The fact that the concert was held on September 2nd, a special day for the country, to celebrate the nation and honor timeless musical works and valuable pieces is already a very special detail.
And yet it has been happening continuously for the past 16 years. However, each year, "What Remains " reveals even more.
And this year, after fully enjoying the show at the Ho Guom Theatre, I also want to say a few things!
International Orchestra and National Spirit
One of the highlights that impressed me most from the very beginning of the "What Remains 2025 " program was the collaboration with the Sun Symphony Orchestra under the direction of French conductor Olivier Ochanine.
The appearance of a professional symphony orchestra with many foreign artists shows that the picture of integration of "What Remains" in particular, and Vietnamese music in general, is becoming increasingly attractive and widespread in the current period.
A particularly moving moment occurred after the intermission, when the entire orchestra, including the conductor, draped scarves bearing the image of the Vietnamese flag over their shoulders.
In the solemn lighting of the Ho Guom Theatre, the image of dozens of Vietnamese and international artists draped in the Vietnamese flag, the sacred symbol of the nation, has become a unique "patriotic trend" this year.
This is not only an interesting detail, but also an affirmation that music can transcend borders, connect hearts, and spread national pride.
While the orchestra's visual impact was striking, it was the artistic touch of music director and composer Tran Manh Hung that gave the program its soul.
After many years of dedication, he continues to demonstrate his ability to blend the refined academic quality of symphony with a sense of closeness and accessibility for a wide audience.
A distinctive feature of the national concert "What Remains" is its consistent approach to vocal performance, with melodic works that are accessible and suit the musical tastes of the general public.
Even in the purely instrumental pieces used in the program, the music director skillfully exploited melodies rich in vocal quality, making listeners feel as if the music is speaking.
This helps ensure that even on the symphony stage, "The Enduring Melody" retains the spirit of a concert, where the melody can touch the hearts of many.
A colorful tapestry of music
The album "What Remains 2025" continues to affirm its strength in diversity, like a multi-faceted musical painting: From instrumental to vocal music, from pre-war music and revolutionary music to folk and modern music - all are present.
But that very "sufficiency," if lacking the skillful touch of a "chef," can easily turn into a bland, tasteless soup.
Fortunately, this did not happen in "The Lasting Thing ." The harmonious selection and arrangement of the works, exploring diverse musical colors and genres, yet remaining unified in melody and expressive style, created a whole that was both diverse and cohesive.
In the instrumental music section, the audience experienced unique creations. Notably, there was a contemporary work written specifically for the zither - "Motherland" (Tran Manh Hung) performed as a solo by Meritorious Artist Le Giang with the symphony orchestra.
The timbre of the Vietnamese bầu instrument intertwines with the language of Western symphonies, leaving a profound and lasting impression.
Composer Tran Manh Hung also selected two classic songs of modern Vietnamese music: "Song Lo" (Van Cao), arranged for piano and symphony orchestra, and "Huong Ve Ha Noi " (Hoang Duong), which is rich in instrumental quality, now resonates through the cello and orchestra.
However, the biggest surprise was "Luu Thuy - Kim Tien - Xuan Phong - Long Ho ," a medley of Hue royal court music, performed by eight artists from the Net Viet folk music group along with a symphony orchestra.
This skillful combination opens up a musical space that is both dignified and expansive – a truly delightful experience.
In the vocal music category, the program boasts an exceptionally rich repertoire of works and styles. Alongside classic revolutionary songs such as: "The Song in the Pac Bo Forest" (Nguyen Tai Tue), "Battalion 307" (Nguyen Huu Tri, based on a poem by Nguyen Binh), " Hanoi Song" (Vu Thanh)... there are also familiar songs that unexpectedly appear in the concert, such as "Saigon is So Beautiful" (Y Van), "Hue - Saigon - Hanoi" (Trinh Cong Son), and new works by the younger generation such as "Wind Blowing in All Directions " (Tran Manh Hung), "A Round Trip Around Vietnam" (Dong Thien Duc)...
