Celebrating 75 years of the Hanoi People’s Song |
He is a genuine original Hanoian, so genuine that he lost his hometown, because his original village, located next to Sword Lake, has long been named… Ba Trieu street!
That original Hanoian 40 years ago became my stepfather.
Hanoi and the song Hanoi people Of course, it is mentioned a lot in the professional life story that he invites to tell whenever father and son have the opportunity to walk on the streets of Moscow during his travels, also because he is busy talking, he often goes around seeing him off. Back to the hotel, my father saw me off back to the student dormitory. When I graduated from home, still bewildered and bewildered not knowing how to practice in the busy life when opening the door, I often followed my father around West Lake. West Lake in the 80s was still vast, in many places still wild and wild. Sitting in the back on the old peugeot, I listened to my father’s story about life, the story of Hanoi in the distant past.
Unexpectedly, a section of the lakeside road later bore his name – writer Nguyen Dinh Thi. I did not expect that the beginningless stories of that day would be a precious memory of the father who had a great influence on me. Searching in distant memory for anything related to Ha people Grandma, I remember most the advice about the ending that he still mentioned until the last days of his life: “Hanoi people There is no word ‘victory’, remember!”. That’s also what makes me sad when the song has not been sung in accordance with the original as the deceased’s will.
A long song requires certain composing skills in the writer. A nuanced epic requires the singer’s ability to express and vocal technique. But its author never claimed to be a musician, but only identified himself as a “hands-on” composing instinctively. I once tried to ask him about the wake song, but he still didn’t share anything academically related to which I could rely on for this article.
Want to analyze the work, there is no other way than to let yourself drift with the melodic flow… And then I also “closed” myself: dividing the epic into three parts according to the functions of opening – development – ending, where each part is a combination of three or more pieces of music. The first part depicts the sacred past, the heroic tradition, the lively rhythm of life, and the middle and last part is a picture of the present battle and the future victory. Let’s sing the melody, piece by piece, so that from the whole of Hanoi, the monument can be seen with the sound of Hanoians.
The first part: past and present.
Paragraph 1 “Here Hoan Kiem Lake, Hong Ha, West Lake” (8 beats): Hanoi-specific lake names are humming in intervals 4 and 2 on deg sounds. Deeply tender, the melody rises to the higher register, and then spreads over the customary sounds with the old and modern names of the capital: “Thang Long – Dong Do – Hanoi”. From this cluster of names formed a “lyric motif” that later appeared in many songs by other musicians. Perhaps this is the first time the place “Hanoi” is sung in music.
Section 2 “Hanoi on fire” (8 spans): no more glittering deep water surface. The thousand-year-old sacred Hanoi was suddenly engulfed in smoke and fire. Repetition is a simple technique used, here repeating not only one syllable, but also a musical phrase (“Hanoi is on the rise”) to emphasize the strong will of Hanoians. There are wide dance intervals and long vibratos that leave space for the instrument to perform. Imprinted in the author’s mind is the image of the capital seen from the Long Bien bridge on the night of December 19, 1946, the beginning of the long resistance war: “Hanoi is pink, rumbling and rumbling”. “This place needs to have the rumble of cannons, my son” – my father envisioned that right from the time he wrote the melody, thinking about the instrument!
Paragraph 3 “Hanoi is so beautiful” (8 beats): a peaceful Hanoi with a gentle and loving melody in the minor tune of the same name (g moll). In a new color due to the mixing of minor and major tones, this passage maintains the long-jumping interspersed tone repetition. Once again the melody emerges stronger, more determined with “thousands of life overflowing” to prepare for the bustling rhythm in the next section.
