Link up to published version
When TNL Onstage first let its curtains up in 1999, it was what (everybody-knows) Suresh de Silva calls a “pivotal bar of standard” in the Sri Lankan performance arena. Setting the (literal and figurative) stage for the birth of super-names in rock such as Independence Square and Stigmata, the competition has continued over its dozen years of existence to enjoy an unparalleled popularity among musicians as well as audiences. Devastatingly though, the first round of semi-finals for TNL Onstage 2011 (after a much talked-about blackout during the first Preliminary round) seemed to scream that those standards are now slowly but steadily falling, that Onstage may be accepting substitutes, and that TNL Rocks only somewhat.
The sound equipment (though continually flaunted by the compere) didn’t do much to complement the performers. Voices often either reverberated artificially or were completely lost, most notably in the case of this year’s young heart-throb Andre. The audience too, despite being a collection of competitors’ organized fans (friends and family) were not helpful. Hardly anyone seemed interested in the singing, while most just chatted, laughed and sometimes even yelled at each other through the performance, waiting only to scream during the encore round. Needless to say, audience behaviour works parallel to performance standards, and no one is disputing that. Not that the vocalists were bad, but most of them just seemed to sing to themselves and forget the ‘performance’ element completely.
But you’ve got to hand it to them, for a collection of mostly first-timers these kids got some skills. Of the nine semi-finalists (apologies to Dilini and Shuaib whose names were not carried in last week’s issue) many showed the markings of much inherent musical talent, though only six (namely, Dilini, Shevon, Shehara, Harshana, Andre and Shuaib) made it to the finals. One of the more prevalent problems among the performers seemed to be inadequate control of vocal tone and intensity. That Dilini (24), Shevon (21) and Shehara(19) (in descending order) were those best in control of their voice, the stage and the audience, speaks volumes for the fact that age and maturity play a huge role in these performances.
Andre (17) nevertheless managed to completely blow the audience (or at least the girls!) away with that cute face and ecstatic dance which accompanied his version of ‘Suspicious Minds’ by Elvis Presley. It was disturbing though, to see Pathum (lead guitarist – and an amazing one at that! – for the backing band The Rebels) stand stock-still next to him intently meditating on his guitar; a more stark moment of many throughout the show when one realized that most of the soloists were truly just soloists, completely unaware of, and unable to coordinate and ‘gel’ with the backup artists. Where the fault lies though, one cannot easily say, considering that the singers were amateurs and that the only rehearsal time they’d had together was 30 minutes the week (or for some, the day) before.
Dilini’s performance stood out not only thanks to her repertoire (possibly the only one that combined crowd-friendliness with room to show off the singer’s vocal abilities) but also because of the quality of her voice as well as the sensitivity and maturity of her delivery. Similarly notable was the fact that she sang with the band, instead of either (as most did) just ignoring the backup, or as Shehara (the only other person who – commendably – seemed to understand that these were human beings providing musical backing) did, trying to sing over it.
“The heat of the competition” as Harshana phrases it, was one of the high points for most of the solo performers and the way the scales have been rocking, nobody can tell where the gold lies. The bands battled it out for a spot in the Final round last night, an event we’ll discuss at length next week. Until then, get yourself an education and tickets for the Finals!
Thursday, September 8, 2011
Wednesday, September 7, 2011
A Rare Passion - Preethi de Silva
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The precise articulateness of her speech, the firmness of her gestures and the way in which her short hair is held back by clips is enough to tell you that Preethi de Silva is clearly taking no nonsense. But to see her at the keyboard, her small delicate hands coaxing the harpsichord to life under their gentle but firm touch, to hear her bring Handel and Bach back alive, is to know the real woman.
The beginnings of her musical career lie in a mother's vision. Preethi describes how despite being a well-known painter, her mother had wanted to be a musician and how she made sure all her children took music lessons. "My father used to say that he's tone deaf" she laughs, remembering nevertheless that he was encouraging and that he understood their mother. "She pushed me and encouraged me" Preethi smiles fondly, "she believed that I had the talent and went to all ends to get me here".
