DANG KHANH Progam 2012..cdr

vùng di-tích huy-hoàng
DÙ ĐANG RẤT HOÀNG-HÔN
Chúng tôi đã cố gắng mang về đây cho quý-vị những kỳ-hoa dị-thảo trong khu vườn thượng-uyển xa
xưa, vẫn còn long-lanh nắng trong tâm-khảm của tất cả những ai ngồi đây. Diễm-ảo như Ngô ThụyMiên, não-nuột như Vũ Thành-An, da-diết như Phạm Duy, bay bướm như Đoàn-Chuẩn, trăn-trở
như Từ Công-Phụng, mẫu-mực như Phạm Đình-Chương, gợi nhớ như Nguyễn Trung-Cang, quêhương như Anh-Bằng, thực-thà như Trường-Sa, lăn lộn với đời như Trần Thiện-Thanh, sống chết
với nghề như Y-Vân, thủ-thỉ tâm-tình như Trịnh Nam-Sơn, chia bùi xẻ ngọt như Lam-Phương, nắn
nót từng phím đàn như Nguyễn Ánh 9. Thà một bài như Nguyễn Văn-Tý mà vẫn để lại Dư-Âm, cần
chi nghìn khúc như Phạm Duy mới đủ để Hẹn-Hò kia chứ? Lại có cả những người suốt đời tìm-tòi
như Nguyễn Văn-Quỳ, viết giao-hưởng từ thế-hệ Nguyễn Xuân-Khoát, cho đến Đăng-Khánh, vẫn
không ngừng bắc cầu giữa học-thuật với đời thường. Lời thơ cũng rất đa-dạng: Xuân-Diệu chỉ cần
nửa câu «Yêu Là Chết Ở Trong Lòng» cũng đủ làm nên muôn thưở, và Thanh-Tâm-Tuyền cũng chỉ
cần năm chữ “Đôi Khi Anh Muốn Tin” là đã khiến cả bao nhiêu con người mẫn-cảm suốt miền thếkỷ phải Nửa Hồn Thương Đau. Chúng ta vẫn sẽ còn nghe đồng vọng đó đây những Lưu Trọng-Lư,
Phan Thành-Tài, Nguyễn Hữu-Nghĩa, Cung Trầm-Tưởng. Trong những sáng-tác âm-thầm song vẫn
đến được với khán-giả ngày nay, chúng ta không thể quên Nguyên-Bích và Tha-Phương.
Trước khi đi vào chương-trình, mời quý-vị đọc lại hai bài thơ của Nguyễn Du, vì nào có ngờ đâu, lúc
đổi đời năm xưa, nhà thơ ấy, cũng như Du Tử Lê ngày nay, đã bắt gặp rất nhiều xót-xa dâu biển.
Rừng Sở lá vàng rơi lác-đác
Một đêm thao-thức đầu thêm bạc
Nửa cõi thiên-thu khách dợm buồn
Già theo cơn gió ngoài sa-mạc
Ðầu cành lẻ bạn ve xao-xác
Trời đất kim-thanh lên điệu nhạc
Cuối bến nhân-gian khách đứng chờ
Chợt nghe xào-xạc lời tan-tác
Nguyễn Du
Khi lời thơ đến mức thượng-thừa, có nhiều khi nhất-thời chưa dễ-dàng lĩnh-hội. Vì thế, trước khi
Trần Thu-Hà hát Lệ Buồn Nhớ Mi, chúng ta hãy đắm mình nhập cuộc trăm năm cùng hình-ảnh
«cành xương tháng Chín, mưa mù tháng Giêng» qua bài thơ cũ-kỹ sau đây:
Cánh lá nào rơi giữa phố phường,
Chập-chờn trước mặt kẻ ly-hương?
Nửa đời mưa nắng chưa tan thịt,
Một tối mù-sa đã rã xương.
Nhẹ lạ, mảnh hồn qua cõi chết!
Vàng thay, chiếc bóng của vầng dương!
Giòn tan lá vỡ chân người bước,
Nghìn cánh phiêu-linh khắp nẻo đường.