Paragraph 4 “Hanoi is so happy” (12 beats): repeats the music at the beginning of the previous paragraph, but changes to the major voice of the same name. From this point the equilateral structure begins to break down. In addition to the syllables, there are additional points of silence that cut off the melodic line. Another Hanoi, very alive and lively with a series of street names and street names: O Cho Dua, Dong Xuan, Hang Dao, Hang Duong, Hang Bac, Hang Gai…
The link “Oh earnestly” (5 beats): put the ending “dot” in the main rhythm (G dur) for the first part. At first the song only wrote this far, then ended with repeating the opening few beats. The first version is titled Song of a Hanoian Printed in the National Salvation New Year newspaper 1947 to present to the soldiers of the Capital’s Deadly Regiment. At the end of 1947 the song was followed by two more parts, initiating a large-scale form of Revolutionary music.
Middle part: present and future.
Paragraph 5 (9 beats) – “An autumn day”: the victory march back has “quoting” the opening sentence of the national anthem “Vietnamese troops go” – belief is still strong in the hearts of Hanoians.
Paragraph 6 (8 beats) – “That day”: continues to overflow with feelings of praise, the melody expands into a triumphant song for the day to come back “to reflect the Red Ha River”.
Paragraph 7 (10 beats) – “Hanoi is on fire”: in order to have “that day”, the sky in Hanoi must be red with blood. There are no longer long notes when recalling the image of “Hanoi burns with smoke and fire in the sky, Hanoi rumbles and vibrates” – the courageous tradition of protecting the sacred land is being continued. With the call to rise, the dramatic screams, the marching melody is gradually pushed up to the highest note (g1), which is also the climax of the whole song. Music recorded the nóng historical event in 1946: Hanoi in the days of dying for the Fatherland.
The connecting paragraph (8 beats) “Dust of the pavement”: consists of two repeated sentences with changes to change from the current image of the middle part to the last part drawing the dream of “bright tomorrow”. The 4/4 to 2/4 time transition is also to prepare for the new rhythmic appearance of the ending.
The last part: purely forward-looking.
Three single stanzas representing aba’ (8+8+13 beats) “Hey class of people walking”: independent form, clear structure, a lithe dance that floats on a 6/8 beat in a syllable mainstream play. Right in the early days of the resistance war, the people who left had a triumphant song for “tomorrow”. “Impressive… immense…”, the gentle melody floats in the dream of a happy day back of Hanoians.
The song develops continuously as a river flows only downstream through different scenes of Hanoi and different emotions of Hanoians. Improvisation creates a không tính phí structure for the epic – a form enjoyed during the resistance period. The technique of repetition is used only in the “intrinsic” of each passage, not in the reproducibility function as is often the case in the three-part structure. The repetition in the middle of the first few beats (“Hanoi burns… rumbling”) is meant to develop, not reproduce. Abandoning the task of recreating, the ending “launches” completely new material in terms of rhythm, melody lines, and musical properties. Perhaps only one element is “recreated”, that is, the squareness of the first three paragraphs is used for the last two paragraphs (ab).
The highest development is of course in the middle part, where most of the sections no longer keep the right number of square spans. The action here is stronger than the rest mainly due to the marching rhythm and the extended tonal range to the climax. However, the color harmony in the middle part is quite stable with the main sound appearing a lot at the beginning and the end of the musical period or the verse, even the climax is also in the main sound, it seems to be a way to strengthen the belief. sure.
With different pieces of music in terms of rhythm, speed, rhythm and mood, the painting of the Capital is colorful: there is a sacred past of “thousand-year-old mountains and rivers”, there is a reality of everyday life. gong”, and then heroically follow the marching rhythm, to rise to the climax of “smoke and fire in the sky”. And finally, there is a future in the graceful dance, in the immense, dreamlike ending of the person who just left who prophesied the day of return…
In three-quarters of a century present in many large and small music programs, Hanoi people There are many versions that not only arrange the accompaniment but also arrange for the instrumental music. The first version 75 years ago was quite special: the completed song only the first part was recorded at Radio Station hiding in a cave near Tram Pagoda (Ha Dong) through the author’s voice with banjo accompaniment, added the sound of spoons tapping on the table of two German soldiers. The first person to arrange the string accompaniment cum conductor of the concert at the war zone in 1948 was musician Nguyen Xuan Khoat. 1951 Hanoi people “Going abroad” attended the World Youth Festival in Berlin and was first prepared for the symphony orchestra, sometimes played by the orchestra as a piece of music, sometimes the orchestra accompaniment for the author to sing.
