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Victor Rathnayaka:
Unshaken personality in a cyclonic society
Kumara LIYANAGE - [email protected]
It was a happy birthday.
Ardent fans of Sinhala art song flocked together at the John de Silva
Memorial Hall on 18th February to take part with a special occasion came
in triology. ‘Madhu Wasanthe’, ‘Maruthaye Miyurusara’ and ‘Sasara Seri
Sarana Thek’ were the unusual birthday gifts presented surprisingly - to
them as a CD, a monograph - 2nd edition of the biography and a musical
extravaganza by the celebrator himself who is still at the pivotal
position in music.
 Victor - who well deserves the name which depicts very meaning of
‘success’, celebrated 68th birthday having dedicated untiring 04 decades
to the development of Sinhala applied music. His tremendous musical
career has been unchallenged to date, deeply rooted into the native
tradition, originated from the age - old Sinhala Buddhist cultural
heritage.
Experiments
In the aftermath of independence, perhaps enthused by the popular
response to nativity, people tended to explore the local genre of art,
backed by the socio - political movements under the leadership of
stalwart patriots.
But in that theatre, different foreign influences bypassed the
mindset of the people and strained the local taste pallet to the lowest
ebb. It was mid 60s when he entered the national level of music, at a
time, the influx of Indian cheap music was ruining the originality, with
a backdrop of Hindi cinema industry.
Being a well-versed music teacher by profession and a versatile
violinist shaped by the National School of Music, Victor began to tread
on the corridor of professional music starting his career in his tender
years under the tutelage of saintly music guru Cyril Perera - the
founder of the MG Music Academy in Kandy. Later his studentship was
blessed with the eminent musician R.A. Chandrasena, representing widely
divergent styles of singing and playing.
All the while, using his birthright of music Victor bent his energies
to develop a very own fetching style having exploited the essence of
experiments carried out by the predecessors of great musicians Ananda
Samarakoon, Sunil Shantha, M. K. Roksami, R. Muttusami, Mohomed Gauze,
W. D. Amaradewa, Lional Algama, Somadasa Elwitigala, Shelton Premarathna
to name just a few.
Identity
The object is to strive to bring recognition to the Sinhala music in
the context of the changing times and tastes. Veteran vocalist and
composer, Victor in his own right came into the limelight who is always
energetic of doing something new and novel, ‘Sihil Sulan Relle’ which
marked his debut was an instant hit, enterprising in attitude to
translate the desires of listening public into a scintillating musical
creation.
The master in the art of presentation, through this very first
collection of songs began providing the long awaited need of succour to
rasikas of all time. Much detailed musical patterns of his calibre
reinterpret the role of music while explaining local traditions lead
towards future.
 Victor’s immense capacity to descremble his voice against the Indian
style of singing enhanced by proper ‘sahithya bhava’ without sacrificing
‘sangheetha bhava’ has been the surviving element where most of others
have almost gone out of vogue.
The secret of his popularity lays in his marvellous voice freed from
important accents and magnetic personality that reflected the admiration
and affection of the people.Evidently, ‘Hopalu Wanapetha’, ‘Sonduriya
Obage,’ the semi classical songs of his own and ‘Esa Preethi Karana
Roopa’ one can have a peep into the mental make-up of great composers
who have fused raga-in their inspired compositions, are the classical
examples of his nature that render the great zeal of locality and
identity.
Ushering into the new heights, Victor’s most popular ‘Sa’ one man
musical concert which happened to be an overnight success completed 1400
shows, at an average of 1 per every 10 days during the past consecutive
36 years.
Undoubtedly his is the fruition of Sinhala - ‘popular art song.’
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