Program Notes
Love, Southeast Asia
In Southeast Asia, love is rarely spoken outright—it lingers in the steam of a hot meal, in a quiet “Text me when you get home.” It’s in a mother’s knowing glance, a friend’s steady presence, a grandparent’s whispered: “Take this, just in case.” It’s in the careful slicing of fruit, wordlessly placed in front of you, even after a day of disagreement.
Love, Southeast Asia brings these affections to life through seven songs. From romantic longing to the warmth of family, from spiritual devotion to the hopes of immigrants who have made this region their home, these seven choral works paint love in all its forms—without ever needing to be said.
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Trad. Kelantanese, Arr. Tracy Wong
Originating from the state of Kelantan in modern-day Malaysia, Wau Bulan (The Moon Kite) belongs to one of the few communal singing traditions native to the Malay Archipelago called dikirbarat. Dikir barat is a song-dance tradition in which performers sit in rows on the floor, singing and performing choreographed hand and body movements. Typically, the performance is accompanied by drums and gongs, and the awok-awok (chorus) is led by a tok juara (lead singer), who is often celebrated for their ability to improvise the sung pantun (poem) to suit the occasion. Traditionally, both the song and the wau bulan kite are performed and flown after the paddy fields have been cleared following the harvest. In Wong’s arrangement, the arrangement begins with an improvised solo passage, accompanied by a soundscape evoking the serene setting of a paddy field. As the music progresses, paluankompang-style (Malay hand drum) body percussion is introduced, building excitement as the kite ascends higher and higher.
Text and translation:
Ewah buleh, ewah buleh,
Teraju tigo.Alah ewah, ewah buleh,
Teraju tigo.//
Oh wow, the moon kite!
The three-cornered kite.Oh wow, the moon kite!
The three-cornered kite. -
Ralph Hoffmann
Ralph Hoffmann, a German-born composer who has lived in the Philippines since 2003, composed Ama Namin (Our Father) as a homophonic, calm, and meditative setting of the Lord's Prayer in a Western choral style. While this piece was composed by a non-native Filipino and follows Western chordal traditions, it remains deeply rooted in Southeast Asia’s choral heritage. Southeast Asian choral repertoire is often associated with loud, clangy, bright, and forward sounds, filled with interlocking motifs and onomatopoeia. However, Ama Namin challenges this stereotype, highlighting the diversity of the region’s choral traditions. Christianity and Western Christian choral music arrived in Southeast Asia as early as 1511 with the Portuguese landing in Malacca, sparking a blending of Western and local musical practices. This fusion led to the creation of a new choral canon, unique to Southeast Asia, and Ama Namin serves as a prime example of this cultural amalgamation.
Text and translation:
Ama Namin, sumasalangit ka.
Sambahin ang ngalan mo.
Mapasaamin ang kaharian mo,
Sundin ang loob mo dito sa lupa para nang sa langit.
Bigyan mo kami ngayon ng aming kakanin sa araw-araw,
At patawarin mo kami sa aming mga sala,
Para nang pagpapatawad namin sa nagkakasala sa amin
At huwag mo kaming ipahintulot sa tukso,
At iadya mo kami sa lahat ng masama.
Amen.//
Our Father, who art in heaven,
hallowed be thy name;
thy kingdom come,
thy will be done,
on earth as it is in heaven.
Give us this day, our daily bread,
and forgive us our trespasses
as we forgive those who trespass against us.
And lead us not into temptation,
but deliver us from evil.
Amen. -
Minggoy Lopez and Levi Celerio, Arr. George G. Hernandez
Rosas Pandan is a beloved Filipino folk song that tells the story of a young woman named Rosas Pandan, who captivates all who meet her at a local fiesta. Composed in 1938 by Domingo "Minggoy" Lopez for a Visayan zarzuela, the song celebrates the region's cultural traditions. Though the zarzuela was never produced, the song gained popularity and was later translated into Tagalog by Levi Celerio in the 1970s. Pilita Corrales helped popularize the Tagalog version, and it remains a favorite in Filipino repertoires, often performed with traditional instruments like the guitar, drums, and kulintang. Its enduring appeal highlights the rich musical heritage of the Philippines.
