Musicians of the mountains

(Baonghean) - Every time we go to a village in the West to celebrate, to immerse ourselves in the resounding music and the lively singing, we hear people talk a lot about the "musicians of the mountains and forests". That title is given to musician Tran Vuong, the late musician Luong Tuyen and later to author Le Hoang... The writer of this article was fortunate enough to have met and shared with them...

Mountain scenery and villages in Ky Son.

In the middle of September, more than 300 actors and artists from mountainous districts - highlands had the opportunity to gather in Vinh City in the 3rd Nghe An Province Ethnic Minority Arts Festival. Here, familiar songs about mountains, forests, and villages had the opportunity to resonate and spread. The "musicians of the mountains and forests" continued to be mentioned with gratitude and respect. One thing is unknown, whether by chance, coincidence or by some arrangement, the authors Tran Vuong, Luong Tuyen and Le Hoang are all people who are closely attached to the land of Con Cuong. From here, their open souls and artistic qualities reached out to capture the delicate beauty of the people, villages, mountains, forests and rivers of the Western Nghe An region. Some people affirm that the poetic Lam River, the clear Giang River, the lush Muong Qua fields, and the majestic Pu Mat forest have nurtured and molded the artistic souls of those who are attached to their homeland.

The first person we want to talk about is musician Tran Vuong (born in 1942). Tran Vuong was not born and raised in Con Cuong, his hometown is in Nam Cuong commune (Nam Dan). But then "the hand of life" brought him to the mountains and forests of the West, and this land has truly become flesh and blood. Perhaps, his life was born to be devoted to the mountains and forests. Having taught Music at Nghe An Mountainous Pedagogical School, then Head of the Cultural Department of Con Cuong district, with his artistic qualities and rich life and cultural experience, he has reaped "sweet fruits" for himself. His musical legacy is quite impressive, including "lifetime" songs such as "Cay banyan Con Chua", "Trang ngan", "Cay khen be", "Em di chau vuon rung", "Rung xuan nho Bac", "Mien Tay que ta",...

Passion and desire for creativity have become the driving force that helps musician Tran Vuong overcome many high passes and deep streams to reach remote villages, where ethnic minorities are preserving unique cultural values. Perhaps that is why the lyrics, melodies and rhythms of the songs he composes are familiar, rich in images, easy to remember, easy to learn and are warmly welcomed by the people. Musician Tran Vuong often praises the beauty and the process of rising to master the mountains and forests of the homeland of ethnic minorities in the West. For the musician, each story, each folk legend can inspire topics for songs. Along with that, the daily activities of the people such as going down to the stream, going up to the fields, weaving or cultural activities such as bamboo dancing, panpipe dancing, and flute playing can all become sources of inspiration and material for songs. In the song “The Khen Be”, he praised the skillful and talented hands of the artisan who created this unique musical instrument. With only the main material of bamboo, the Khen Be is “full of sound”, sometimes bustling like a Muong festival, sometimes gentle like a small stream, sometimes soaring through the green forest. That sound is also the voice of the hearts of the boys and girls of the highlands: “the sound of the Khen of my heart”, “the sound of the Khen of your love” and “the sound of the Khen of lingering nostalgia”. In the sound of the Khen Be, there are also “the echoes of the past” and “the sounds of the future waving its arms to call”...

The late musician Luong Tuyen (1955-2008) was born and raised in Mon Son - Muong Qua, a rural area with prosperous villages and green fields. The young man of the Thai ethnic group once joined the army and spent some time working in the arts at Group 559 (Truong Son). Returning to his hometown, this talented man continued to participate in cultural and artistic movements, was a district cultural officer, and then became Deputy Director of the Culture and Information Center of Nghe An province. Since he was in the cradle, Luong Tuyen had heard the five verses, the xuoi tunes, and the lullabies of his grandmother and mother. His childhood was associated with village and Muong festivals, with the nhuon and the nape tunes; with the resounding gong sounds; with the melodious, deep and deep sounds of the khen and the pi. The folk songs, folk dances, and traditional folk music of his homeland became the spiritual milk that nourished Luong Tuyen's artistic soul. Then, when he grew up, he found a way to repay his ancestors and homeland with songs imbued with the Thai folk music, expressing the spiritual life and emotions of his people and carrying the breath of today's village life.

When talking about the late musician Luong Tuyen, we cannot help but mention his impressive “brainchildren” such as: “Xang khan festival”, “First lullaby”, “Lac nhip khen”, “Xen ban, xen muong”, “Day hoi” and “Am dieu Tang boang bu”. In particular, the people of the villages in the West will surely never forget the bustling, joyful and passionate melody in the song “Hoi cau mua” (Awarded by the Vietnam Union of Literature and Arts Associations, 2000). There is the joy of boys and girls, the Muong village on the day of celebrating the ripe rice harvest; there is the sound of gongs and cymbals resounding; there are songs and dances that stir up the mountains and forests. Only by being truly attached, truly being an insider, could Luong Tuyen write melodies and lyrics that are both authentic, rich in humanity, and no less refined and romantic! Next is the passionate and proud melody in the song “Huyen thuy Sao Va waterfall”. Here, the author compares himself to a lost fairy who descends to the misty Western region of Nghe An, and then: "Bewildered by the waterfall, I thought I was entering the land of Elysium". In the song "On the top of Pu Pom", the musician sought to return to his roots, to the legend of "Nine villages, ten muongs", where there is Ta Tao wharf, and Nine-Garden Temple. And then, not long after this song was released, Nine-Garden Temple was restored so that the people of Nine villages, ten muongs could come to the land of Que Phong to worship...

Also born and raised in the countryside of Mon Son - Muong Qua, nurtured by the spiritual milk of folk songs, Le Hoang (1957) soon realized the role of music in the spiritual life of the village community. At the age of 20, the young Thai ethnic man left the village to study medicine. A few years later, upon returning, Le Hoang worked at Con Cuong District Hospital. He often went to remote villages to examine, treat, and take care of the health of the people. As a medical officer, Le Hoang realized that many of his compatriots were still bound by superstition, not believing in the progress of science and technology. To change perceptions, we must first affect spiritual and emotional life. That became the driving force that urged him to compose songs. With his passion and innate talent, along with his life experience and accumulated experience, he decided to put his feelings into musical notes, to receive love and trust. The people of the highlands always show respect and remember Uncle Ho's merits. For that reason, through his songs, Le Hoang often speaks for the people's feelings towards the Father of the nation. Among them, we must mention songs such as "The Muong thanks Uncle", "Uncle's words still resonate in the Muong's heart", "Uncle's thanks", "The stream misses Uncle". The lyrics are extremely simple, pure, sincere, and passionate. That is the way of life and behavior of the people of the highlands.

Now, Tran Vuong is about to turn 73, old age and illness do not allow him to travel to all the villages and hamlets like when he was young. Luong Tuyen has been gone to the Muong Heaven for 6 years. Le Hoang is also nearly 60 years old. Many people have realized the "emptiness" behind the "musicians of the mountains and forests". There are few people who are passionate about the life and musical identity of the ethnic communities in the highlands, including those who left the Muong villages. Meanwhile, the life of the villages is constantly changing. This is what the cultural sector, those working in ethnic policy and localities should ponder, find ways to "support" and "fuel"!

Article and photos:Tuong Anh