Curiosity and Courage

Tonight, Curiosity and Courage takes shape through music that looks again, listens across differences, and steps into unfamiliar territory. The evening moves from the rediscovery of familiar sounds to intercultural dialogue, collective creation, imagined landscapes, and the uncertain space of dawn—each work asking what might become possible when curiosity is allowed to lead and courage allows us to follow.

The journey begins with 100 Recorders, where Renaissance repertoire surrounds a newly created collaborative work by PGVIM students and singers, inviting us to hear a familiar instrument with different ears. Song Project then brings Korean traditional and contemporary music into dialogue with early Thai art songs, before the boundaries between traditions, performers, composers, and audiences begin to dissolve in La Lai (녹다 / ละลาย) through free rhythm, participation, and shared improvisation.

From there, Samart Pai Talay (สามารถไปทะเล) asks us to imagine the impossible: if Isan had a sea, what might its music sound like? Layers of khaen transform that question into an imagined sonic landscape, before RUNG ARUNN by NISATIWA leads us toward the first light of dawn—a moment suspended between the world we know and the one we have yet to discover.

PROGRAM

100 Recorders

        PGVIM 1st Year Students, PGVIM Singers, and PGVIM Faculty Performers

• Le Tordion from L’Orchésographie — Thoinot Arbeau

• New Collaborative Piece — PGVIM 1st Year Students & PGVIM Singers, with Amanat Chantarawirote

• Ronde et Saltarelle — Tielman Susato

Song Project

         Seoul National University (SNU) x PGVIM / Seathencity

• Bareun Norae – Nokyangi or Isudaeyeop — Traditional Korean

• บัวขาว (White Lotus) — Sanan Devahastin na Ayudhya

• Gogongdapjuinga — Contemporary Jeongga

• คิดถึง (Missing You) — Thanpuying Puangroi Apaiwong

• 머무는 빛 (Staying Light) — Yeojin Kim

La Lai (녹다 / ละลาย)

         Seathencity x Seoul National University (SNU)

• Sangryongsan

• Thai Vocal x Jeongga in "Krabongkan"

• Thai Music Feats Korean Music in "Krabongkan"

• Rua (Free Rhythm)

• Interactive Audience Input Music and Jamming

• Ending Piece in Unison

Samart Pai Talay (สามารถไปทะเล)

          Pannawich Sakorn x Khon Kaen University

• Folk Music arranged by Pannawich Sakorn & Faculty of Fine and Applied Arts, Khon Kaen University

RUNG ARUNN

         NISATIWA x PGVIM Orchestra

• RUNG ARUNN — NISATIWA

100 Recorders

100 Recorders brings together different ways of encountering the recorder: as an instrument with a long musical history, as a familiar presence in music education, and as a medium for making music together.

The performance is framed by two Renaissance works, beginning with Le Tordion from L’Orchésographie and returning at the end to Tielman Susato’s Ronde et Saltarelle. Between them, students from PGVIM and youth singers from PGVIM Singers come together to create a new collaborative piece, exploring how simple musical ideas can grow through listening, response, and shared imagination.

Placing historical repertoire alongside music created by the performers themselves allows the recorder to be heard in more than one context. Strongly associated with the musical life of the Renaissance, the recorder is also an instrument that many people first encounter in a classroom. 100 Recorders brings these identities into the same performance, not to contrast the old with the new, but to ask what may happen when something so familiar is approached again with different ears, different hands, and a willingness to discover how far a simple musical idea can be taken.

Song Project

Song Project brings together Korean traditional and contemporary music with early Thai art songs, creating a musical dialogue between two distinct musical traditions.

The Thai repertoire features Bua Khao (White Lotus) by Sanan Devahastin na Ayudhya and Khid Thueng (Missing You) by Thanpuying Puangroi Apaiwong, representing the early development of the Thai art song tradition.

Korean traditional instruments accompany the Korean repertoire, while the Thai repertoire is performed with Thai instrumentation. The two musical traditions ultimately come together in the final collaborative work, Staying Light (Meomuneun Bit), creating a shared space where different musical voices meet.

La Lai (녹다 / ละลาย)

Curiosity makes us ask. Courage makes us act.