The meticulous piano accompaniment of Meritorious Artist Nguyen Huu Tuan was shifted up a half step (As-dur) to match the voice of Meritorious Artist My Binh – this is the artist singing. Hanoi people most liked by the author.
He also enjoyed Van Vuong’s arrangement for guitar solo. The first time he heard Van Vuong perform, he hugged the artist, held the blind artist’s hand and brought it to his eyes to know that he was crying…
There are many versions that the author could not hear: the arrangement for the symphony orchestra by Gostev, the four-part chorus à capella by Nguyen Lan Cuong, the arrangement for the soprano voice and the two-man orchestra by Tran Manh Hung… And new The most (to be performed at the end of 2022) is a duet violin and orchestra by Tran Manh Hung.
A few words back to the conclusion. After nearly 20 years the author Hanoi people gone, I still can’t convince the artists to sing like the original. Many people want to end the song with enthusiasm to show off their voice, while others are afraid of being considered inferior if the last syllable does not dare to “jump” to the top of the tower. Still knowing that the artist is the second creator, but is it better to avoid the additions and deletions that do not match the spirit of the work and the author’s personality? Remember Beethoven once said to a pianist: “My work is played very well by you, but you should understand that the author still wants to hear his work as it was born.”
The unpretentious romantic ending of the original is indeed true to the author’s personality, gentle and elegant. This is not a small challenge for the singer and the orchestrator. If you need to show off your good technique, there is already a climax of “The sky in Hanoi is red”, and that should be kept as the only climax in the whole article. As for the last beats (long words “about”), the “land” should be reserved for the arranger. For brave people, the “settlement” is deeper and more emotional than the loud ending, the inner beauty is stronger than the grandiose appearance.
For ease of comparison, let me quote an example that I have had to quote many times:
Personally, when playing Hanoi people On the piano, after the last note of “coming back” (of course there’s no soaring “victory”!), I always go back to the opening four beats to end the song. It was only later that I learned that these beats were also repeated by the author at the end of the first part in the “stub” version before writing the next two parts. That opening melody is so beautiful, so shimmering (it’s not without reason that the opening sentence has become a radio station’s tune), if it were used as the ending for the entire work, how great it would be! As a sign of re-enactment, this musical stroke can add unity to an epic consisting of different passages. Moreover, all current events have passed, what remains forever is the image of a sacred Hanoi, an eternal beauty: “Here is Hoan Kiem Lake, Hong Ha, West Lake / Here is the soul of thousands of years of mountains and rivers.” .
Too bad I didn’t have time to tell my dad about this…
NTMC
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Celebrating 75 years of the Hanoi People's Song |
He is a genuine original Hanoian, so genuine that he lost his hometown, because his original village, located next to Sword Lake, has long been named... Ba Trieu street!
That original Hanoian 40 years ago became my stepfather.
Hanoi and the song Hanoi people Of course, it is mentioned a lot in the professional life story that he invites to tell whenever father and son have the opportunity to walk on the streets of Moscow during his travels, also because he is busy talking, he often goes around seeing him off. Back to the hotel, my father saw me off back to the student dormitory. When I graduated from home, still bewildered and bewildered not knowing how to practice in the busy life when opening the door, I often followed my father around West Lake. West Lake in the 80s was still vast, in many places still wild and wild. Sitting in the back on the old peugeot, I listened to my father's story about life, the story of Hanoi in the distant past.
Unexpectedly, a section of the lakeside road later bore his name - writer Nguyen Dinh Thi. I did not expect that the beginningless stories of that day would be a precious memory of the father who had a great influence on me. Searching in distant memory for anything related to Ha people Grandma, I remember most the advice about the ending that he still mentioned until the last days of his life: "Hanoi people There is no word 'victory', remember!". That's also what makes me sad when the song has not been sung in accordance with the original as the deceased's will.
