAChing STAFFChí Taâm (Caûi Löông) Ngoïc Baày (Haùt Boäi) Khoa Nguyeãn (Guitar) Leâ Hoàng Quang (Voice)Yvonne Trònh (Children's Art)

DireCTorSStewart Chang, Esq.Lan Döông, Ph.D.Mariam B. Laâm, Ph.D.Traâm LeâPhi-Long MaiTuù-Uyeân Nguyeãn, Ph.D.Chöông-Ñaøi Voõ, Ph.D.

oFFiCe mAnAgerDustin Traàn

WeBmASTerChristian Vöông


Ban Toå Chöùc / O

rganizing Com

mitee

Artistic DirectorBích-Lieân Nguyeãn, M.D.

executive producerYsa D. Leâ

operations managerDarlena Traàn

V.i.p receptionDan Traàn

Box office Helena Traàn

Stage managers Darlena TraànDustin TraànPeter NgoâTraâm LeâWolfgang Shane Phi Su

SoundHaûi Buøi

projectionistÑoàng Phaïm

guest relations Titimary Traàn

publicitiesYsa D. LeâPhi-Long MaiKyø-Phong Traàn Chöông-Ñaøi Voõ Dan Traàn

program CatalogYsa D. LeâKyø-Phong TraànTraàn Thieän HuyQuang Tueä Traàn

graphic DesignerHieàn Chaâu

powerpoint presentationAlex Vaên

photographerDinh Tröông

Background Artwork (selected by Ann Phong)Work by: Cao Baù Minh Ñinh Cöôøng Löông Vaên TyûNguyeân Khai Nguyeãn ÑoàngNguyeãn Thò HôïpThaùi TuaánTrònh CungVuõ Cao Ñaøm Ann Phong

VolunteersHoàng-Vaân NguyeãnVivian LeâLeyna TraànLaäp LeâAndy Ngaân TraànEric NguyeãnAnn NguyeãnBrian ÑinhLeanne TöøMelanie TraànTaâm TraànJulie NguyeãnMinh ÑaëngKevin LeâKristine LeâTom PhaïmNick TaêngMark Ñoaøn



State Farm Mutual Automobile Insurance CompanyState Farm Indemnity Company - Bloomington, ILP050425 12/05

Jayvee Mai Thế Hiệp, AgentInsurance Lic. #: 0C2989514331 Euclid Street, Suite 103Garden Grove, CA 92843Bus: 714-265-9988 Fax: 714-265-5588www.jayveemai.com

Brodard Restaurant9892 Westminster Avenue / Unit R Garden Grove / CA 92844

Telephone 714.530.1744Open 8am - 9pm / Closed Tuesday

Dining at its best...

Brodard Chateau9100 Trask AvenueGarden Grove / CA 92844

Telephone 714.899.8273Open 11am - 10pm / 7 Days/Week

Nhaø Haøng BrodardChuùc möøng ñeâm nhaïc Cung Tieán

Veát Chim Bay!




Vietnamese International Film Festival (ViFF) ° Exhibitions ° Recitals ° Theatre haùt Boäi Club ° Art and music classes ° Book publishing ° Book signingsOpen Mic: common ground/Saýn Chôi Chung

VAALA Cultural Center 1600 N. Broadway, Suite 110, Santa Ana, CA 92706

www.vaala.org ° www.VietFilmFest.com

VIETNAMESE AMERICAN ARTS & LETTERS ASSOCIATION (VAALA)

Documents

Veát Chim Bay - huudesigns.weebly.comhuudesigns.weebly.com/uploads/2/3/2/4/2324874/cung_tien_program... · Hoäi Vaên Hoïc Ngheä Thuaät Vieät Myõ VIETNAMESE AMERICAN ARTS &