With just three love songs, Đêm Thu (Autumn Night), Con Thuyền Không Bến (Adrift), & Giọt Mưa Thu (Autumn Raindrops), Đặng Thế Phong joined the pantheon of great Vietnamese songwriters of the pre-war years. He ranked among 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 to lớn unleash an avalanbít of autumn songs that lasts khổng lồ this day, lớn the delight of the Vietnamese audience.You watching: tối nay thu sang cùng heo may

A native sầu of Nam Dinch Province, birthplace of an impressive succession of talented musicians: Ðan Thọ, Hoàng Trọng, Nguyễn Xuân Khoát (1910), Văn Chung (1914), Lê Yên (1917), Nguyễn Văn uống Thương thơm (1919), Bùi Công Kỷ (1919), Lưu Hữu Phước (1921), Ðỗ Nhuận (1922), and Phan Huỳnh Ðiểu (1924), Đặng Thế Phong rose to prominence as a songwriter of the Romantic movement and was glorified by universal accolade. His memory is further honored by the tragedy of his short life. Born into a family of civil servants in 1918, the second of six children, whose father, Đặng Hiển Thể, died early, he managed to lớn gain an eighth-grade education before dire financial circumstances forced hlặng khổng lồ seek employment by moving lớn 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 Sinh. (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 Black 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 lớn 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 vậy in 1940 over the Thuong River, và the premiere also took place this year. Severe privations, long unsuccessful travels, & 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 tuy nhiên, Giọt Mưa Thu (Autumn Raindrops), on his deathbed in a small loft on Hang Dong Street in Nam Dinh.See more: Danh Sách Các Trường Đại Học Tại Quận Gò Vấp, Tp, Địa Điểm Đại Học & CĐ Tại Quận Gò Vấp, Tp

Musician Lê Hoàng Long tells the story of the tuy vậy as an insider. In 1940, :Đặng Thế Phong had lớn go to 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, and were enjoying the evening over drinks when he received a handwritten note saying his girlfrikết thúc Miss Tuyet had taken ill. For the remainder of the night Dang grew silent and worried. That night, restless và finding sleep elusive, he began to write Con Thuyền Không Bến, which he finished before daybreak. Two days later he was bachồng in Nam Dinc, và Miss Tuyet miraculously recovered on seeing hyên. In the chill of fall and its light breeze the two lovers met under moonlight. He softly thanh lịch the just-written melody inkhổng lồ her ears, & the world has a new tuy nhiên, whose perennial themes of love sầu và autumn & moonlight once again rise to lớn stir every Vietnamese heart.See more: Đông Phương thơm Bất Bại - Fan Nổi Giận Vì Lệnh Hồ Xung “Prúc Tình”

Commenting on the lyrics, famed folklorist-songwriter-singer Pham Duy emphasizes the malaise of the young generation, who keenly felt the oppressiveness of the colonial regime and could relate 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 to change.


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To Pmê say Duy it had to lớn be a boat that is adrift on the Thuong River of two distinct currents, it had lớn be autumn which brings its cold wind, the haze that reaches to the cloud front, the wind that whistles ahy vọng the pines, and the moon that lights the landscape khổng lồ arouse the Zeitgeist in the Vietnamese soul of the time, the tenderness, the pain, the melancholy, the love sầu of kinfolk and 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.