A long song requires certain composing skills in the writer. A nuanced epic requires the singer's ability to express and vocal technique. But its author never claimed to be a musician, but only identified himself as a "hands-on" composing instinctively. I once tried to ask him about the wake song, but he still didn't share anything academically related to which I could rely on for this article.
Want to analyze the work, there is no other way than to let yourself drift with the melodic flow... And then I also "closed" myself: dividing the epic into three parts according to the functions of opening - development - ending, where each part is a combination of three or more pieces of music. The first part depicts the sacred past, the heroic tradition, the lively rhythm of life, and the middle and last part is a picture of the present battle and the future victory. Let's sing the melody, piece by piece, so that from the whole of Hanoi, the monument can be seen with the sound of Hanoians.
The first part: past and present.
Paragraph 1 “Here Hoan Kiem Lake, Hong Ha, West Lake” (8 beats): Hanoi-specific lake names are humming in intervals 4 and 2 on deg sounds. Deeply tender, the melody rises to the higher register, and then spreads over the customary sounds with the old and modern names of the capital: "Thang Long - Dong Do - Hanoi". From this cluster of names formed a "lyric motif" that later appeared in many songs by other musicians. Perhaps this is the first time the place "Hanoi" is sung in music.
Section 2 "Hanoi on fire" (8 spans): no more glittering deep water surface. The thousand-year-old sacred Hanoi was suddenly engulfed in smoke and fire. Repetition is a simple technique used, here repeating not only one syllable, but also a musical phrase (“Hanoi is on the rise”) to emphasize the strong will of Hanoians. There are wide dance intervals and long vibratos that leave space for the instrument to perform. Imprinted in the author's mind is the image of the capital seen from the Long Bien bridge on the night of December 19, 1946, the beginning of the long resistance war: "Hanoi is pink, rumbling and rumbling". “This place needs to have the rumble of cannons, my son” – my father envisioned that right from the time he wrote the melody, thinking about the instrument!
Paragraph 3 "Hanoi is so beautiful" (8 beats): a peaceful Hanoi with a gentle and loving melody in the minor tune of the same name (g moll). In a new color due to the mixing of minor and major tones, this passage maintains the long-jumping interspersed tone repetition. Once again the melody emerges stronger, more determined with "thousands of life overflowing" to prepare for the bustling rhythm in the next section.
Paragraph 4 "Hanoi is so happy" (12 beats): repeats the music at the beginning of the previous paragraph, but changes to the major voice of the same name. From this point the equilateral structure begins to break down. In addition to the syllables, there are additional points of silence that cut off the melodic line. Another Hanoi, very alive and lively with a series of street names and street names: O Cho Dua, Dong Xuan, Hang Dao, Hang Duong, Hang Bac, Hang Gai...
The link “Oh earnestly” (5 beats): put the ending “dot” in the main rhythm (G dur) for the first part. At first the song only wrote this far, then ended with repeating the opening few beats. The first version is titled Song of a Hanoian Printed in the National Salvation New Year newspaper 1947 to present to the soldiers of the Capital's Deadly Regiment. At the end of 1947 the song was followed by two more parts, initiating a large-scale form of Revolutionary music.
Middle part: present and future.
Paragraph 5 (9 beats) – “An autumn day”: the victory march back has “quoting” the opening sentence of the national anthem “Vietnamese troops go” – belief is still strong in the hearts of Hanoians.
Paragraph 6 (8 beats) – “That day”: continues to overflow with feelings of praise, the melody expands into a triumphant song for the day to come back “to reflect the Red Ha River”.
Paragraph 7 (10 beats) – “Hanoi is on fire”: in order to have “that day”, the sky in Hanoi must be red with blood. There are no longer long notes when recalling the image of "Hanoi burns with smoke and fire in the sky, Hanoi rumbles and vibrates" - the courageous tradition of protecting the sacred land is being continued. With the call to rise, the dramatic screams, the marching melody is gradually pushed up to the highest note (g1), which is also the climax of the whole song. Music recorded the nóng historical event in 1946: Hanoi in the days of dying for the Fatherland.
