The 3 B's
Friday 10 Nov ,7pm

East meets West
Sunday 19 Nov, 7pm

Sunday 19th November
Intercontinental Phnom Penh


6pm Pre-Concert Talk with Dr. Sam Sang-Ang
(Pannasatra University Phnom Penh)

7pm Concert: East meets West

Rong Sereyvann/Cambodia


A short introduction:

The diversity of music in the 20th century is amazing and therefore any concert presentation must focus. One important aspect is the closer connection of ethnics on this globe which had a serious impact on music as well. This is not an exclusive feature on the 20th & 21first century music because cross cultural are old as mankind. But in the age of outgoing colonialism, rising modernism and internationalism, Mass media, tourism, a reproduction industry, etc. just to mention a few items, the contact and exchange between cultures has been increasingly strong. While Western music culture has been a significant influence in East- southwest Asia, the same happened the other way around. By that, music with bi- or multicultural impacts has become an important field of art production in our time.


Wolfgang Amadeus Mozart (1756-1791)
Fantasy D major K 397

The Fantasia No. 3 in D minor, K. 397 was composed 1782. Despite being unfinished at Mozart's death, the piece is nonetheless one of his more popular compositions for the piano. The original manuscript has not survived and the final measures of the piece have been lost or were never completed by Mozart. the ending as it currently exists (last 10 measures) is believed to have been written by August Eberhard Müller, one of the composer's admirers.


Ludwig van Beethoven (1770-1827) 
Sonata Op2 No1 F minor

Beethoven's Piano Sonata No. 1 in F minor, Op. 2, No. 1, was written in 1795 and dedicated to Joseph Haydn. The sonata  illustrates the rare cases in which Beethoven imitates Mozart to the detriment of his own proper richness of tone and thought, while the finale in its central episode brings a misapplied and somewhat diffuse structure in Mozart's style into a direct conflict with themes as Beethovenish in their terseness as in their passion.


Him Sopy 1963*
A country side evening


Him Sophy was born in the music family in the village Kook Sandaek commune Reak Tchay, district Baphnom and province Prey Veng. His grandfather was a musician who played Tro-khmer (three-string- instruments like small cello) in the ensemble Araks (this is a very old musical genre of Khmer music on talking to the spirits, demons, ghosts and the people would like to be taken cared of by them when the human being has some problems). Him Sophy‘s father played Roneat (Kind of Xylophone) and Gong-Vong-Thom (16 Gongs) in the Pin Ppeat ensemble (Sacred music).

From 1985-1988, he studied in the Music college of Moscow Conservatory. Him Sophy is working sucsesfuly as a composer and lecturer now in his homeland Camabodia.


Norodom Sihanouk (1922-2012
Piano transcriptions from  "Musique and Chansons"

Norodom Sihanouk wrote at least 48 musical compositions between the late 1940s and the early 1970s, combining both traditional Khmer and Western themes into his works.[258] From the 1940s until the 1960s, Sihanouk's compositions were mostly based on sentimental, romantic and patriotic themes. He also wrote nationalistic songs, meant to showcase the beauty of provincial towns and at the same time foster a sense of patriotism and national unity among Cambodians. From a young age, Sihanouk learned to play several musical instruments including the clarinet, saxophone, piano, and accordion. In the 1960s Sihanouk led a musical band made up of his relatives, who would perform French songs and his own personal compositions for diplomats at the royal palace.  After he was reinstated as king in 1993, Sihanouk continued to perform in concerts held at the royal palace on an occasional basis.


Sinn Sisamouth (1932-1976)
Folk song transkription

Sinn Sisamouth was a famous and highly prolific Cambodian singer-songwriter from the 1950s to the 1970s. Widely considered the "King of Khmer music," Sin Sisamouth, along with Ros Sereysothea, Pan Ron, Mao Sareth and other Khmer artists, was part of a thriving pop music scene in Phnom Penh that blended elements of Khmer traditional music with the sounds of rhythm and blues and rock and roll to make a Westernized sound akin to psychedelic or garage rock. Sisamouth died during the Khmer Rouge regime under circumstances that are unclear. Because his presence and influence on Cambodian music was so great, he is still a household name and remains popular to this day in Cambodia.


Chinnary Ung 1942*
A Window in the Sky (from 7 Mirrors)

Chinary Ung born in Takéo, Cambodia is a composer currently living in California, United States.After arriving in the US in 1964 to study clarinet, he turned to composition studies with Chou Wen-chung and Mario Davidovsky, receiving a Doctor of Musical Arts from Columbia University in 1974. In 1988, he became the first American to win the University of Louisville Grawemeyer Award (Music Composition) for musical composition.

Seven Mirrors is a challenging solo piano work that is comprised of seven short virtuosic movements, each of a different character, but all linked either musically or thematically.
There is no “program” as such. The rhythmic notation of Seven Mirrors is basically Western. Asian influences include coloristic effects and extremes in register and timing, as well as mystical titles based on the works of the Indian poet Rabindranath Tagore and the thirteenth-century mystic Jelaluddin Rumi.


Bosba Panh 1997*

 Bosba Panh comes from a traditional family of artists.  Lacking opportunities for professional training in post-conflict Cambodia, in 2012, Bosba won a scholarship to Walnut Hill School for the Arts , a performing arts high school in Boston, MA, which is affiliated with the New England Conservatory. She was enrolled in voice studies, singing opera, but Bosba also composed. In 2013, her works for piano and violin were performed at the WHS Gala in Boston and at the Phnom Penh International Music Festival in November 2013. After graduating from high school in 2015, Bosba joined the prestigious New England Conservatory of Music in Boston as a composer where she is preparing for a Bachelor of Arts. Her teacher at Walnut Hill was  Dr. Whitman Brown. She currently studies at the New England Conservatory with Michael Gandolfi (head of composition studies) and Ken Schaphorst (head of jazz studies).