With just three love songs, Đêm Thu (Autumn Night), phi thuyền Không Bến (Adrift), & Giọt Mưa Thu (Autumn Raindrops), Đặng cố kỉnh Phong joined the pantheon of great Vietnamese songwriters of the pre-war years. He ranked among the pioneers of modern Vietnamese music, seamlessly melding the traditional pentatonic scale with Western heptatonic scale. The song chiến thuyền Không Bến is an example of this type of composition. The theme of autumn permeating his repertoire, small as it is, has the power to lớn unleash an avalanche of autumn songs that lasts lớn this day, to lớn the delight of the Vietnamese audience.

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A native of nam Dinh Province, birthplace of an impressive succession of talented musicians: Ðan Thọ, Hoàng Trọng, Nguyễn Xuân Khoát (1910), Văn thông thường (1914), Lê yên (1917), Nguyễn Văn mến (1919), Bùi Công Kỷ (1919), lưu Hữu Phước (1921), Ðỗ Nhuận (1922), và Phan Huỳnh Ðiểu (1924), Đặng cầm Phong rose to prominence as a songwriter of the thắm thiết movement và was glorified by universal accolade. His memory is further honored by the tragedy of his short life. Born into a family of civil servants in 1918, the second of six children, whose father, Đặng Hiển Thể, died early, he managed to lớn gain an eighth-grade education before dire financial circumstances forced him to seek employment by moving khổng lồ Hanoi, where for a while he enrolled as an auditor at the College of Fine Arts. He earned a meager income by illustrating the magazine học Sinh. (Young Students) under the editorship of the detective story writer Phạm Cao Củng, while financing his further education. For the magazine, he produced the literary comics Hoàng Tử Sọ Dừa. (Prince Coconut Shell) and Giặc Cờ Đen (The đen Flag Bandits). In the spring of 1941, he left for Saigon, then went on to lớn Phnom Penh, Kampuchea, where he offered music classes until his return to Hanoi in the fall. One story says it is in Phnom Penh that he completed the song phi thuyền Không Bến, which debuted, sung by himself, in the Olympia theater in Hanoi upon his return. However, a probably more credible source, as we shall see below, places the writing of this tuy vậy in 1940 over the Thuong River, and the premiere also took place this year. Severe privations, long unsuccessful travels, and tuberculosis (though he also had meningitis) finally took his life in early 1942 at the age of 24. It is said that he finished writing his last song, Giọt Mưa Thu (Autumn Raindrops), on his deathbed in a small loft on Hang Dong Street in nam Dinh.

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Musician Lê Hoàng Long tells the story of the tuy vậy as an insider. In 1940, :Đặng thế Phong had lớn go lớn Bắc Giang Province for a few days. This province is traversed by the Thuong River, which clearly shows its two currents, one clearer than the other running side by side, probably because of the difference in the amount of sediments. One bright moon-lit night Dang và his friends rented a boat, moored it, & were enjoying the evening over drinks when he received a handwritten lưu ý saying his girlfriend Miss Tuyet had taken ill. For the remainder of the night Dang grew silent & worried. That night, restless and finding sleep elusive, he began khổng lồ write chiến thuyền Không Bến, which he finished before daybreak. Two days later he was back in phái nam Dinh, và Miss Tuyet miraculously recovered on seeing him. In the chill of fall và its light breeze the two lovers met under moonlight. He softly quý phái the just-written melody into her ears, và the world has a new song, whose perennial themes of love và autumn và moonlight once again rise khổng lồ stir every Vietnamese heart.

Commenting on the lyrics, famed folklorist-songwriter-singer Pham Duy emphasizes the malaise of the young generation, who keenly felt the oppressiveness of the colonial regime and could relate khổng lồ the aimless drift of the boat on the currents of the Thuong River, the metaphor for the currents of events, which they were powerless to lớn change. Lớn Pham Duy it had khổng lồ be a boat that is adrift on the Thuong River of two distinct currents, it had to lớn be autumn which brings its cold wind, the haze that reaches khổng lồ the cloud front, the wind that whistles among the pines, and the moon that lights the landscape khổng lồ arouse the Zeitgeist in the Vietnamese soul of the time, the tenderness, the pain, the melancholy, the love of kinfolk và land, which remain the motifs across all genres of artistic creation. A boat adrift on the Seine in the summer would never elicit any kind of meaningful response.