The connecting paragraph (8 beats) "Dust of the pavement": consists of two repeated sentences with changes to change from the current image of the middle part to the last part drawing the dream of "bright tomorrow". The 4/4 to 2/4 time transition is also to prepare for the new rhythmic appearance of the ending.
The last part: purely forward-looking.
Three single stanzas representing aba' (8+8+13 beats) “Hey class of people walking”: independent form, clear structure, a lithe dance that floats on a 6/8 beat in a syllable mainstream play. Right in the early days of the resistance war, the people who left had a triumphant song for "tomorrow". "Impressive... immense...", the gentle melody floats in the dream of a happy day back of Hanoians.
The song develops continuously as a river flows only downstream through different scenes of Hanoi and different emotions of Hanoians. Improvisation creates a không tính phí structure for the epic – a form enjoyed during the resistance period. The technique of repetition is used only in the "intrinsic" of each passage, not in the reproducibility function as is often the case in the three-part structure. The repetition in the middle of the first few beats (“Hanoi burns… rumbling”) is meant to develop, not reproduce. Abandoning the task of recreating, the ending "launches" completely new material in terms of rhythm, melody lines, and musical properties. Perhaps only one element is "recreated", that is, the squareness of the first three paragraphs is used for the last two paragraphs (ab).
The highest development is of course in the middle part, where most of the sections no longer keep the right number of square spans. The action here is stronger than the rest mainly due to the marching rhythm and the extended tonal range to the climax. However, the color harmony in the middle part is quite stable with the main sound appearing a lot at the beginning and the end of the musical period or the verse, even the climax is also in the main sound, it seems to be a way to strengthen the belief. sure.
With different pieces of music in terms of rhythm, speed, rhythm and mood, the painting of the Capital is colorful: there is a sacred past of "thousand-year-old mountains and rivers", there is a reality of everyday life. gong", and then heroically follow the marching rhythm, to rise to the climax of "smoke and fire in the sky". And finally, there is a future in the graceful dance, in the immense, dreamlike ending of the person who just left who prophesied the day of return...
In three-quarters of a century present in many large and small music programs, Hanoi people There are many versions that not only arrange the accompaniment but also arrange for the instrumental music. The first version 75 years ago was quite special: the completed song only the first part was recorded at Radio Station hiding in a cave near Tram Pagoda (Ha Dong) through the author's voice with banjo accompaniment, added the sound of spoons tapping on the table of two German soldiers. The first person to arrange the string accompaniment cum conductor of the concert at the war zone in 1948 was musician Nguyen Xuan Khoat. 1951 Hanoi people "Going abroad" attended the World Youth Festival in Berlin and was first prepared for the symphony orchestra, sometimes played by the orchestra as a piece of music, sometimes the orchestra accompaniment for the author to sing.
The meticulous piano accompaniment of Meritorious Artist Nguyen Huu Tuan was shifted up a half step (As-dur) to match the voice of Meritorious Artist My Binh – this is the artist singing. Hanoi people most liked by the author.
He also enjoyed Van Vuong's arrangement for guitar solo. The first time he heard Van Vuong perform, he hugged the artist, held the blind artist's hand and brought it to his eyes to know that he was crying...
There are many versions that the author could not hear: the arrangement for the symphony orchestra by Gostev, the four-part chorus à capella by Nguyen Lan Cuong, the arrangement for the soprano voice and the two-man orchestra by Tran Manh Hung... And new The most (to be performed at the end of 2022) is a duet violin and orchestra by Tran Manh Hung.
A few words back to the conclusion. After nearly 20 years the author Hanoi people gone, I still can't convince the artists to sing like the original. Many people want to end the song with enthusiasm to show off their voice, while others are afraid of being considered inferior if the last syllable does not dare to "jump" to the top of the tower. Still knowing that the artist is the second creator, but is it better to avoid the additions and deletions that do not match the spirit of the work and the author's personality? Remember Beethoven once said to a pianist: "My work is played very well by you, but you should understand that the author still wants to hear his work as it was born."