Text and translation
Ania si Rosas Pandan
Gikan pa intawon sa kabukiran
Kaninyo makiguban-uban
Sa gisaulog nga kalingawanBalitaw day akong puhunan
Maoy kabilin sa akong ginikanan
Awit nga labing kara-an
Nga garbo ning atong kabungturanAyayay ayayay ayayay
Ayay sa atong balitaw
Manindot pa ug sayaw
Daw yamog ang kabugnawDika dong dika dong dika dong
Ayay usab si Dodong
Nagtan-aw kang Inday
Nagtabisay ang laway//
Here is Rosas Pandan,
Come down from the mountains
To be with all of you to celebrate.
This song is a precious inheritance,
A most ancient song,
the pride of our hills.
Ayayay, ayayay, ayayay,
This is my song,
Dancing like fog on a cool day.
Togadong, tigadong, tigadong,
Look at Dodong, the young man,
He’s looking at the girl,
he is drooling! -
DayungSampan is a traditional Indonesian folk song describing rowing or paddling a sampan or wooden boat. There are many versions of the original folk song, which was adapted by immigrants in Singapore in the 19th century. The melody was later popularized by the Taiwanese singer Teresa Teng in one of her most famous pop songs, Tian Mi Mi (甜蜜蜜). The opening verse of this choral arrangement borrows text popularized by the Singaporean choral composer Darius Lim, which describes the journey by boat from China to Singapore to seek a better life. Later verses utilize the structure of the pantun, a form of Malay poetry in which the first two lines (the pembayang) typically describe a scene or situation that is unrelated to the second two lines (the isi), which is the true meaning of the text.
Text and translation:
Dayung sampan, dayung dayung sampan.
Datang dari negara Cina sampai Singapura
Lai lai lai lai lai.Naik sampan, sampan didayung.
Sampan pun m’laju hai nelayan
ke pantai nan biru.Kalau tuan mencari jodoh,
Jangan mencari hai nelayan,
Selalu cemburu.Jangan selalu cemburu,
Cemburu hatinya palsu.//
Row the sampan (boat), row, row the sampan.
Coming from China to Singapore.
Lai lai lai lai lai.A sampan is being rowed quickly.
The sampan is being rowed, fisherman,
To the blue beach.If you are looking for a loved one,
Be aware of the fisherman,
Be aware of jealousy.Yes, be aware of jealousy,
As it is everywhere and will make your heart false. -
Trad. Thai, Arr. Atichai Tragoondet
During World War II, a dance tradition called ramwong emerged in Thailand. To help people momentarily escape their hardships, the Thai Prime Minister encouraged the public to partake in this lively dance. Ramwong is typically performed in pairs, moving in a circular formation. These dances were accompanied by Ramwong songs, sung by one or more villagers and accompanied by a few percussion instruments. Among the most popular songs of that era were Yuan Yah Le and Yuan Yuan Yuan.
Text and translation:
ยวนยาเหลยวนยาเหล่ (Yuan ya le yuan ya le)
หัวใจว้าเหว่ไม่รู้จะเหไปหาใคร (Hua jai wa we mai ru ja we pai ha krai)
จะซื้อเปลญวนที่ด้ายหย่อนๆ (Ja sue ple yuan thi dai yon yon)
จะเอาน้องนอนไกวเช้าไกวเย็น (Ja ao nong non kwai chao kwai yen)//
Yuan Ya Leh, Yuan Ya Leh,
My heart is lonely, not knowing who to turn to.