Thay maët toaøn-theå nhöõng ngöôøi treân saân-khaáu vaø sau haäu-tröôøng ñeâm hoâm nay
TRAÀN NHÖ VÓNH-LAÏC
caån-ñeà
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TRAÀN THU-HAØ has received so many national awards and international
acclaims since she was 17 that her most recent triumph, being voted as one
the Top Four Divas of Vietnam, came as a natural conclusion to her already
astronomical ascension. Trained at the Haø-Noäi School for the Performing
Arts in the most rigorous operatic tradition, the revolutionary mezzosoprano broke all the rules by turning to authentic sources of indigenous
vocal music, and in further combining the best of the both worlds, the old
world of Asian geishadom and European divahood, and the new world of
American pop and African jazz , she has created her own inimitable niche
on the contemporary scene. Her three solo albums, Em Veà Tinh-Khoâi
(Come Back Pristinely), Baøi Tình cho Giai-Nhaân (A Valentine for Venus),
and Nhaät-Thöïc (Total Eclipse) have all set new standards for the younger
generation of Vietnamese singers.
NGOÏC-HAÏ: A native of Central Vietnam, where the sea-coast runs
alongside the Cordillera Mountain chains, Ngoïc-Haï seems destined to
carry in her diminutive frame the immensity of her motherland’s Nature. A
rare member of her generation who still maintains a reùpertoire of pre-war
melodies deeply imbued with folkloristic influences, Ngoïc-Haï brings back
to her audience a nostalgy of the Vietnam she never knew, the old serene
kingdom with village maidens harvesting the richness of a thousand
autumns. After several regional prizes, she first gathered the attention of
the international Vietnamese public in 2002, on the 63rd video of the
famous Paris by Night series. Since then, she has continued to echo forth
the Remembrance of Things Past for her faithful admirers.
THANH-HÀ: Having lost her American father to the Vietnam war when she
was just 2 years old, this exotically beautiful vocalist, whose life has known
so many tragedies, was blessed with a angel’s voice. Although she already
sang as a child on the radio program of her hometown Đà-Nẵng, it was not
until a beauty contest in a refugee camp in the Philippines that the unknown
refugee Amerasian girl sang in front of a life audience, won a $150 prize and
discovered her path in life. Three years later, in 1994, she made her first
professional appearance in Hawaii under the stage name Thanh-Hà (“Azure
Stream”), an exact description of her voice, and became a phenomenal star
almost overnight after her first recording for Diễm Xưa Productions.
BÍCH-VÂN: Vietnam-American singer-actress-songwriter Bích-Vân
(M.M. from New York University, with an Advanced Certificate in Vocal
Pedagogy) was handed a violin by her grandfather when she turned 5 years
old, and her path was forever set. Previously trained at National Music
Conservatory in Vietnam and at Bob Cole Conservatory of Music, Long
Beach, California, Bích Vân has been featured as a soloist with Asia
Entertainment, the Vietnamese-American Philharmonic, the Ngàn Khơi
Chorus, etc. Combining an international career on the professional Musical
Theater stage with a vocal taecher’s position at her alma mater, Bích-Vân has
self-released 4 Christian albums to cap off many past CDs and DVDs.
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TUAÁN-NGOÏC began his illustrious carrer by performing American
pop music all over South Vietnam back in the early 70s. After the
fall of Saigon, the tenor first moved to Hawaii, then eventually to
Southern California. With a sumptuous voice spanning more than
two octaves, and a career spreading through quite a few decades, he
has become one of the most respected presences on the Vietnamese
musical scene: the star now can put his famous name on his own
production company, and his life-long recording history consists of
hundreds of titles. The voice, rich and sensuous, found its perfect
vehicles in romantic ballads, a staple of Saigon’s golden era, and a
growing world-wide audiences never ceases to be captivated by
Tuaán-Ngoïc’s powerful sensibility.
NGUYÊN-KHANG never knew Music would fall into his lap
straight from Heaven. In the late 1990s, the twenty-something young
man from Vĩnh-Long suddenly found himself on the Majestic stage in
Orange County during a gala, and took the audience’s breath away
with his smoky, golden-hued lyric baritone voice. Famous for his
fiercely independent temper, Nguyên-Khang confides that he can’t
wait to sing Hard Rock one day. In the meantime, the young
Vietnamese-speaking female audience everywhere continues to vote
him “Sexiest Voice of the Decade.” The baritone has been approached
to create the titular role for a Vietnamese translation of Lloyd Weber’s
Phantom of the Opera: the combination of Rock and Romanticism
inherent in that work, interpreted by such a volcanic voice, will
certainly prove a Point of No Return.
