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| Wednesday, 14 July 2004 |
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The Western classical music genre by Rohan Jayawardana Sri Lanka has a considerable association with the Western classical music culture, extending back to mid 19th century. It was after the signing of the Kandyan Convention of 1815 that the British comprehensively formalized their control over the island of Ceylon which is now called Sri Lanka. Thereafter, with the advent of administrative infrastructure and the establishment of Colombo as a regular port of call for all shipping, there had been a regular stream of visitors inclusive of distinguished musicians of the highest class. In due course, a Colombo-based firm by name of H. W. Cave and Company became importers of "fine pianos" (some of them from Messrs Chappell and Company of Bond Street in London), and also of printed music. By the mid 19th century it was not unusual to discover an advertisement in the newspaper about an evening of classical music in concert at either the premises of H. W. Cave and Company itself, or at the Colombo Town Hall. International concept In fact, it is rumoured that at some later time in the first decades of the 20th century, one of the world's foremost exponents of virtuoso piano, the renowned Wilhelm Backhans, had done a solo recital here.
In due course there have taken place visitations from the Royal Philharmonic Orchestra conducted by the legendary Sir Malcolm Sargent, the great Italian tenor Luigi Infantino, the world's greatest contralto the American Marian Andersen, the renowned genius of the French Horn Australian Barry Tuckwell, the world's topmost clarinetist Britisher Gervase de Peyer and the famous Richard Adeney who was most skilled of all flautists. There was never any doubt that these wonderful artistes of the highest international rank were persuaded to come over by the cultural contacts made via the diplomatic representatives in Colombo on the basis that there has always been a vast reservoir of appreciation of the Western classical music-form in Sri Lanka. It is not something that has been carefully or even artfully cultivated but a spontaneous outpouring of the inner creative self that has sought out the best inherent plane of self-expression in its multi-faceted hues. There isn't a trace of doubt that the complexity of themes, variations, counterpoint and harmonic delights provides perhaps the finest forum for the interpretive Mind's enormous range of expression. This is an inherent factor of personality of the unique individual self. Examinations The Trinity College of Music in London established their first representation in Colombo, and was quickly followed by the Royal Schools of Music, UK. Over the past decade the Guildhall School of Music and Dramatic Art have done likewise.
It can be assumed that the very first examinations in the late 19th century would have been taken by the students of the British community resident in Ceylon but it later became firmly established, especially after the turn of the 20th century, as an impetus of fine sorts for all young persons who dreamed of a lifetime of performance and teaching of the classical form. One of the first conductors of the Symphony Orchestra, Hussain Mohamed, emigrated to Scotland and fared extremely well as a violinist. Local developments Malinee Jayasinghe Pieris who was also a product of the exam processes became a Concert pianist specializing in the impressionists from the 1950s; while the all time great product has been Cellist Rohan de Saram who is of highest world class and impressed beyond belief the legendary master Pablo Casals at first hearing! Later there have been (the late) Juilliard trained Rohan Joseph de Saram who besides being a masterful pianist was also a top conductor of orchestras who debutted at Carnegie Hall, USA at age 30; and Rohan de Silva the pianist who distinguished himself at the Tchaikovsky International Competition in Moscow as the finest collaborator. Inspiration to perform The trailblazing of these seniors who are identifiable names upon the international map have been an inspiration source to the modern youngsters who indulge the exam processes with relish and perform enthusiastically at local concerts as soloists and in ensembles. They thereby fulfil the fundamental requirement that the musician must be a skilled and knowledgeable person who communicates the content of the Mind and Spirit successfully to an audience of appreciative sorts. It is a beautiful substitute for torrents of words which do not give any therapy to the psyche and regularly fail to express the indepth sensations accurately! For the achievement of this end purpose of having a technically proficient and a most sensitive musician who communicates with assurance, it is indispensable that those who give professional instruction be themselves proficient, tested, and appropriately "licensed". (The exam bodies have special certifications for teacher aspirants). The trust of the pupil must never be a misplaced one. Classical singing In the realm of classical singing, the history is less vivid in terms of singular achievement, perhaps due to the nature of supportive physical disciplines that are always necessary. Whilst there has been little doubt that the Church Choirs were the initial breeding ground, public performances took off in the 1920-30s when the well-known performing group the Colombo Singers, was formed. They specialized at the works of the duo Gilbert and Sullivan in the comic-opera idiom. However, since the 1970s they have never performed! The only sung events therefore of the adult forum have been "straight" concerts of itemized presentations by the Colombo Philharmonic Choir, Cantata Singers and other groups of enthusiasts sans the acting and the flair associated with all operettas and light musicals. The latter performances have been more recently the preserve of enthusiastic schools; and the decline is attributable to lowered proficiency within the society at the requirements of opera-type musical activity consequent to indifference about English usage over the years. Requirement for proficiency There is little doubt that the new local demand at English proficiency and at the teaching of its shall be advanced considerably by the understanding of, and experience in singing in the western idiom. It is a three-way sensory process at its best. **** Back **** |
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