And "here" is no simple thing. Preethi de Silva had come past the Royal Academy of Music, past scholarships for music studies in Berlin and at the University of Yale with world-renown harpsichordist Ralph Kirkpatrick, past extensive performance internationally, past the publication of a good three-inch-thick book - the result of twenty years of research "on a whim" - and past internationally acclaimed early music ensemble Con Gioia. After all this, the Susan George Pulimood Memorial Oration seems like nothing much, but Preethi shares that is was a "challenging" experience for her.
This year's trip back home has opened her eyes to how "everyone in Colombo goes to music lessons or whatever" but there are those who have nearly no access to musical instruments or training. She speaks of that larger part of our nation "who are just making ends meet or not even making ends meet", reminding me of the teledrama series Arungal, that captured for its audiences, our nation and culture that understands and appreciates the pricelessness of music but disregards it because of its lack of market value. "Music is either just a hobby or just entertainment" Preethi says regretfully, careful to add that there is a difference between art as entertainment and intellectual practice. It takes not just one but many with passion and commitment to make this distinction clear, and Prof. Preethi de Silva is unquestionably one of those.
At the age of seventeen, with father and older siblings all practicing medical doctors, Preethi was faced with the dilemma of choosing between music and medicine. "I was torn!" she exclaims, needing no further explanation, for many of us know the plight of having to choose either the practical or the desired. "But I don't regret the decision at all" she declares matter-of-factly, describing how though medicine seemed at the time like a much more "giving" profession, she has come to realize that performance is "not just for myself" but an act of sharing something with her audience as well.
And so young Miss de Silva found herself studying music, first in London and then in Germany. It was here that she was introduced to something that would define the course of her musical career; the opportunity to perform on antique instruments. "I was always a great admirer of J. S. Bach" she shares, large bright eyes complementing her glittering smile, "it's not just beautiful music, but the structures, the intricacies… everything about it is so inspiring!" She explains with keen interest the workings of the different keyboard types and their differences in tone quality and performance techniques. Playing on the harpsichord and fortepiano (the main instruments for which Bach and Mozart respectively wrote), says Preethi, really helped her to understand the music better. And in the cycle of discovery, her love for the early forms of music grew.
So to be able to study at Yale was exciting for her, not only in itself as it would be for most of us (barring that it would be unimaginable also!), but also because of Ralph Kirkpatrick who was not only a lecturer there at the time but also a world-famous harpsichordist (considered by some, the best to play in this century), and the university's famous collection of 17th and 18th century musical instruments.
Following her studies at Yale, Preethi returned to Berlin to teach until she was offered a post at Scripts College in California, where she taught for over twenty years. She is now retired "but I'm not really retired, you know?" she laughs, explaining that she still engages with some graduate students. "The thing is, once you learn to play or sing, it's something you can't lose. You're never alone with an instrument, it's your friend for life".
The precise articulateness of her speech, the firmness of her gestures and the way in which her short hair is held back by clips is enough to tell you that Preethi de Silva is clearly taking no nonsense. But to see her at the keyboard, her small delicate hands coaxing the harpsichord to life under their gentle but firm touch, to hear her bring Handel and Bach back alive, is to know the real woman.
The beginnings of her musical career lie in a mother's vision. Preethi describes how despite being a well-known painter, her mother had wanted to be a musician and how she made sure all her children took music lessons. "My father used to say that he's tone deaf" she laughs, remembering nevertheless that he was encouraging and that he understood their mother. "She pushed me and encouraged me" Preethi smiles fondly, "she believed that I had the talent and went to all ends to get me here".
And "here" is no simple thing. Preethi de Silva had come past the Royal Academy of Music, past scholarships for music studies in Berlin and at the University of Yale with world-renown harpsichordist Ralph Kirkpatrick, past extensive performance internationally, past the publication of a good three-inch-thick book - the result of twenty years of research "on a whim" - and past internationally acclaimed early music ensemble Con Gioia. After all this, the Susan George Pulimood Memorial Oration seems like nothing much, but Preethi shares that is was a "challenging" experience for her.
