Composer/Teacher Nguyen Quang Dai,

COMPOSER/TEACHER:
NGUYỄN QUANG ĐẠI
(BA ĐỢI)

Nguyen Quang Dai (also known as Ba Doi as the Southerners call it) was born in Hai Que commune, Hai Lang district, Quang Tri. He was born in the Year of the Horse in 1855, the year of his death is unknown.
Regarding the hometown of musician Nguyen Quang Dai, according to the research of Ha Thang (Thua Thien – Hue General Museum), there are instructions: “From the mountainous area of Quoc Oai, Tay Son town, Mr. Nguyen Nhu Hau, Mr. Nguyen Nhu Long followed the stream of Southern people to enter and stopped at Minh Linh land, and together with his friends founded Nguyen Xa village. In the first half of the 16th century (about 1510 – 1520), Mr. Nguyen Nhu Bien, his son Hau, left Nguyen Xa village to settle in Kim Luong land (ie Kim Long – author’s note), Hai Que commune, Hai Lang district, Quang Treat. Nguyen Quang Dai belongs to the Nguyen Nhu family in Hai Que, born in the year of the Horse (1885-?). As a child, Nguyen Quang Dai went to school with his cousin Nguyen Minh Thong. But perhaps his academic path was not very successful. And Nguyen Minh Thong then passed and worked in the Nguyen Dynasty under King Ham Nghi and had a wife, a lady of the Nguyen Dynasty, Ms. Ton That Thi Cuc. The way Nguyen Quang Dai came to the mandarin of the Nguyen dynasty is not mentioned, is it possible that he was recommended by Nguyen Minh Thong or he was a mandarin under the reign of Tu Duc – Kien Phuc – Hiep Hoa due to his own musical ability? ” (Hopefully with this guide, when the article is published, the descendants of musician Nguyen Quang Dai in Kim Long will soon be found).

As an official in the Nguyen court, Mr. Nguyen Quang Dai responded to the Can Vuong movement against the French at the end of the 19th century. After the fall of Hue capital in 1885, King Ham Nghi left the country, he brought his patriotism to find a way to the South to live by teaching music.

In a research article, writer Son Nam said the background when he went to the South was as follows: When the Can Vuong movement disbanded, he went to live in Saigon – Cho Lon, Long An region and the eastern provinces. At that time in the South, the last uprisings of the caliber of the Thu Khoa Huan movement were suppressed, the French executed Thu Khoa Huan and punished the assembly of villages in My Tho, in the Tan area. An. In 1885, there was an uprising in 18 villages of betel nut gardens in Hoc Mon. Mr. Phan Cong Hon, the insurgent who killed the governor of Ca, who was actively serving the colonial government, was also taken to the High Court for execution. The most significant Can Vuong movement in the South at that time was Tu An Hieu Nghia in That Son (Seven Nui, Long An province) which also disbanded when King Ham Nghi was arrested… From 1885 onwards, the French colonialists prevailed in In all respects, the South was a colony separated from the Hue court. Saigon Port has been open for more than 20 years, vibrant. Ben Thanh Market, Governor’s Palace, Thuong Tho Palace, Courts, Power Plants… were completed and put into operation. Rice is sold at a higher price, freely buying cotton cloth, silk, more kerosene to light the lamp… Gambling, brothels sprang up, licensed by the French authorities, poorly inspected… Mr. Nguyen Quang Dai brought his patriotism to the South, in the above context, how to do political activities. But our compatriots cling to temples and shrines to keep their father’s culture. In 1885, the elderly still wore black scarves and ao dai on the street, weddings and funerals were held as before. Until 20 years later, in Cho Lon, fish vendors were still wearing Ao Dai, including some Hue tea vendors. Teachers, some civil servants working for France still keep black ao dai but wear leather shoes… The only means of entertainment of folk and always of urban people is to speak Van Tien’s poetry, sing while reaping, and row a boat. . And everyone is still passionate about singing and dancing. On family occasions, funerals, and weddings, there are still bands that create atmosphere. Western new music is scarce, bands and troupes procession from France, for the French mandarins; The rare piano is also reserved for the children of the French mandarins… The French prevailed, the Vietnamese, though far from the Hue court, still longed for unity with the court. The colonists wanted to let the people in the colony of Cochinchina lose their roots, but in fact responded. Even the landowners and civil servants with Western education later preserved and promoted ancient music through amateur music, through cai luong tuong, and the ancient music movement still resonates forever…