“La Lai” is a declaration of musical liberation by Seathencity x SNU Team. We invite you to dissolve the boundaries that divide cultures, separate the audience from the performers, and disconnect the players from the composer.

Because in the true world of music, we are all creators.

สามารถไปทะเล : Samart Pai Talay

“Samart Pai Talay” explores the meeting point between Northeastern Thai musical traditions and Western harmonic language through the sound of the khaen, the iconic wind instrument of Isan. By employing khaen instruments of different keys and sizes, the performance creates layered textures and harmonies that evoke the atmosphere of the sea.

Inspired by the idea that the Northeastern region of Thailand has no coastline, the work imagines an alternative cultural landscape: if Isan had a sea, what kind of music might its people create? Through this musical imagination, traditional sounds are reinterpreted within a contemporary musical framework, creating a unique dialogue between local heritage and modern artistic expression.

Through this performance, audiences are invited to experience the authentic sonic character of Isan culture in a new and unexpected way. Familiar traditional sounds are presented through fresh harmonic colors and contemporary musical textures, offering a listening experience that is both culturally rooted and artistically innovative.

RUNG ARUNN

For this performance, NISATIWA presents RUNG ARUNN (รุ่งอรุณ), meaning “dawn”—the fleeting moment when day has yet to arrive and night has not yet disappeared. Dawn begins with the unknown, with curiosity and the courage to ask questions.

RUNG ARUNN invites the audience to enter the space between two worlds—the world we know and the world we have yet to discover. It is the moment before the first light appears; a space of possibility where imagination can transform the impossible into the possible.

PERFORMERS

100 Recorders

PGVIM Singers + PGVIM Students

Group composition led by Amanat Chantarawirote

Performers

PGVIM 1st Year Students

PGVIM Singers (Young and Youth Community Choir)

Faculty Performers

Amanat Chantarawirote

Apichai Chantanakajornfung

Tawanrat Mewongukote

Sethapong Janyarayachon

Song Project

Seoul National University, South Korea

Seathencity, Thailand

SNU

Yoonyoung Cho (Jeongga)

Yoolim Lee (Jeongga)

Eunsam Lee (Soprano)

Chaewon Park (Geomungo)

Seokkyun Yoo (Daegeum)

Yumin Baek (Piano)

PGVIM / Seathencity

Supasorn Sukchan (Baritone)

Prach Ruengsri (Tenor)

Numpark Sribanditmongkol (Saw Duang)

Worawan Worachat (Khlui)

La Lai (녹다 / ละลาย)

Seoul National University, South Korea

Seathencity, Thailand

Seathencity

Numpark Sribanditmongkol (Saw Duang)

Pawarin Phiken (Makalong)

Non Suwanmanee (Thai Vocal)

Worawan  Worachat (Pi)

Tossaporn Tasana (Ranat Toom)

Ornjira Udomchanya (Jakae)

Matas Masungsong (Thai Drums)

Jirapon Chatthong (Thai Drums)

Thanakrit Lerdmatayakul (Programmer)

SNU Music

Yoonyoung Cho (Jeongga)

Chaewon Park (Geomungo)

Yoonsik Hong (Piri)

Dohyun Ock (Piri)

Suho Lee (Daegeum)

Seokkyun Yoo (Daegeum)

Yeonu Lee (Haegeum)

สามารถไปทะเล : Samart Pai Talay

Pannawich Sakorn

 School of Music, Princess Galyani Vadhana Institute of Music, Thailand

Panupong Plerin

Khon Kaen University, Thailand

Performers

Pannawich Sakorn (Khaen)

Wayuphat Buahom (Khaen)

Sakdithat Phonjaroen (Khaen)

 Panupong Plerin (Khaen)

 Kraiyut Kaseethong (Khaen)

Thanawat Sisaen (Khaen)

RUNG ARUNN

NISATIWA, Thailand

Narisara Sakpunjachot

Tontrakul Kaewyong

PGVIM Ensemble

 School of Music, Princess Galyani Vadhana Institute of Music, Thailand

100 Recorders is realised with the support of Siam Music Yamaha who have provided the recorders for this performance. The gesture is intentionally simple and slightly unusual: rather than treating the instrument as something reserved for specialists, the project begins from the idea that everyone should be able to have at least one instrument in their hands—something immediate, accessible, and capable of becoming part of a shared musical experience.