Program

1. Tan Tya Te Shin
Mar Mar Aye (vocals), U Hla Myaing (patala-xylophone)

This classical song is the first song taught to any music student. Its words introduce the syllables of Burmese solfege.

2. Taw He Wan Le
(In the Midst of the Beautiful Forest)
U Nyunt Naing (saung gauk-harp)

A classical song performed as an instrumental solo.

3. Fantasia on classical themes
Aung Win (sandaya-piano)

A medley of characteristic melodies from songs about the rainy season: the classical song Lye’ pan hkwe nwe (“The Beauty of Lightning”), and the early-20th-century song Mo (“Rain”), which describes the longing of separated lovers during the rainy season.

4. Slide Guitar
(i) O Pan Pa Bi (So Heart-broken)
Man Ya Pye U Tin (Slide Guitar)

A classical song performed as a solo for the slide guitar

(ii) Nan Kya Nyo Kyaw
Man Ya Pye U Tin (slide guitar), Mar Mar Aye (vocals)

An excerpt from a pat pyou song from the classical repertory

5. Tayou’ Hne Pa’ Zan (The Sound of the Chinese Oboe)
U Hla Myaing (patala-xylophone), U Nyunt Naing (saung gauk-harp), Aung Win (sandaya- piano), Man Ya Pye U Tin (slide guitar)

A composition by U Hla Pe, inspired by his impressions of Chinese music.

6. Se Mee Kwet (Candle Dance)
Dancers: Lillianne Fan, Marla Htay Bu, Su Htun

A dance to welcome the Buddha back to the earthly realm after the sermon to his mother and other spiritual beings in the celestial abode.

7. Mingala Dance
Dancer: Maung Maung Myint Swe

A dance about fun, happiness, and celebration.

INTERMISSION

8. Music for Hsaing Waing Ensemble
A hsaing waing performance includes compositions in various musical modes, arranged in a traditional sequence.

(i) Ka Pya Hkyi
An overture in the opening musical mode, chau’pauk’. It is designed to allow the leader to tune the pat waing drum circle, which he does by applying paste to the heads of the drums.

(ii) Htai’ Htwe’ Tiloun (Prelude)
An opening instrumental piece, which gives the musicians an opportunity to refine their sense of ensemble, bringing their musical personalities into harmony.

 

(iii) Pyo Hkyi
A genre of song through which the musicians express their gratitude to their teachers, and which is meant to bring blessings to the audience. The pyo hkyi composition used tonight was composed by Sein Chit Tee, Kyaw Kyaw Naing’s father.

(iv) Son Tha Myain Le
This is an instrumental arrangement of a song from the classical repertoire; its words describe the longing one feels in the solitary experience of the beauty of nature.

(v) Than Sin Pyaung Han Tha Pye Hkan
A song of celebration for auspicious occasions. With this piece the performance shifts into another musical mode, ngabauk; the drum circle player retunes his instrument while playing. The song melody is followed without pause by an instrumental piece by Sein Chit Tee.

(vi) Te Hta’
A song from the classical repertoire, demonstrating the lyrical beauty of Burmese music. The musicians add their own ornaments and personal touches to the traditional melody.

(vii) Tiloun
Many instrumental compositions, like this one, are without titles and are simply called tiloun (“something to play”). With this piece the musical mode changes again, to pa’sabou.

(viii) A-Za-Ni
A song honoring the heroes of the country, composed by the brothers U Han Pa and U Hla Pe. At certain moments the musicians call out “a-za-ni” (patriots!).

(ix) Ta Hkain Loun Shwe (The Golden Branch Entire)
A medley in which piano and harp join the hsaing waing ensemble, with several instruments exchanging solos.

(x) Yoya Than Wei Ei Hkyan Zei (May There Be Peace)
Composed by U Than Kyin, a performer on saxophone, trumpet, and other wind instruments. Intended for national celebrations, it adds two traditional drums to the hsaing waing ensemble: the dobat and the ozi, a tall, thin, goblet-shaped drum.