The unpretentious romantic ending of the original is indeed true to the author's personality, gentle and elegant. This is not a small challenge for the singer and the orchestrator. If you need to show off your good technique, there is already a climax of "The sky in Hanoi is red", and that should be kept as the only climax in the whole article. As for the last beats (long words "about"), the "land" should be reserved for the arranger. For brave people, the "settlement" is deeper and more emotional than the loud ending, the inner beauty is stronger than the grandiose appearance.
For ease of comparison, let me quote an example that I have had to quote many times:
Personally, when playing Hanoi people On the piano, after the last note of "coming back" (of course there's no soaring "victory"!), I always go back to the opening four beats to end the song. It was only later that I learned that these beats were also repeated by the author at the end of the first part in the "stub" version before writing the next two parts. That opening melody is so beautiful, so shimmering (it's not without reason that the opening sentence has become a radio station's tune), if it were used as the ending for the entire work, how great it would be! As a sign of re-enactment, this musical stroke can add unity to an epic consisting of different passages. Moreover, all current events have passed, what remains forever is the image of a sacred Hanoi, an eternal beauty: "Here is Hoan Kiem Lake, Hong Ha, West Lake / Here is the soul of thousands of years of mountains and rivers." .
Too bad I didn't have time to tell my dad about this…
NTMC
[rule_{ruleNumber}]
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Celebrating 75 years of the Hanoi People’s Song |
He is a genuine original Hanoian, so genuine that he lost his hometown, because his original village, located next to Sword Lake, has long been named… Ba Trieu street!
That original Hanoian 40 years ago became my stepfather.
Hanoi and the song Hanoi people Of course, it is mentioned a lot in the professional life story that he invites to tell whenever father and son have the opportunity to walk on the streets of Moscow during his travels, also because he is busy talking, he often goes around seeing him off. Back to the hotel, my father saw me off back to the student dormitory. When I graduated from home, still bewildered and bewildered not knowing how to practice in the busy life when opening the door, I often followed my father around West Lake. West Lake in the 80s was still vast, in many places still wild and wild. Sitting in the back on the old peugeot, I listened to my father’s story about life, the story of Hanoi in the distant past.
Unexpectedly, a section of the lakeside road later bore his name – writer Nguyen Dinh Thi. I did not expect that the beginningless stories of that day would be a precious memory of the father who had a great influence on me. Searching in distant memory for anything related to Ha people Grandma, I remember most the advice about the ending that he still mentioned until the last days of his life: “Hanoi people There is no word ‘victory’, remember!”. That’s also what makes me sad when the song has not been sung in accordance with the original as the deceased’s will.
A long song requires certain composing skills in the writer. A nuanced epic requires the singer’s ability to express and vocal technique. But its author never claimed to be a musician, but only identified himself as a “hands-on” composing instinctively. I once tried to ask him about the wake song, but he still didn’t share anything academically related to which I could rely on for this article.
Want to analyze the work, there is no other way than to let yourself drift with the melodic flow… And then I also “closed” myself: dividing the epic into three parts according to the functions of opening – development – ending, where each part is a combination of three or more pieces of music. The first part depicts the sacred past, the heroic tradition, the lively rhythm of life, and the middle and last part is a picture of the present battle and the future victory. Let’s sing the melody, piece by piece, so that from the whole of Hanoi, the monument can be seen with the sound of Hanoians.
The first part: past and present.
Paragraph 1 “Here Hoan Kiem Lake, Hong Ha, West Lake” (8 beats): Hanoi-specific lake names are humming in intervals 4 and 2 on deg sounds. Deeply tender, the melody rises to the higher register, and then spreads over the customary sounds with the old and modern names of the capital: “Thang Long – Dong Do – Hanoi”. From this cluster of names formed a “lyric motif” that later appeared in many songs by other musicians. Perhaps this is the first time the place “Hanoi” is sung in music.
