Buy from
Celestial Harmonies
US $15

the project

Imagine a country whose instrumental heritage includes a thousand–year-old, one–string precursor to the electric guitar: a country where you can play a percussion instrument without actually touching it; a country where one-hole flutes and strange rifle–shaped mouth harps are more common than a piano. Imagine a country whose history and music have been shaped by struggles with Chinese, French, Japanese, and American invasions. You might expect this country's music to be wildly colorful, exotic, and complex—and you would be right. The Music of Vietnam offers listeners a rare opportunity to sample the remarklable variety of traditional Vietnamese music: from ensemble works with a clear Chinese influence to solo pieces for the odd instruments of Vietnam's many tribal minorities.

Volumes 1.1 and 1.2 of The Music of Vietnam focus on the traditional music of the Vietnamese people themselves, as opposed to the folk music of the ethnic groups that live in Vietnam's highlands and plateaus. Within the Vietnamese tradition there are many surprisees. Works that draw on the trance and percussion music of ancient Buddhist healers appear alongside old Vietnamese theater folk ensembles, but others are definitely a product of musicians who have studied Western classical and pop music. Familiar chord progressions may grace a souther Vietnamese harvest song, while another work based on religious ritual music may have an acoustic funk backbeat, thanks to the subtle and energetic tradition of Vietnamese percussion.

For Western listeners, especially those for whom Vietnam signifies a war and nothing more, The Music of Vietnam will be an ear–opening experience.

the artists

The multi-talented performers on both Volumes 1.1 and 1.2 are based in Hanoi, and several are on the staff of the Hanoi Conservatory of Music. These recordings represent the first time this all–star lineup actually performed together as a whole. Pham Can Ty served as musical director for these recordings, and performs on the recordings as a lute soloist, singer, and percussionist.

These recordings are produced by David Parsons, who once again utilizes his extensive experience recording Asian music. Parsons is also a talented composer and musician.



1 Xuan Que Huong (The Spring in My Home Village) 3'39"
2 Dang Dan, Mua Dao, Doc Canh (Medley of Buddhist Percussion Music) 3'56"
3 Luu Thuy, Kim Tien, Xuan Phong, Long Ho (Running Water, Currency, Spring Wind, Dragon Tiger) 2'51"
4 Mua Xuan Den (The Coming Spring) 2'54"
5 Vu Khuc Tay Nguyen (Dance of the Tay Nguyen Highlands) 3'52"
6 Xe Chi Luon Kim (Spinning Song) 2'33"
7 Suoi Dan T'rung (Stream of the T'rung) 3'38"
8 Tieng Khen Goi Ban (Calling Sounds of the Khen Pipe) 3'54"
9 Ngay Hoi Non Song (The Festival in the Country) 4'47"
10 Chung Mot Niem Tin (A Feeling of Common Confidence) 4'08"
11 Loi Lo (Theater music) 5'10"
12 Tinh Thon Que (The Village Love) 3'21"
13 Muc Ha Vo Nhan (Beggar's Song) 5'34"
14 Tinh Quan Dan (People and Fighters Unite) 5'16"
15 Trang Ram (Full Moon) 3'30"
16 Len Ngan (Up to the Mountains) 4'36"
17 Hat Chau Van (Chau Van Temple Music) 7'54"
  Total Time: 72'30"