TRẦN THÁI-HOÀ left Vietnam when he was 20 years old to settle
in California. Seven years later, he has landed two successive leading
vocalist’s position on a Santa Ana Ngô Thuỵ-Miên Programme and
on a San Jose Từ Công-Phụng Programme, where his flawless
baritone amazed the discerning audience. Very soon, he gained
universal attention throughout the Vietnamese diaspora on the Paris
by Night series, and has never looked back since. Besides music, this
supremely talented singer loves to delve deeply into Mahayana
Buddhist philosophy, the cornerstone of his native Huế, the last
imperial capital of Vietnam.
ĐÌNH-BẢO: From a gifted choirboy at the National Cathedral of
Saigon, Đình-Bảo now holds a B.M. in Classical Vocal Performance
from the Conservatory of South Vietnam. Beside a busy studio and
training institution in California, for more than a decade, he has been
featured many times on the famous Paris by Night series: he is now a
judge on their Talent Search Programme. His interests in harmony
and composition inspire him to compose, a new challenge for this
multi-faceted artist.
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Program
PART I
* National Anthems................................................................................................................................................. Sơn Huy
* Welcoming remarks....................................................................................................................................... Phương Hoa
* SPEECH BY OUR HONORED GUEST .............................................................................................. Thi Sĩ Du Tử Lê
1. THƯƠNG NHAU NGÀY MƯA (So Light a Foot, Steeped in the Rain) ....... Nguyên Khang/Đình Bảo/Trần Thái Hòa
Nguyễn Trung-Cang
2. ANH CÒN YÊU EM (Something still Left in Me) nhạc: Anh-Bằng thơ: Phan Thành-Tài ..................... Nguyên Khang
3. MƯA TRÊN NGÀY THÁNG ĐÓ ( Never so Rained upon since Then) Từ Công-Phụng ................................. Bích Vân
4. XIN CÒN GỌI TÊN NHAU ( The Remnant of a Name) Trường-Sa................................................................. Bích Vân
5. BẢN TÌNH CUỐI (Ultima Amore) Ngô Thụy-Miên ................................................................................. Trần Thái Hòa
6. DẠ-KHÚC (Nocturne) Nguyễn Văn-Quỳ ................................................................................................. Trần Thái Hòa
7. NGƯỜI EM SẦU-MỘNG (Fugitive Vision) nhạc: Y-Vân thơ: Lưu Trọng-Lư............................................. Trần Thu Hà
8. ĐỪNG GỌI TÊN EM NỮA (Speak Not my Name Again)........................................................................... Trần Thu Hà
nhạc: Đăng-Khánh thơ: Nguyễn Hữu-Nghĩa (VN)
9. GỬI GIÓ CHO MÂY NGÀN BAY (Cloud-Capped Passion, Wind-Borne Love) ........................................ Tuấn Ngọc
Đoàn Chuẩn - Từ-Linh
10. TIỄN EM (With a French Kiss, Fare You Well) nhạc: Phạm Duy thơ: Cung Trầm-Tưởng .......................... Tuấn Ngọc
11. VỀ ĐÂY EM (Head Back to Me) Trịnh Nam-Sơn ......................................................................................... Thanh Hà
12. MỘT MÌNH (Facing One’s Self) Lam-Phương............................................................................................. Thanh Hà
13. ĐÊM DÀI (In the Still of Night) Tha-Phương........................................................................................ Nguyên Khang
14. SÀIGÒN BUỒN CHO RIÊNG AI (A Soft Spot Left in Saigon) Đăng-Khánh........................................ Nguyên Khang
15. HẸN-HÒ (Where We All Go) Phạm Duy ........................................................................................................ Ngọc Hạ
16. PARIS CÓ GÌ LẠ KHÔNG EM (What’s Up, ma parisienne?) nhạc: Ngô Thụy Miên thơ: Nguyên-Sa.......... Ngọc Hạ