The unexpected highlight was the performance by the "Soldiers' Uniform" group with the 307th Battalion . Originally a marching song often used in collective settings for propaganda purposes, it was transformed into a polished, academic work of art: from the way the voices were divided among five male singers to the subtle performance of the orchestra, at times restrained, at times explosive.
Set against a familiar march rhythm, the piece alternates between lyrical and intense moments, creating a powerful impression.
The inclusion of "Beautiful Saigon" in the program, performed by choir and orchestra, was a bold decision, but it brought rare moments of relaxation and intimacy to an otherwise academic program.
In addition, "One Round Around Vietnam" - a familiar song, performed by a familiar singer (Tung Duong) - but presented in a fresh orchestral version, also created a highlight, causing the audience to applaud continuously and even keeping the singer on stage longer than usual.
The diversity of works, styles, and periods of composition, combined with the performance of the symphony orchestra, clearly affirms the continuity and the spirit of continuous innovation.
As a result, the program avoids falling into clichéd commemorative patterns and instead becomes a vibrant stream of music, reflecting many facets of history and life.
The intersection of generations of artists
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Another highlight of the program was the multi-generational collaboration of artists. Big names like diva Hong Nhung, divo Tung Duong, and Meritorious Artist Lan Anh appeared alongside younger artists such as Meritorious Artist Pham Khanh Ngoc, Viet Danh, Bach Tra, Dinh Trang, the Ao Linh group, and the promising young talent Ha An Huy.
Tung Duong with "A Tour Around Vietnam":
In the instrumental section, the audience had the opportunity to see Meritorious Artist Le Giang playing the zither again, while also witnessing the brilliance of young artists such as Phan Phuc (Cello), Luong Khanh Nhi (Piano)...
This fusion is not only a continuation of tradition but also conveys a powerful message: Vietnamese music is always passed down and spread from one generation to the next.
Cellist Phan Phuc performs "Heading Towards Hanoi".
Looking at the lineup of participating artists, one can see a rich diversity ranging from familiar faces of light music such as Hong Nhung, Tung Duong, and Ha An Huy, to the folk-inspired style of Bach Tra, and then the standard classical vocalists like Lan Anh, Pham Khanh Ngoc, and Viet Danh.
Hong Nhung surprised the audience by using various vocal techniques on the high notes in "Bài ca Hà Nội" (Hanoi Song) . Although this might sound unfamiliar to some listeners, this choice demonstrates the creative efforts of the singer, who is considered a diva of Vietnamese pop music.
Tung Duong also left an impression by seamlessly blending vocal technique with real-life elements in "The Dak Rong River in Spring " (by To Hai).
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With his impressive musical arrangement, Ha An Huy brought a fresh perspective to Hue, Saigon, and Hanoi. Meanwhile, classical vocalist Dinh Trang and drummer Hoang Ke surprised the audience with their performance of the Cham folk song Thei Mai, showcasing a unique style.
Lan Anh maintained her consistent performance in her signature classical music genre. Bach Tra continued to showcase her vocal talent in folk music. Viet Danh attracted attention with his soaring, powerful voice, creating a vast musical space when performing "Wind Blowing in All Directions ."
In particular, Meritorious Artist Pham Khanh Ngoc truly captivated the audience with "Nha Trang in Autumn" (arranged by Tran Manh Hung). Performing this piece with the orchestra required a high level of technical skill; the entire piece had to utilize legato, along with other techniques demanding endurance in both talent and physical strength.
At the same time, the orchestra's restrained volume throughout almost the entire vocal performance also put immense pressure on the singer's voice - but it was precisely in this challenge that Meritorious Artist Pham Khanh Ngoc shone.
Before concluding, all the artists sang together "As if Uncle Ho were present on the day of great victory" (Pham Tuyen). The auditorium lit up, resounding with pride. It was a moment when music blended with history, artists with the audience, the past meeting the present.
Each performance is a piece of memory, and importantly, those memories don't remain in the past, but are renewed and retold in a modern, accessible artistic language, continuing to accompany audiences today.
Photo: Hoang Ha - Trong Tung
Source: https://vietnamnet.vn/dieu-con-mai-2025-ban-giao-huong-cua-long-tu-hao-dan-toc-2438692.html
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