This year's trip back home has opened her eyes to how "everyone in Colombo goes to music lessons or whatever" but there are those who have nearly no access to musical instruments or training. She speaks of that larger part of our nation "who are just making ends meet or not even making ends meet", reminding me of the teledrama series Arungal, that captured for its audiences, our nation and culture that understands and appreciates the pricelessness of music but disregards it because of its lack of market value. "Music is either just a hobby or just entertainment" Preethi says regretfully, careful to add that there is a difference between art as entertainment and intellectual practice. It takes not just one but many with passion and commitment to make this distinction clear, and Prof. Preethi de Silva is unquestionably one of those.
At the age of seventeen, with father and older siblings all practicing medical doctors, Preethi was faced with the dilemma of choosing between music and medicine. "I was torn!" she exclaims, needing no further explanation, for many of us know the plight of having to choose either the practical or the desired. "But I don't regret the decision at all" she declares matter-of-factly, describing how though medicine seemed at the time like a much more "giving" profession, she has come to realize that performance is "not just for myself" but an act of sharing something with her audience as well.
And so young Miss de Silva found herself studying music, first in London and then in Germany. It was here that she was introduced to something that would define the course of her musical career; the opportunity to perform on antique instruments. "I was always a great admirer of J. S. Bach" she shares, large bright eyes complementing her glittering smile, "it's not just beautiful music, but the structures, the intricacies… everything about it is so inspiring!" She explains with keen interest the workings of the different keyboard types and their differences in tone quality and performance techniques. Playing on the harpsichord and fortepiano (the main instruments for which Bach and Mozart respectively wrote), says Preethi, really helped her to understand the music better. And in the cycle of discovery, her love for the early forms of music grew.
So to be able to study at Yale was exciting for her, not only in itself as it would be for most of us (barring that it would be unimaginable also!), but also because of Ralph Kirkpatrick who was not only a lecturer there at the time but also a world-famous harpsichordist (considered by some, the best to play in this century), and the university's famous collection of 17th and 18th century musical instruments.
Following her studies at Yale, Preethi returned to Berlin to teach until she was offered a post at Scripts College in California, where she taught for over twenty years. She is now retired "but I'm not really retired, you know?" she laughs, explaining that she still engages with some graduate students. "The thing is, once you learn to play or sing, it's something you can't lose. You're never alone with an instrument, it's your friend for life".
Friday, September 2, 2011
To Sing 'Care': Getting 'Jazzed Up' with Rukshan Perera Live in Concert
Link up to published version
Don’t judge a book by its cover they say – and the same goes for people and homes. Rukshan Perera, despite an intimidating list of talents and achievements, is down-to-earth, unassuming and always smiling. The high walls and narrow entrance to his home too are imposing, but a deceptive cover to a cheery and comfortable interior, noticeable parts of which are an organ, electric guitar, and stacks of concert flyers.
Rukshan’s last performance in January was called “one of the best Colombo has ever seen” and simply “extraordinary”, and true to the reviews, the audience just can’t wait for more. So on Sunday August 28, the Bishop’s College Auditorium promises to come alive with the unmatched sounds of this master-musician. “I want to make it different from last time” Rukshan says, explaining that he has rearranged some of his compositions to include a brass section and other extra instruments and voices. It gets even better as he will be backed by Thriloka and joined on stage by the likes of Natasha Rathnayake, Voice Print and the
De Lanerolle Brothers. The extravagant line-up of guest artists is testimony not only to Rukshan’s genius but also the importance of the Colours of Courage Trust in aid of which the concert is being held.
And what better way to support a worthy cause than by creating awareness of the world we live in? A special thing about Rukshan’s concerts is the variety he presents, the compositions ranging from blues and jazz to acapella and pop, to unique arrangements of popular Sri Lankan tunes. But even more important is his concern for and engagement with current issues in and through his music. He gestures dramatically, describing the “Dhadaang... Dhadaang!” of falling chunks of ice he has witnessed off the Alaskan coast, the inspiration for ‘Nature’s Calling’, and speaks with true empathy of the fear related with overcoming drug abuse, the
theme of ‘You Are Strong’.