INTERMISSION
Music Director: HOANG CONG LUAN
Producer: PHUONG HOA
Co-ordinator: DANG KHANH
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PART II
17.DƯ-ÂM (When All Sounds have Faded) Nguyễn Văn-Tý ............................................................................. Đình Bảo
18. THUYỀN VIỄN-XỨ (Outworldly Sail) Phạm Duy....................................................................................... Đình Bảo
19. NỬA HỒN THƯƠNG ĐAU (Alma Dolorosa) Phạm Đình-Chương ............................................................ Thanh Hà
20. YÊU LÀ CHẾT Ở TRONG LÒNG (For Love doth Outwear our Hearts) Phạm Duy................................... Thanh Hà
21. MỘT LẦN NÀO CHO TÔI GẶP LẠI EM (If Fate Finds Us Again) Vũ Thành-An.............................. Trần Thái Hòa
22. CHÂN TRỜI TÍM (Somewhere, Some Day) Trần Thiện-Thanh............................................ Trần Thái Hòa/Ngọc Hạ
23. GIÒNG SÔNG XANH (Le Beau Danube Bleu) nhạc: Johann Strauss lời: Phạm Duy................................... Ngọc Hạ
24. HẠNH-PHÚC (A Certain Inalienable Right) Nguyên-Bích.......................................................................... Bích Vân
25. CÔ-ĐƠN (Lonesomeness) Nguyễn-Ánh 9........................................................................................ (Piano) Bích Vân
26. BÀI KHÔNG TÊN SỐ 8 (Untitled n. 8) Vũ Thành-An .............................................................................. Tuấn Ngọc
27. GIỌT LỆ CHO NGÀN SAU (Lachrymosa in Aeternam) Từ Công-Phụng.................................................. Tuấn Ngọc
28. BUỒN ƠI, CHÀO MI (I Walk with Grief as a Companion) Nguyễn Ánh 9 ............................................ Trần Thu Hà
29. LỆ BUỒN NHỚ MI (Evaporating Eyes) nhạc: Đăng-Khánh thơ: Du-Tử Lê........................................... Trần Thu Hà
30. HÃY YÊU NHAU ĐI (Love is No Four-Letter Word) Trịnh Công Sơn ............................................. Toàn ban hợp ca
THE
END
Master of Ceremony: VINH LAC
Harmony & Orchestration: HOANG CONG LUAN
Musicians:
TA TON, Violin
JOBAGY SZEMOKE , Violin
VU VIET-CHUONG, Violin
HOANG CONG-LUAN, Piano & Keyboard
PAUL ENGLISH, Piano
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BALINT SAPSZON, Keyboard
DAVID CACERES, Saxophone
LE NGOC, Guitar
DAVID CRAIG, Electric Bass
VERNON DANIELS, Drum
HOAØNG COÂNG-LUAÄN: Composer, songwriter, violinist, pianist, arranger, orchestrator,
and music director extraordinaire, Mr. Hoaøng is the soul of today’s programme. Hoaøng is
a rare combination of performer and scholar: a magna cum laude holder of both B. M. and
M. M. degrees in Violin Performance from the Saigon Conservatory, he possesses an
exquisite sense of expressionistic harmony as well as a passionate interest in large-scale
orchestration. In his quest for a future in film composition, he has relocated to Hollywood
and attended UCLA, where he counts among his mentors such names as Robert Drasnin,
Thom Sharp, and Craig Stuart Garfinkle.
LÊ NGỌC came to the States in 1993, and, after an intensive training at Golden
West College in South California, joined with Asia Band from 1997 to 2008, when he
became Music Director for Vân-Sơn Entertainment. Starting from 2010, he has gone
on international with various bands, especially with Y2K Band ( Vân-Sơn Band ).
JOBBAGY SZEMOKE VUÕ, a Doctoral candidate at the University of North Texas, and
Orchestral Artist of the Year 2007, graduated with top honors from the prestigious Ferenc
Liszt Academy of Music in Budapest, six years after she had won first prize at the National
Violin Competition of Hungary in 1998. Currently the Konzertmasterin for the MAV
Symphony after an extensive career throughout three continents, she had performed on
the same stage with Vladimir Ashkhenazy. She is married to Mr. Vuõ Vieät-Chöông.
