đêm nay thu sang cùng heo may

With just three love songs, Đêm Thu (Autumn Night), Con Thuyền Không Bến (Adrift), và Giọt Mưa Thu (Autumn Raindrops), Đặng Thế Phong joined the pantheon of great Vietnamese songwriters of the pre-war years. He ranked amuốn the pioneers of modern Vietnamese music, seamlessly melding the traditional pentatonic scale with Western heptatonic scale. The song Con Thuyền Không Bến is an example of this type of composition. The theme of autumn permeating his repertoire, small as it is, has the power lớn unleash an avalanbít of autumn songs that lasts khổng lồ this day, to lớn the delight of the Vietnamese audience.

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A native of Nam Dinch Province, birthplace of an impressive succession of talented musicians: Ðan Thọ, Hoàng Trọng, Nguyễn Xuân Khoát (1910), Văn uống Chung (1914), Lê Yên (1917), Nguyễn Văn uống Tmùi hương (1919), Bùi Công Kỷ (1919), Lưu Hữu Phước (1921), Ðỗ Nhuận (1922), & Phan Huỳnh Ðiểu (1924), Đặng Thế Phong rose to lớn prominence as a songwriter of the Romantic movement & was glorified by universal accolade. His memory is further honored by the tragedy of his short life. Born inlớn a family of civil servants in 1918, the second of six children, whose father, Đặng Hiển Thể, died early, he managed lớn gain an eighth-grade education before dire financial circumstances forced hlặng khổng lồ seek employment by moving khổng lồ Hanoi, where for a while he enrolled as an auditor at the College of Fine Arts. He earned a meager income by illustrating the magazine Học Sinch. (Young Students) under the editorship of the detective story writer Phạm Cao Củng, while financing his further education. For the magazine, he produced the literary comics Hoàng Tử Sọ Dừa. (Prince Coconut Shell) & Giặc Cờ Đen (The Blachồng Flag Bandits). In the spring of 1941, he left for Saigon, then went on to lớn Phnom Penh, Kampuchea, where he offered music classes until his return to Hanoi in the fall. One story says it is in Phnom Penh that he completed the tuy nhiên Con Thuyền Không Bến, which debuted, sung by himself, in the Olympia theater in Hanoi upon his return. However, a probably more credible source, as we shall see below, places the writing of this tuy nhiên in 1940 over the Thuong River, & the premiere also took place this year. Severe privations, long unsuccessful travels, và tuberculosis (though he also had meningitis) finally took his life in early 1942 at the age of 24. It is said that he finished writing his last song, Giọt Mưa Thu (Autumn Raindrops), on his deathbed in a small loft on Hang Dong Street in Nam Dinch.

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Musician Lê Hoàng Long tells the story of the tuy vậy as an insider. In 1940, :Đặng Thế Phong had khổng lồ go lớn Bắc Giang Province for a few days. This province is traversed by the Thuong River, which clearly shows its two currents, one clearer than the other running side by side, probably because of the difference in the amount of sediments. One bright moon-lit night Dang & his friends rented a boat, moored it, & were enjoying the evening over drinks when he received a handwritten note saying his girlfriend Miss Tuyet had taken ill. For the remainder of the night Dang grew silent và worried. That night, restless & finding sleep elusive sầu, he began to lớn write Con Thuyền Không Bến, which he finished before daybreak. Two days later he was bachồng in Nam Dinc, & Miss Tuyet miraculously recovered on seeing hlặng. In the chill of fall và its light breeze the two lovers met under moonlight. He softly sang trọng the just-written melody inkhổng lồ her ears, and the world has a new song, whose perennial themes of love sầu & autumn & moonlight once again rise to stir every Vietnamese heart.

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Commenting on the lyrics, famed folklorist-songwriter-singer Pđê mê Duy emphasizes the malaise of the young generation, who keenly felt the oppressiveness of the colonial regime & could relate to lớn the aimless drift of the boat on the currents of the Thuong River, the metaphor for the currents of events, which they were powerless khổng lồ change. To Pmê mệt Duy it had to lớn be a boat that is adrift on the Thuong River of two distinct currents, it had to lớn be autumn which brings its cold wind, the haze that reaches to lớn the cloud front, the wind that whistles ahy vọng the pines, và the moon that lights the landscape to lớn arouse the Zeitgeist in the Vietnamese soul of the time, the tenderness, the pain, the melancholy, the love of kinfolk & l&, which remain the motifs across all genres of artistic creation. A boat adrift on the Seine in the summer would never elicit any kind of meaningful response.


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