Section 2 “Hanoi on fire” (8 spans): no more glittering deep water surface. The thousand-year-old sacred Hanoi was suddenly engulfed in smoke and fire. Repetition is a simple technique used, here repeating not only one syllable, but also a musical phrase (“Hanoi is on the rise”) to emphasize the strong will of Hanoians. There are wide dance intervals and long vibratos that leave space for the instrument to perform. Imprinted in the author’s mind is the image of the capital seen from the Long Bien bridge on the night of December 19, 1946, the beginning of the long resistance war: “Hanoi is pink, rumbling and rumbling”. “This place needs to have the rumble of cannons, my son” – my father envisioned that right from the time he wrote the melody, thinking about the instrument!
Paragraph 3 “Hanoi is so beautiful” (8 beats): a peaceful Hanoi with a gentle and loving melody in the minor tune of the same name (g moll). In a new color due to the mixing of minor and major tones, this passage maintains the long-jumping interspersed tone repetition. Once again the melody emerges stronger, more determined with “thousands of life overflowing” to prepare for the bustling rhythm in the next section.
Paragraph 4 “Hanoi is so happy” (12 beats): repeats the music at the beginning of the previous paragraph, but changes to the major voice of the same name. From this point the equilateral structure begins to break down. In addition to the syllables, there are additional points of silence that cut off the melodic line. Another Hanoi, very alive and lively with a series of street names and street names: O Cho Dua, Dong Xuan, Hang Dao, Hang Duong, Hang Bac, Hang Gai…
The link “Oh earnestly” (5 beats): put the ending “dot” in the main rhythm (G dur) for the first part. At first the song only wrote this far, then ended with repeating the opening few beats. The first version is titled Song of a Hanoian Printed in the National Salvation New Year newspaper 1947 to present to the soldiers of the Capital’s Deadly Regiment. At the end of 1947 the song was followed by two more parts, initiating a large-scale form of Revolutionary music.
Middle part: present and future.
Paragraph 5 (9 beats) – “An autumn day”: the victory march back has “quoting” the opening sentence of the national anthem “Vietnamese troops go” – belief is still strong in the hearts of Hanoians.
Paragraph 6 (8 beats) – “That day”: continues to overflow with feelings of praise, the melody expands into a triumphant song for the day to come back “to reflect the Red Ha River”.
Paragraph 7 (10 beats) – “Hanoi is on fire”: in order to have “that day”, the sky in Hanoi must be red with blood. There are no longer long notes when recalling the image of “Hanoi burns with smoke and fire in the sky, Hanoi rumbles and vibrates” – the courageous tradition of protecting the sacred land is being continued. With the call to rise, the dramatic screams, the marching melody is gradually pushed up to the highest note (g1), which is also the climax of the whole song. Music recorded the hot historical event in 1946: Hanoi in the days of dying for the Fatherland.
The connecting paragraph (8 beats) “Dust of the pavement”: consists of two repeated sentences with changes to change from the current image of the middle part to the last part drawing the dream of “bright tomorrow”. The 4/4 to 2/4 time transition is also to prepare for the new rhythmic appearance of the ending.
The last part: purely forward-looking.
Three single stanzas representing aba’ (8+8+13 beats) “Hey class of people walking”: independent form, clear structure, a lithe dance that floats on a 6/8 beat in a syllable mainstream play. Right in the early days of the resistance war, the people who left had a triumphant song for “tomorrow”. “Impressive… immense…”, the gentle melody floats in the dream of a happy day back of Hanoians.
The song develops continuously as a river flows only downstream through different scenes of Hanoi and different emotions of Hanoians. Improvisation creates a free structure for the epic – a form enjoyed during the resistance period. The technique of repetition is used only in the “intrinsic” of each passage, not in the reproducibility function as is often the case in the three-part structure. The repetition in the middle of the first few beats (“Hanoi burns… rumbling”) is meant to develop, not reproduce. Abandoning the task of recreating, the ending “launches” completely new material in terms of rhythm, melody lines, and musical properties. Perhaps only one element is “recreated”, that is, the squareness of the first three paragraphs is used for the last two paragraphs (ab).