The list of Rukshan’s songs that deal with serious issues is surprisingly longer than for most other artists, and he believes he has been more outward looking than most from a young age, though he “never thought of that”. And he doesn’t seem to think much, either, of having formed his own family band at the age of ten (wittily called the Kalaa Maediriyas – a pun on the Sinhala word for “art”), of having been playing for the Golden Chimes from the age of 14, or of having toured Asia and Europe in his early twenties – all feats the kind of which only a handful of us can lay claim to.
What he does think of though, is the state and status of music in our country: “The problem is the time and the money”. He shares regretfully how Sri Lankan musicians trained abroad are reluctant to settle in their homeland because “the situation is just too bad” for musicians and artists. It’s “just not right” he declares, how performers he has known over the years (in a musical career spanning nearly half a century mind you!) are still earning what they did a decade or two ago.
But just as his music and lyrics are hopeful, Rukshan’s outlook is also very positive. “It’s really encouraging” he shares enthusiastically, that musical atmospheres such as that provided by Music Matters are being created by a generation of young and very talented artist, who choose Sri Lanka over so many more lucrative options, in order to simply encourage true musicianship.
“There are some very talented youngsters” he says, speaking of local bands, adding that “even the singers are extremely good now”. He hopes many of these will dare to dream, to reach for something beyond what seems available to them. Rukshan somewhat regretfully describes the ‘cover culture’ that thrives in the local band scene. “It was there in our time” he laughs embarrassedly, “I did enough and more of it”. “They’re (the local bands) undeniably doing a good job” he asserts, “but creativity is somewhat limited because of that.”
Which is why Jazz Unlimited, the monthly jam session at CR&FC, is another source of encouragement for Rukshan, who is enthusiastic that a younger audience listens to more challenging music and “not just pop or whatever that sells”. He is excited about the space these and similar gatherings create for an audience to be required to be informed about and understand what they’re hearing. “Just the fact that they come there to listen to it is amazing” he shares animatedly, his eyes glittering, “because if you don’t start somewhere, you’ll never do anything”.
This comes from a man who has been pretty much everywhere and done pretty much everything, musically. “I try to think out of the box” he shares thoughtfully, “I do a lot of experimental stuff”. He talks of making up his own exercises when he was a teenager, demonstrating them and then laughing mischievously. His unassuming nature makes it impossible it seems, for him to make much of his amazing talents, and its mostly like a child sharing secrets or pulling pranks that he talks (chuckling intermittently with a glint in his eye) of what he plans for the concert.
He sings (and sings effortlessly, a single short line of music enough to assert the fluidity of his mellow voice), plays the guitar and keyboards, composes, arranges, scats (a form of complex vocal improvisation traditional to jazz and not unlike the north-indian alap), scats with the guitar and scats harmony to the guitar! And if this sounds like an amazing list of talents – wait ‘til he begins to whistle. If you don’t know what this means, that’s a sure sign you need to be at his concert. Get your tickets from Park Street Mews, Commons, Torana or Video International (Nawala), and prepare to be astonished.
Don’t judge a book by its cover they say – and the same goes for people and homes. Rukshan Perera, despite an intimidating list of talents and achievements, is down-to-earth, unassuming and always smiling. The high walls and narrow entrance to his home too are imposing, but a deceptive cover to a cheery and comfortable interior, noticeable parts of which are an organ, electric guitar, and stacks of concert flyers.Rukshan’s last performance in January was called “one of the best Colombo has ever seen” and simply “extraordinary”, and true to the reviews, the audience just can’t wait for more. So on Sunday August 28, the Bishop’s College Auditorium promises to come alive with the unmatched sounds of this master-musician. “I want to make it different from last time” Rukshan says, explaining that he has rearranged some of his compositions to include a brass section and other extra instruments and voices. It gets even better as he will be backed by Thriloka and joined on stage by the likes of Natasha Rathnayake, Voice Print and the
De Lanerolle Brothers. The extravagant line-up of guest artists is testimony not only to Rukshan’s genius but also the importance of the Colours of Courage Trust in aid of which the concert is being held.
