Lalanath’s Tablesque at British summer music festivals
By Esther Williams
Lalanath de Silva's 'Tablesque' is a unique musical composition that visualises a tabla player through the eyes of a string orchestra. The work scored for string orchestra, was premiered in Colombo by the European Union Chamber Orchestra in November 2000. It is now being performed at seven UK summer music festivals between July 1 and 9 which is definitely an achievement for the country.
When first performed here, Tablesque received some criticism - that despite its name, there was no sign of a tabla and that its rhythm was not heard. Lalanath views the controversy as a good sign.
"In Tablesque the mind is distracted by the melody and one may not hear the rhythm," the composer explains adding that the mind needs to be disciplined to hear the underlying rhythm." Playing the 5-6 minute piece on his laptop, he demonstrates the extracted rhythm.
He further explains that when most people think of a tabla player they think of rhythm. "When you actually listen to a tabla player you are listening not only to the rhythm but also to the melody because the tabla player can change the pitch of drums while playing." Listeners can catch the very subtle melody going on should they try to do so.
Presenting Tablesque proved to be an enormous challenge for Lalanath as he tried to capture certain rhythms through string music. The instrumental piece contains many dissonant chords that probably could be attributed to difficult times in his life- separation, single parenting, and career choices. Tablesque was a result of writing during that period.
Lalanath seems to have moved away from the traditional forms of music. "To keep to traditional forms is like pouring music into a can with a certain shape," he explains, referring to his music as an embryonic form that develops by stages.
In many of his compositions Lalanath consciously used different elements of oriental and western music. "When you walk around the town early in the morning you tend to hear sounds from the mosque, a little of pirith, and sometimes the sounds of a church organ." Living in a multicultural society, you take in different influences, Lalanath explains and therefore when he tries to express himself he tends to draw on those influences.
Among his works are a 'Requiem for Earth' performed here in 1999, that sends out strong environmental messages. A requiem is Christian church music normally played for the dead. Lalanath's piece contains sounds of birds, wind, thunder, whales, seashore, a message about killing the earth.
Lalanath had always wanted to make music his career but wasn't able to do so. "It doesn't pay well enough," he laughs. Beyond that he is a dedicated and committed environmental lawyer and often works free of charge for affected people and communities.
In 'Requiem for Earth' his interests in music and environment merge.
Currently working for the UN in Geneva, the environmentalist recalls that he first attempted a composition when he was 12. It was not very surprising since he hailed from a family of musicians.
He learned to play the flute and recorder at an early age and received formal training in western music theory from Sharmini Rajaratnam that gave him a firm foundation, enabling him to compose music.
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