The highest development is of course in the middle part, where most of the sections no longer keep the right number of square spans. The action here is stronger than the rest mainly due to the marching rhythm and the extended tonal range to the climax. However, the color harmony in the middle part is quite stable with the main sound appearing a lot at the beginning and the end of the musical period or the verse, even the climax is also in the main sound, it seems to be a way to strengthen the belief. sure.
With different pieces of music in terms of rhythm, speed, rhythm and mood, the painting of the Capital is colorful: there is a sacred past of “thousand-year-old mountains and rivers”, there is a reality of everyday life. gong”, and then heroically follow the marching rhythm, to rise to the climax of “smoke and fire in the sky”. And finally, there is a future in the graceful dance, in the immense, dreamlike ending of the person who just left who prophesied the day of return…
In three-quarters of a century present in many large and small music programs, Hanoi people There are many versions that not only arrange the accompaniment but also arrange for the instrumental music. The first version 75 years ago was quite special: the completed song only the first part was recorded at Radio Station hiding in a cave near Tram Pagoda (Ha Dong) through the author’s voice with banjo accompaniment, added the sound of spoons tapping on the table of two German soldiers. The first person to arrange the string accompaniment cum conductor of the concert at the war zone in 1948 was musician Nguyen Xuan Khoat. 1951 Hanoi people “Going abroad” attended the World Youth Festival in Berlin and was first prepared for the symphony orchestra, sometimes played by the orchestra as a piece of music, sometimes the orchestra accompaniment for the author to sing.
The meticulous piano accompaniment of Meritorious Artist Nguyen Huu Tuan was shifted up a half step (As-dur) to match the voice of Meritorious Artist My Binh – this is the artist singing. Hanoi people most liked by the author.
He also enjoyed Van Vuong’s arrangement for guitar solo. The first time he heard Van Vuong perform, he hugged the artist, held the blind artist’s hand and brought it to his eyes to know that he was crying…
There are many versions that the author could not hear: the arrangement for the symphony orchestra by Gostev, the four-part chorus à capella by Nguyen Lan Cuong, the arrangement for the soprano voice and the two-man orchestra by Tran Manh Hung… And new The most (to be performed at the end of 2022) is a duet violin and orchestra by Tran Manh Hung.
A few words back to the conclusion. After nearly 20 years the author Hanoi people gone, I still can’t convince the artists to sing like the original. Many people want to end the song with enthusiasm to show off their voice, while others are afraid of being considered inferior if the last syllable does not dare to “jump” to the top of the tower. Still knowing that the artist is the second creator, but is it better to avoid the additions and deletions that do not match the spirit of the work and the author’s personality? Remember Beethoven once said to a pianist: “My work is played very well by you, but you should understand that the author still wants to hear his work as it was born.”
The unpretentious romantic ending of the original is indeed true to the author’s personality, gentle and elegant. This is not a small challenge for the singer and the orchestrator. If you need to show off your good technique, there is already a climax of “The sky in Hanoi is red”, and that should be kept as the only climax in the whole article. As for the last beats (long words “about”), the “land” should be reserved for the arranger. For brave people, the “settlement” is deeper and more emotional than the loud ending, the inner beauty is stronger than the grandiose appearance.
For ease of comparison, let me quote an example that I have had to quote many times:
Personally, when playing Hanoi people On the piano, after the last note of “coming back” (of course there’s no soaring “victory”!), I always go back to the opening four beats to end the song. It was only later that I learned that these beats were also repeated by the author at the end of the first part in the “stub” version before writing the next two parts. That opening melody is so beautiful, so shimmering (it’s not without reason that the opening sentence has become a radio station’s tune), if it were used as the ending for the entire work, how great it would be! As a sign of re-enactment, this musical stroke can add unity to an epic consisting of different passages. Moreover, all current events have passed, what remains forever is the image of a sacred Hanoi, an eternal beauty: “Here is Hoan Kiem Lake, Hong Ha, West Lake / Here is the soul of thousands of years of mountains and rivers.” .
Too bad I didn’t have time to tell my dad about this…
NTMC
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