I will buy a hammock with soft strings,
To let my love rest, swaying in the morning, swaying in the evening. -
Prince Benbadhanabongse, Arr. Kittiporn Tantrarungroj
Lao Duang Deuan is a beloved Thai song whose title carries a dual meaning, referring both to Laos, Thailand’s northern neighbor, and to the moon (duang deuan), a poetic symbol for a woman. Composed around 1924 by Prince Benbadhanabongse (1882–1909), a skilled musician who played nearly every Thai classical instrument and founded Prince Ben’s Band, the song was inspired by his love for Princess Chomchuen of Chiang Mai. After his request to marry her was denied by her father, he wrote Lao Duang Deuan in her memory, performing it whenever he longed for her. Traditionally accompanied by Thai classical instruments, the song remains widely cherished and is sung by people of all ages in various settings.
Text and translation:
โอ้ละหนอ ดวงเดือนเอย (O la no duang duan oei)
พี่มาเว้ารัก เจ้าสาวคำดวง (Phi ma wao rak chao sao kham duang)
อ้ว่าดึกแล้วหนอ พี่ขอลาล่วง (O wa duek laeo no phi kho la luang)
อกพี่เป็นห่วง รักเจ้าดวงเดือนเอย (Ok phi pen huang rak chao duang duan oei)ขอลาแล้ว เจ้าแก้วโกสุม (เอื้อน) (Kho la laeo chao kaeo ko sum)
พี่นี้รักเจ้าหนอ ขวัญตาเรียม (Phi ni rak chao no khwan ta riam)
จะหาไหนมาเทียม โอ้เจ้าดวงเดือนเอย (Ja ha nai ma thiem o chao duang duan oei)
จะหาไหนมาเทียม โอ้เจ้าดวงเดือนเอย (Ja ha nai ma thiem o chao duang duan oei)หอมกลิ่นเกสร เกสรดอกไม้ (Hom klin kaeson kaeson dok mai)
หอมกลิ่นคล้ายคล้าย เจ้าสูเรียมเอย (Hom klin khlai khlai chao su riam oei)
หอมกลิ่นกรุ่นครัน หอมนั้นยังบ่เลย (Hom klin krun khran hom nan yang bo loei)
เนื้อหอมทรามเชย เอยเราละเหนอ (Nuea hom sam choei oei rao la no)//
Oh my dear Duang Deuan,
I come to talk to you, my beauty of the night.
But it’s getting late, and I have to leave
Though my heart still yearns for you, dear Duang Duean.I must leave, my dear.
I truly love you, my beauty.
Where can I find anyone like you,
Oh my dear Duang Deuan?Oh sweet fragrance,
The fragrance of flowers.
A fragrance so like yours.Such sweetness,
A sweetness I never will forget;
The sweet fragrance of youth.
Oh, how I love you. -
Trad. Malay Archipelago, Arr. Yu Hang Tan
Rasa Sayang (Feelings of love) is arguably one of the best-known folk songs in the Malay Archipelago, a region encompassing modern-day Indonesia, Malaysia, Singapore, and Brunei. A folk song that encapsulates much of the Malay character––that special combination of conviviality, playfulness, earthiness, sensuality, subtlety, and charm––Rasa Sayang is often performed at weddings, convocations, international events, and opening and closing ceremonies for all kinds of events. Set for mixed chorus, piano, and kompang (Malay hand drum), this arrangement borrows inspiration from the interlocking textures of the Malay gamelan and the bright and forward timbre from Malay folksongs.
Text and translation:
Rasa sayang, hey rasa sayang sayang hey.
Lihat nona jauh rasa sayang sayang hey.Pisang emas dibawa belayar,
Masak s’biji di atas peti.
Hutang emas boleh dibayar,
Hutang budi dibawa mati.//
I feel loved, hey!
Look at the girl in the distance.Golden bananas were brought on a sailing trip,
One ripened on the chest.
The debts of gold we can repay,
But the debts of kindness last through life
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Suara Southeast Asian Choir is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of Suara Southeast Asian Choir must be made payable to “Fractured Atlas” only and are tax-deductible to the extent permitted by law.