Concert «Songs, Dances & Virtuosity»

   German art song, a Russian romance, a Spanish-flavoured violin rondo and a Norwegian folk dance in one sitting — heard in a small Ho Chi Minh City hall where you sit a few metres from the piano. The evening is sequenced for contrast: a voice gives way to a violin, lyricism to dance rhythm, and no single piece outstays its welcome.

   The title spells out the three threads of the programme. Part one belongs to voice and solo piano; part two brings in ensembles and instruments that rarely get the spotlight.

   The short version of what you will hear:

• — Songs — Schubert's «Der Atlas» from Schwanengesang, two Rachmaninoff romances, Mimì's aria from Puccini's La bohème and Fiordiligi's «Come scoglio» from Mozart's Così fan tutte;
• — Dances — Johann Strauss II's waltz «Frühlingsstimmen», Rossini's «La danza», Dvořák's Slavonic Dance and Grieg's «Anitra's Dance», the last two for piano four hands;
• — Virtuosity — Schumann's Symphonic Etudes, Paganini's Caprice No. 13 and the closing Rondo from Lalo's Symphonie espagnole;
• — Rarities — Weber's Bassoon Concerto, one of the few concertos that put the bassoon centre stage, and the Andante from Clara Schumann's Piano Trio.

   The performers come from the Saigon Classical Music Group circle: sopranos Đặng Tường Vy and Chu Mỹ Duyên, baritone Lê Bảo Tịnh, violinists Trương Y Linh and Lê Phúc Quân, cellist Y Triều Vỹ, bassoonist Trần Phúc Tín, with Hoàng Hạnh Dung, Lê Phạm Mỹ Dung, Lữ Hoàng Thịnh and other pianists at the keyboard, including two four-hand duos.

   If a classical concert usually feels like a commitment, this one is built from short numbers — the longest single work is the Symphonic Etudes — with voice, violin, bassoon and piano duets in between. In a room this size you can follow a pianist's hands and a singer's breathing, which is what makes salon programmes worth the trip. The hall sits north of District 1, so allow for evening traffic.

   Saigon Classical Music Group has been putting on concerts in the city since 2005, non-commercially and with the artists donating their time; audience contributions go towards the hall, printing and the tea break.

   Admission works as a suggested contribution rather than a ticket, and the organisers ask you to send it ahead of time: seating is limited and places go to those who have registered. Register

   Formal attire is required and children under 8 are not admitted. Plan to arrive at least 25 minutes early — latecomers are seated only during the interval.

   Come early, take a seat near the piano and let the programme do the travelling.