Nguyen Quang Dai entered Saigon and other lowland provinces in the context of the loss of his home as mentioned above. In a new land with a feeling of being exiled but not far from his ancestors, he borrowed music to grieve, to love, to remember, to hesitate to be sad and happy in his new homeland. He was the first person to inaugurate the Southern Don Ca Tai Tu and Southern ceremonial music bearing the characteristics of the Vietnamese national identity.

In many localities, especially in the area of Saigon, Cho Lon, Can Duoc, Can Giuoc, Tan An … all imprinted his footprints. Many of his students later became famous artists and musicians. Don Ca Tai Tu Club in District 8, City. Ho Chi Minh has a fairly complete statistic as follows: “In Da Kao, he (Nguyen Quang Dai) trained famous musicians such as Sau Thoi (Giao Thinh’s teacher), Tu Nghi, Nam Can, Cao Huynh Cu. , Cao Huynh Dieu, Cao Huynh Sang, Bay Nho… In Can Duoc, Can Giuoc of Long An, he trained talented musicians such as musician Lao, musician Thoi, Hai To Le, Sau Thong, Chin Chieu, Nam Tinh, Ms. Sau Gioi, Ms. Bay Lung, Mr. Xa Nam, Hai Bau, Nam Khiet, Nam View (the late grandfather of musician Hai Bieu), Ba Dong, Twelve Duong, Nam Quynh. In Dong Nai, he also had disciples such as Van Kien (trumpet), Vo Right (drums) famous in the world of ceremonial music. In Song Be, there are monks Dung (teacher teaching the lute for Mr. Giao Thinh), Ut Lang, and Ut Bung. In Ben Tre, the artisans are also the third generation descendants of Mr. Nguyen Quang Dai, many provinces in the Mekong Delta, the disciples have also learned from his disciples. From his disciples, generations of artisans followed, such as Nine Ky, Hai Phat, Hai Bieu, Tu Huyen, Sau Quy, Bay Ham, Bay Que, Nam Giai, Muoi Lang, Tu Bi, Ut Nghiem, Hai. Quite, Tam Nhut, Tu Tu, Ba Luu, Van Vi … created a movement to love our music throughout the South of Vietnam”.

In the world of artisans, artists of Southern Vietnam consider Nguyen Quang Dai a genius in many fields such as: Hue court chamber music; ceremonial music in mandarins, kisses, funerals, sacrifices; theatrical music of singing Boi and Don Ca Tai Tu in the South. Not only did he teach the dan, but he also composed many classical compositions such as the “Eastern Ngu Chau” and “Eight Ban Ngu” sets to welcome King Thanh Thai, a patriotic king, to the South on December 4, 1897. Those eight songs include Duong Thai Ton, Chieu Quan, Vong Phu, Tuong Tu, Duyen Ky Enlightenment, Bac Man Attacks Tribute, Ai Tu Kiet (Eastern Region), and Widow Condemned. He has systematized amateur tunes into four tunes North, South, Ha, and Oan (20 songs from the group). Many researchers of Southern traditional music said that up to now, there are more than 100 songs including the four above-mentioned rhythms, but there are only 20 songs called tote songs of Southern ancient music:

• 1- Six Northern songs: Luu Thuy, Phu Luc, Binh Semi-Chan, Xuan Tinh, Tay Thi, Co Ban.
• 2- Three South songs: Nam Xuan, Nam Ai, Dao Ngu Cung (also known as Nam Dao).
• 3- Four songs of Oan (Resentment): Tu Dai, Phung Cau, Phung Hoang, and Giang Nam.
• 4- Seven great songs: Xang xe, Ngu Doi Thuong, Ngu Doi Ha, Long Dang, Long Ngam, Van Gia, Tieu Khuc.