And what better way to support a worthy cause than by creating awareness of the world we live in? A special thing about Rukshan’s concerts is the variety he presents, the compositions ranging from blues and jazz to acapella and pop, to unique arrangements of popular Sri Lankan tunes. But even more important is his concern for and engagement with current issues in and through his music. He gestures dramatically, describing the “Dhadaang... Dhadaang!” of falling chunks of ice he has witnessed off the Alaskan coast, the inspiration for ‘Nature’s Calling’, and speaks with true empathy of the fear related with overcoming drug abuse, the
theme of ‘You Are Strong’.
The list of Rukshan’s songs that deal with serious issues is surprisingly longer than for most other artists, and he believes he has been more outward looking than most from a young age, though he “never thought of that”. And he doesn’t seem to think much, either, of having formed his own family band at the age of ten (wittily called the Kalaa Maediriyas – a pun on the Sinhala word for “art”), of having been playing for the Golden Chimes from the age of 14, or of having toured Asia and Europe in his early twenties – all feats the kind of which only a handful of us can lay claim to.
What he does think of though, is the state and status of music in our country: “The problem is the time and the money”. He shares regretfully how Sri Lankan musicians trained abroad are reluctant to settle in their homeland because “the situation is just too bad” for musicians and artists. It’s “just not right” he declares, how performers he has known over the years (in a musical career spanning nearly half a century mind you!) are still earning what they did a decade or two ago.
But just as his music and lyrics are hopeful, Rukshan’s outlook is also very positive. “It’s really encouraging” he shares enthusiastically, that musical atmospheres such as that provided by Music Matters are being created by a generation of young and very talented artist, who choose Sri Lanka over so many more lucrative options, in order to simply encourage true musicianship.
“There are some very talented youngsters” he says, speaking of local bands, adding that “even the singers are extremely good now”. He hopes many of these will dare to dream, to reach for something beyond what seems available to them. Rukshan somewhat regretfully describes the ‘cover culture’ that thrives in the local band scene. “It was there in our time” he laughs embarrassedly, “I did enough and more of it”. “They’re (the local bands) undeniably doing a good job” he asserts, “but creativity is somewhat limited because of that.”
Which is why Jazz Unlimited, the monthly jam session at CR&FC, is another source of encouragement for Rukshan, who is enthusiastic that a younger audience listens to more challenging music and “not just pop or whatever that sells”. He is excited about the space these and similar gatherings create for an audience to be required to be informed about and understand what they’re hearing. “Just the fact that they come there to listen to it is amazing” he shares animatedly, his eyes glittering, “because if you don’t start somewhere, you’ll never do anything”.
This comes from a man who has been pretty much everywhere and done pretty much everything, musically. “I try to think out of the box” he shares thoughtfully, “I do a lot of experimental stuff”. He talks of making up his own exercises when he was a teenager, demonstrating them and then laughing mischievously. His unassuming nature makes it impossible it seems, for him to make much of his amazing talents, and its mostly like a child sharing secrets or pulling pranks that he talks (chuckling intermittently with a glint in his eye) of what he plans for the concert.
He sings (and sings effortlessly, a single short line of music enough to assert the fluidity of his mellow voice), plays the guitar and keyboards, composes, arranges, scats (a form of complex vocal improvisation traditional to jazz and not unlike the north-indian alap), scats with the guitar and scats harmony to the guitar! And if this sounds like an amazing list of talents – wait ‘til he begins to whistle. If you don’t know what this means, that’s a sure sign you need to be at his concert. Get your tickets from Park Street Mews, Commons, Torana or Video International (Nawala), and prepare to be astonished.
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