Duc Tri’s Musique de Salon: reviving old songs with new soul

With that in mind, what songs will you choose for the evening? A single stage seems too broad for such a theme.

DT: A musical landscape from any given era is always multi-hued; it cannot be divided neatly into “old” or “young” music. It is a tapestry of colours. With this vision, rather than painting a sweeping portrait of music across decades, we follow another path: by evoking the styles of memory, Musique de Salon leads the audience back to “the old days”. There, each listener revisits their own journey, recalling how countless melodies and songs became entwined with their past.

With this approach, the repertoire remains open and without limits, promising surprises that will surely delight the audience.

When recreating old pieces with a symphony orchestra, what kind of space and emotion do you hope to create?

DT: We have an orchestra of 40 professional musicians, capable of playing in many different styles such as soul, disco and jazz. This time, we are not aiming for classical repertoire or Western symphonies, but for a musical canvas of the 60s and 70s, rich in colour, to conjure the atmosphere of that era as vividly and authentically as possible.

Of course, a large orchestra does not always need to be loud or to display its full force. At times, it must hold back, shaped to suit the spirit and the story it seeks to tell. What both I and the orchestra bring is delicacy, the most “real” sounds, without electronic intervention – a defining hallmark of Musique de Salon.

Is there any boundary or stopping point for “refreshing old songs”?

DT: Yes. That boundary is respect for the beauty of the work itself. An artist should not, or rather cannot, discard the values of a piece simply because it is old, in order to create something inferior under the guise of “renewal”. Often, I do not alter anything; I let the song remain as it is. Performed today with a new orchestra, fresh sound and different singers, it is already new. I do not like to lean on the excuse of so-called “renewal”.

The singers in this programme include Quang Dung, Hoang Hai, Le Hieu, Quoc Thien, Phuong Vy and Nguyen Ha are all beloved lyrical artists with distinctive voices. Can you reveal any surprises?

DT: There will be many surprises, as there always are at Musique de Salon. The singers may perform songs the audience has never heard them sing before. They will not only revisit pieces that are part of the public’s collective memory, but also songs bound to their own personal stories, creating a space of genuine, profound emotion.

Yet the greatest surprise will always be in the present moment. That is the nature of a live performance, where artists are carried by unpredictable surges of inspiration. For that reason, I would like to keep many secrets, so the audience can experience those emotions fully on the night.

Responding to market needs or respecting personal ego, what matters more to you?

DT: I do not care much for market demand. What I respect is the work itself, and my daily collaborators. That is the principle behind my music: not self-indulgence, but respect for the craft. When the audience attends our performances, they sense this time and again.

As music becomes an industry, how do revenue and market pressures affect the freedom and individuality of artists?

The pressure is endless, so the only way forward is not to let it overwhelm you. Balancing commerce and art is never easy, but there is always a space where the two converge. If a professional like me were to fall too far into either side, whether commerce or art, it would be unbearable. To survive without losing heart, one must balance both.

Read more: CEO Sconnect Ta Manh Hoang and the big dream of becoming “Vietnam’s Disney”

In your musical journey, do you think the audience also plays a role in “shaping” the artist and their work? Or in other words, does public reception affect your creative identity?

DT: In this era, artists may be easily swayed by the crowd, but our generation is not. We do not live to count views or tally audiences. Above all, we must know for ourselves whether the work we present is worthy of appreciation. Yet those who choose to be pioneers must always accept one truth: it takes time for the public to embrace you.

With Musique de Salon, what do you want to bring to music?

DT: I can only say that I always give my utmost to the programmes I conceive, collaborate on, or invite others to join. Every project, whether large or small, receives my full devotion. In 30 years of working, I have never stopped. What I hope is that the artists, colleagues, collaborators and audience trust that I will always strive to ensure the very best outcome in everything I do.

How do you hope contemporary audiences and future audiences will remember Musique de Salon?

Musique de Salon is my way of honouring the Westerners who introduced modern music to Vietnam, allowing us to share in a modern music scene like anywhere else. My hope is that with each programme, we gradually sketch a musical portrait across the decades. Then, after five, ten years or more, our body of work will reflect part of the landscape of Vietnamese music over time.

Musique de Salon is a project initiated by musician Duc Tri, who serves as Music Director, with concerts staged in theatres and performed by a professional orchestra. The project puts music at the forefront, celebrating beautiful voices through meticulous and finely considered arrangements.

Each edition of Musique de Salon is crafted with its own character, highlighting simplicity, sophistication and the original beauty of the song.

Now in its 16th season, the project has continued to flourish, winning ever greater appreciation from the public.

This article is adapted from the original published in Tatler Vietnam, July 2025 issue.

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