2nd November 1997

Where emotion was raised to Himalyan heights

By Alya Henry

Remembering pleasanter times before the advent of!!!, I recall my friend and I choosing a night to attend the ‘Rainbow Foundation’ concerts. Suddenly we decided to attend both concert nights. We agreed, ‘It’s not every week that Colombo offers such a spectrum of musical entertainment’ where famous artists unstintingly-waiving any remuneration offered their skills and time to raise money for a cause - the Sri Lankan Anti-Narcotics Association (SLANA).

We enjoyed both concert nights. ‘Musical Spectrum’ was not only delightful but sensational!. The Wendt auditorium resounded with great music; the acoustics never seemed so well attuned to the variety and scope of musical instruments and voices. Music resonated and flowed out with tender charm. The performers were in harmony with the ‘Rainbow’ theme of the ‘Foundation’.

Both nights the programme began with the sweet solo of a Merry An Singer, singing Judy Garland’s “Somewhere Over the Rainbow” a theme song of this musical extravaganza.

For me, the pick of the evenings was the first night’s performance of - ‘Piano Trio’ by Arensky, and ‘Song without Words’ by Mendelssohn. Dushyanthi Perera’s cello and Ananda Dabare’s violin flowed richly, tantalising all senses like hot chocolate, while Ramya de Livera Perera’s crystalline piano-playing tinkled like champagne in glasses of perfect sound. It was exquisite. Wonderful Sujeeva Hapugalle’s ‘Warsaw Concerto’ by Addinsell, and Rachmaninoff’s ‘Vocalise’ followed. My friend didn’t quite appreciate Sujeeva’s change of choice - ‘Four Part Harmony’, ‘too intellectual for this sort of musical evening’ was a remark I heard, but I was happy.

‘Cantata Singers’ directed by Satyendra Chellappah and Merry An Singers’ directed Maryanne David appeared both nights. I’ve never heard the singers perform so well or as acoustically sonorous. ‘Cantata Singers’ in a more understated way caught the audience imagination - voices carried freely and joyously, satisfying expectations. The ‘Merry An Singer’s’ looking into the distance, and smiling charmingly raised the roof of Lionel Wendt with a modern hymn; followed by ‘Climb Every Mountain’; and the rousing ‘Anthem for Spring’. Beside me, my companion hid tears, meanwhile lost in contemplation of the subtle properties of music, I mused on how easily music was capable unexplainably to raise listeners to such Himalayan heights of emotion!

Not to be forgotten was Arun Dias Bandaranaike’s ‘Mini-Opera’ rendition of ‘Ole Man River’. It almost brought the house down.

Although both concerts were splendid, I must admit that the second night ‘2 pianos and 8 hands’ took the prize. Mano Chanmugan known as the ‘virtuoso of the keyboard’, with Yohan de Alwis, Neomal de Alwis and Dilip Seneviratne, created a cataclysmic upheaval with a performance of ‘Ballads’, ‘Jazz’, and ‘Latin American’. The audience was carried away.

Remembering those great artistes

All that Jazz By DeeCee

Professor Sunil Ariyaratne has spent many years doing research on local music. He shares his findings with others through regular publications. He has just released five books covering the biographies of ten musicians (they are no more) whom he has identified as having made a contribution to the development of Sinhala music. Titled ‘Gandharva Apadana’, the books relate their life stories and the role each one has played along with photographs and songs with notations.

The musicians covered are Mohamed Ghouse, the first local music director to introduce genuine indigenous tunes to Sinhala films - in Asokamala, Sangavunu Pilitura and Eda Re; B.S.Perera, a musician brought up in the western tradition responsible for a host of popular numbers including Siripade Samanala Kanda Pene, Bicycale and Pele Vasana Ranmali and the first local film musician to direct an Indian orchestra in India; Muttusamy and Rocksamy who have handled music in over 50 Sinhala films; Edwin Samaradiwakara, a pioneer in uplifting the quality of radio music through Geeta Nataka and who was responsible for music in Dr Sarachchandra’s dramas Rattaran & Kada Valalu; R A Chandrasena who ran a music school in Maradana producing a host of talented musicians including maestro Kemadasa and popularised Sinhala songs through EP records; Somadasa Elvitigala, well accepted for innovative music in a number of films and stage plays; Dunstan de Silva, a name synonymous with radio; P L A Somapala, who in the 40s and 50s created such pupular numbers such as Isurunumiyehi, Dambulugale and Dunhinda Halena, and Mohamed Sally, a popular figure among radio listeners in his day.

Sunil is a keen student of music. In addition to his doctorate (he is presently Professor in Sinhala at the Sri Jayawardenapura University), he is also a Sangit Visharad from the Bhatkande Sangit Vidyapita, Lucknow. His first book covered the baila and kaffrinja music and the second, the gramophone era in Sri Lanka. The third was an exhaustive study of Ananda Samarakoon’s music. His talents as a Lyric writer have been aptly rewarded with Presidential and Sarasaviya Awards at least nine times.

Golden oldies

Watching a mini ballet performed at two ceremonies at the BMICH recently, my mind went back to the late sixties when the music in Sath Samudura created quite a stir in Sinhala cinema. Based on the title song and theme music created by innovative music director Somadasa Elvitigala the ballet item was presented in two variations with much grace and impact.

At the Presidential Film Awards presentation., the Channa Upuli School of Dance picturised the song Sinindu Sudu Mutu Talawe sung by Visharada Amaradeva. The other presentation was at the CTC Eagle sponsored National Safety Awards presentation. It was a dance sequence by Kulasiri Budawatte’s troupe performed to an instrumental version by Jagath Wickremasinghe.

It is indeed refreshing that at least occasionally a quality teledrama hits the small screen. Most producers seem to be getting away with anything that is dished out as teledramas rate high in the ladder of popular programmes on any channel. In this scenario a young director who is making a commendable contribution to the industry has just released a quality product.

The director is Sudath Mahadiulwewa and the teledrama Vanaspati. Described as “an unforgettable saga of turmoil, passion and betrayal”, Sudath has tried to describe how the dawn of a new age can create havoc in a society complacent with its simple lifestyle. Set in the 19th century Ceylon, Vanaspati has been filmed with the Sinharaja forest as its backdrop. It relates how age old customs and beliefs, rituals and practices are being bulldozed by the might of the West.

The story unfolds through the experiences of Aaron (Roger Seneviratne), son of Agonis Kattandi (Joe Abeywickrema) and his wife (Veena Jayakody). Aaron falls in love with Karalina (Suneetha Wimalaweera) a girl from Sinharaja. Playing the role of the tough Mudaliyar is W Jayasiri whose daughter Enso (Kaushalya) despises Aaron.

The Pioneers

Two names stand out loud and clear in the 50 year history of our sister paper ‘Lankadipa’ - its first editor Julius de Lanerolle and colleague D B Dhanapala. Amidst stiff resistance by the Times of Ceylon management, they planned a new look Sinhala newspaper to break the monopoly of the ‘Dinamina’, the Lake House Sinhala daily.

On October 27, 1947 Lankadipa hit the streets as an evening newspaper. On May 1, 1949 it came out as a morning daily.

De Lanerolle’s extensive knowledge of the language and independent thinking coupled with Dhanapala’s journalistic acumen made Lankadipa an instant hit. The team comprised a host of other young talented journalists.

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