'We are just as nationalistic minded as the Vienna Philharmonic'-
Lakshman Joseph de Saram
Interviewed by Ranga Chandrarathne
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Lakshman Joseph de Saram
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Well-known film composer/musician Lakshman Joseph de Saram, who is
credited with helping to re-define the "Nouvelle Vogue" sound of South
Asian cinema, is also the artistic director of Sri Lanka's newest
performing arts ensemble. The Chamber Music Society of Colombo will be
giving its first public concert later this month.
Q. Tell us the reasons behind the forming of the Chamber Music
Society of Colombo.
A. It's all about music and Sri Lanka. Music is something I
know about, and Sri Lanka is something I care about, put the two
together, in a nutshell, you have the Society. Our primary objective is
to foster the serious music of this country, to contribute perhaps in
the long run to help forge a 'new' sound for this country. To help
facilitate ideas to flourish, give audiences an option. The cultural
pond is vast; all aspects must be represented.
Q. Reading the Society's manifesto, it does seem slightly
nationalistic in tone, is that right to assume?
A. We are just as nationalistic minded as the Vienna
Philharmonic, the New York Philharmonic or the China Philharmonic are to
their respective countries.
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Chamber Music Society of Colombo |
It's not jingoistic nonsense, but respect maybe...organic, it's hard
to define, maybe a certain gratefulness to be able to 'belong' without
having to explain anything to anyone, most of all yourself. We find
these notions exceedingly valuable and worth nurturing. And we are able
to do just that with our over-arching artistic agenda. Don't get me
wrong; in terms of access, we are open to anyone who has a stake in this
country's culture and a love for great music.
Q. What makes the Chamber Music Society different to other
classical music groups in the country?
A. Well, that's just it, we are a chamber ensemble. Our
repertoire is distinct; we are conductor-less and our pitch is
completely different.
We operate on a different bandwidth. Interference is not possible; we
have built it that way. However, meaningful collaboration is something
very much on our agenda. Cross-fertilisation, inter-disciplinary, we are
interested in all those aspects.
That's why we have people like the fabulous artist Anup Vega, Oscar
winning writer Stephen Gaghan on our team, diversity is important.
Q. Looking at the structure of the Society, The Board of
Patrons are a very impressive and influential group, what is the musical
relevance in having such a board?
A. Their significant accomplishments are the yardstick that we
will measure ourselves against, and their moral support is important for
the goals we wish to aspire to. All arts organisations throughout
history have needed powerful patrons; it's a vital component for
sustainability and credibility.
Q. The Society's Benefactors are an illustrious group as well,
what role do they play?
A. The Benefactors provide considerable financial
contributions to the long-term endowment fund of the Society. These are
mostly individuals who have a pedigree of being involved in one way or
another with the living cultural heritage of this country.
And like most cultural benefactors the world over, their interest is
largely in helping preserve and broad base high culture with discretion.
To help make it less inaccessible, more affordable. Needless to say,
their magnanimous gestures are hugely appreciated and quite
indispensable.
Q. How about the musicians of the Society, I am told the sound
they produce is remarkable.
A. Absolutely, after everything, it is the musician that
matters.
They are the flesh and blood, if not for them, there is no Society.
They all have a sense of pride in what they do, and that is
manifested in the sound they produce. We have a clear vision in where we
want to be in 5 years. I am in the process of giving identity to the
ensemble's sound base now, we have a while to go, but it is taking
shape.
We have identified repertoire that the ensemble is good at, and that
is the reference point for me in terms of the direction we take. I am
privileged to be their Artistic Director, they are the best.
Q. What are the Society's plans for the near future?
A. The upcoming concerts are crucial; they will be a litmus
test on many levels. The execution, the sound, the balance, the response
to soloist etc. Plus the world premier work is taxing.
The middle section drives the musicians to the very extreme in
physical demands.
It makes playing a typical Shostakovich scherzo seem like twinkle
twinkle! We can only gauge how fast we reach critical mass, and if the
cool down period is adequate enough before the long coda begins, the
energy depletion is that drastic. Unfortunately, you can never really
live fire test these problems in real time; there are too many variables
that you cannot ever simulate, you can only approximate them at
rehearsal. Exciting stuff though, because as an ensemble, you can be
assured, that we will be going in with all after burners on overdrive!
No playing safe, not this bunch.
We are also in the logistic planning phase for a possible run out to
Bangkok for the Bangkok Arts and Design Festival.
It is an honour to have been invited to represent the country
musically. Let's see what happens. |