VUÕ VIEÄT CHÖÔNG: Recipient of a double scholarship, after his master degree in violin
performance from the University of Houston, Mr. Vuõ, a student of world-renowned soloist
Fredell Lack of Houston and Dallas Symphony Konzertmaster Emanuel Borok, earned
both Bachelor’s and Master’s Degrees in Violin Performance at the University of North
Texas this fall. Having played both Mendelssohn’s and Brahms’ Concertos with
professional symphonic orchestras, he is also a veteran of the chamber music scene with
his Piano Trio and Piano Quartet groups.
TẠ TOÂN:Since the age of 5, Ton Ta studied violin with his father Bon Ta until
he left for Melbourne, Australia to pursue his Bachelor in Music degree at the
University of Melbourne. After completing the degree with Honors, he moved
to San Francisco and earned his Master of Music Performance degree at the
San Francisco Conservatory of Music. Currently, Ton Ta enroll at the Moores
School of Music, University of Houston and has completed his Master of Music
Pedagogy degree in 2008.
BALINT SAPZON, born into a musical family of Budapest, Hungary, graduated from
the Ferenc Lizst Academy of Music in Budapest with degrees in Jazz Composition and
Arrangement. His band Soul What, in just five years of existence, has toured Australia
and China. His arrangement are in high demand from such groups as the Budapest Jazz
Orchestra, the Dutch Millennium Jazz Orchestra, The Hungarian Radio Orchestra, the
Accord Quartet, and the string ensemble of the Hungarian National Philharmonic
Orchestra. Mr. Sapszon is the prize winner of the Hungarian jazz Composition Contest
and the Netherlands International Big Band Composition.
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TRAÀN NHÖ VÓNH-LAÏC joined the Opera Camerata Society of Washington
D.C. and performed throughout the East Coast, after a Master’s Degree from
the Benjamin T. Rome School of Music, Catholic University of America,
where he double majored in Solo Piano and Vocal Accompaniment and
Coaching. After his 1999 move to Houston, he became Principal Pianist for
the Ben Stevenson Ballet Academy. Fluent in French, Italian and Russian
from his operatic studies, Traàn also enjoys translating creative literature from
all those languages into his native Vietnamese. He has hosted a few cultural
programs in the Vietnamese media and television, and had given a seminar on
Vietnamese Regional Dialects for the Department of Defense.
PAUL ENGLISH: A performing artist whose name has appeared beside those
of the legendary Willie Nelson, Ray Price and Johnny Bush, an educator whose
teaching résumé includes Texas Tech University and Sam Houston State
University, and, last but not least, a credited film composer among whose
outputs figure a symphonic concerto as well as many jazz masses and popular
songs, Paul English has just established the PIVO group (Paul’s Improvising
Vocal Orchestra), with ten singers and an instrumental jazz quartet, performing
jazz, baroque, and original music, right here in Houston.
DAVID CACERES: With his musical heritage, the accomplished saxophonist
and vocalist David Caceres is easily the most sought-after jazz musician in
Houston, Texas . His grandfather, jazz violinist Emilio Caceres, led a popular
swing orchestra in San Antonio in the 1930s and 40s. His great uncle Ernie
Caceres played saxophone and clarinet with the Glenn Miller, Benny
Goodman, and Woody Herman big bands; David himself cultivated his own
talents at Boston's prestigious Berklee School of Music. After his consummate
schooling David headed to the Big Apple to cut his musical teeth. Yet, with his
native roots, it is no wonder he returned to Houston to stake his musical claim.
Now he has become a veritable Texas Tradition juggling an incredible
performance, recording, and teaching career, having 4 CDs under his belt.
DAVID CRAIG, Houston's top-notch freelancing bassist, has played in a wide
variety of settings from Jazz groups and orchestras to Broadway. David has played
with many legendary musicians including Dizzy Gillespie, James Moody, Neil
Sedaka and Bernadette Peters. Beside playing and teaching, David also composes a
wide variety of music, which has been featured on CD’s and television.
VERNON DANIELS pursued his education at Southern University in Baton
Rouge, Louisiana, under Alvin Batiste, Dr. Isaac Greggs, and Professor Don
Dillon, and performed along Clark Terry, Dizzy Gillespie, Wess Anderson and
Mark Whitfield. Since his relocation in Houston in the early nineties, Vernon
has played his drum extensively. He currently plays with Diunna Greenleaf and
Blue Mercy, Kelly Dean Group, Kyle Turner Band, and at River Pointe Church.
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