“With these 20 songs, people are divided into four categories. Why is it divided into four categories? Because in the past, the ancients borrowed the four seasons to make time; choose the rhythm of each song to distinguish. Accordingly, “Six Northern Songs” with cheerful rhythms belong to Xuan Nhac (Spring songs). The “Seven Great Songs” rhythm is as angry as angry, as impatient as anger, so it is called Ha Nhac (Summer songs). “Three South Songs” with rhythms, some songs are poetic, some songs are sad, others are enthusiastic and quiet, symbolizing autumn, so it’s called Thu Nhac (Autumn songs). And, when it comes to “Four Songs of Resentment”, the melody is sad, mournful, and lyrical, so it’s called Dong Nhac (Winter songs). From the North and South tunes that have existed for a long time, Southern music has more Oan tunes. In addition to the four songs of Oan mentioned above, there were many other Oan songs born after that, but the “Da Co Hoai Lang” and then “Vong Co” all carried the Oan mode. Many researchers of Southern traditional music believe that the four songs of Oan are associated with 100 years of French domination, expressing the sufferings and hardships of the Vietnamese people. Many people believe that it was musician Nguyen Quang Dai who created the Oan. The song “Tu Dai Oan” (Four great resentments) is the successor of the “Tu Dai Canh” (Four great scenes) in the Central region because he transformed it into a typical song of the Oan. Researcher Thien Moc Lan affirmed unequivocally: “If someone asks the question: Where did Southern amateur music come from? We can immediately answer that: Southern ceremonial music is adapted from Hue court music. Southern amateur music comes from ceremonial music. And finally, Cai Luong stage music was formed from the Southern amateur music movement that flourished in the early decades of the twentieth century.

A musician full of talent and virtue, but when he died, he was in poverty and destitute. His coffin was carried by a horse-drawn carriage carrying fish to the desolate area of Binh Dong, Rach Cat, now in District 8, City. Ho Chi Minh. Up to now, the grave is lost. Fortunately for posterity, in a handwritten document, his student was musician Nguyen Van Thinh (1907 – 1991), a former professor at the Saigon National School of Music and Drama (now the Ho Chi Minh City Conservatory of Music) has the date of his death as January 19, but the year of death is not recorded.

Before 1975, the name of musician Nguyen Quang Dai was almost forgotten. Until 1994, the amateur music club and cultural house in District 8, HCMC. Ho Chi Minh for the first time held a very solemn ceremony for the death anniversary of Nguyen Quang Dai at the Cultural House of District 8 on January 19, Lunar Calendar. Many writers, artists, musicians and amateurs in Ho Chi Minh City. Ho Chi Minh City and the provinces of Binh Duong, Dong Nai, Long An, Can Duoc, Can Giuoc, Hoc Mon attended. In 1994, his spirit was worshiped at the Cultural House of District 8; The only memento of the old man left was the pepper pipe brought in from the Central region. This memento was given to a student, Mr. Lai Van Thoi (commonly known as musician Sau Thoi). When Mr. Thoi passed away, his son continued to take good care of it and finally, his grandson, Mr. Lai Van Buu, gave this memento to the District 8 Cultural House to worship next to the relic. In 1996, his spirit was brought to worship at Van Phuoc communal house (My Le commune, Can Duoc district). Long An province). Over the past two decades, every year, Van Phuoc communal house has held a festival to pray for peace with the death anniversary of Ba Doi (Nguyen Quang Dai). Thus, by the end of the twentieth century, the name of Mr. Nguyen Quang Dai was honored by the people of the South as the late ancestor of the Southern Don ca tai tu art; “The pioneering artist of ceremonial music and amateur music Nguyen Quang Dai” is known as drinking water, remembering the source, reminding today’s generations to remember the great merits of him and the generations of his predecessors. The creation and transmission of Southern Don ca tai tu art has been honored by UNESCO as an intangible cultural heritage representing humanity.