Premasiri Khemadasa - A classic fusion of East and West

By Amal HEWAVISSENTI

Wonderfully melodic and tuneful, his theme songs, operas and cantatas show his effortless gift for melodic invention. Khemadasa gave a mysteriously peasant colouring to Sri Lankan music by successfully exploiting soprano voice, harmonies and tones of instruments such as the cello, violin and flute. Whatever form his music comes in, it is superbly blended with Hindustan ragas and western chordal harmonies. Khemadasa's own imaginative orchestration is heard in his operas, symphonies, cantatas and theme music.

Deep inside the theme music of "Nidhanaya", "Manasawila" or the cantata of "Pirinivan Mangalya", different levels of harmonies coupled with the deep sound of cello add to the universal quality of his music arrangement. From Pundit Amaradeva to H.R. Jothipala, from Colombo Philharmonic Orchestra to "Pirinivan Mangalya" sung at village temple, from "Duleeka" to "Nidhanaya", his music freely played itself with unique individuality and style.

He introduced epoch-making changes to Sri Lankan music in order to make it a deeply universal, rather than localised form of art and to turn the elitist classical music into common utility of music.

The life of this great Gandharva of the nation started from Thalpitiya, Wadduwa and ended at Colombo Independence square on 24 October 2008. Guruge Premasiri Khemadasa Silva often highlighted the weaknesses of common boundaries of Sri Lankan song which does not exceed three minutes with conventional chorus and verse pattern.

It is probably justifiable to say that the songs "Handunagaththoth oba ma" (Bambaru Ewith) and "Udumbara" are the masterpiece of change he attempted to bring about in monotonous, three minute song pattern.

He found his voice for a broader, universal art of music free of narrowed out look and opened gates for underprivileged youth to a classical, gentle music enjoyed only by a limited class. Yet, a question remains as to whether Sri Lankan audience correctly identified his real self.

Childhood drama

Overwhelmed by my passion for his appealing style of music I wanted to have a long discussion with him on his early life and his own outlook to Sri Lankan music.

His early life was an amusing drama. He was primarily educated at Sumangala Vidyalaya, Panadura where he was merely involved in studies with no interest to music. The following excerpts are from my record of the discussion with him. (February 2005)

"While I was at Sumangala Vidyalaya, I got a double promotion to grade seven on being the second in performance at a term test. However, I was denied that promotion which was given to another student on the principal's personal decision. I questioned the principal about this unfair decision and got caned by him instead. This was so bitter an experience for me that I was highly fedup with schooling. To relieve my self of the pain of mind, I bought a flute at 70 cents at that time. Though I was without proper preliminary training, I managed to play it by ear."

Radio Ceylon

"The principal of the St. John's College, Panadura personally expressed his willingness to admit me to his school. He had seem me playing, the flute at musical functions. At St. John's College, what attracted me most was not studies but music practices with the flute. One day I received a postcard asking me to take part in a recording session at Radio Ceylon at 10 a.m. Then I was answering the examination paper on Buddhism at the term test. As I had no prospect of having exam inspector's permission to go out in the middle of the test, I suddenly sprang from my seat, shouted out a part of a then popular song and jumped over the school wall. I made a beeline for Radio Ceylon and it marked the end of my school education (at seventeen). Amidst parental protest, I then began to learn music from several teachers in Colombo such as D. Wilson, R.A. Chandrasena, and Cyril Fernando of Police Music Band."

Music drama

Maestro Premasiri Khemadasa (Master Khemadasa) launched a novel project (Sangeetha Manjari) at Maradana at the age of 20 (in 1958) and made his first music drama named "Bari Sil". Joe Abeywickrama sang a song for the first time in this drama and the next product "Kele Mal" produced a noticeable effect on the audience. Khemadasa was brought into close contact with prominent figures such as Dharma Sri Kaldera and Sirisena Wimalaweera who chose him for music direction in his film "Rodi Kella". It was the first music direction by Khemadasa in a film but everything came to a deadlock when Wimalaweera died in an accident.

Khemadasa carried out novel experimentations for a precisely fitting music for cinema when imitations of South Indian music was rapidly invading Sri Lankan films. The landmark of his musical creation "Sulan Kurullo" (for Senasuma Kothanada 1966) which displaced his quintessential western charm, was of pronounced contrast from the imitations of the time. The under current of the change of his music productions was the skilful orchestral players such as Douglas Ferdinand, Neville Fernando and Prof. Eardley Fonseka. The long and the short of it is that Khemadasa's music genre defined the boundaries of theme music and gave the first hinds of how good theme music touches the spirit of a particular film.

He seems to have correctly identified the power latent in various levels of human voice, and uncommonly adjusted sounds of musical instruments to formulate an art of new theme music. The masterpiece of his theme music is Nidhanaya by Lester James Peries. He fervently believed that theme music should be planned on how characters behave, how they change, how the characters are dramatized and the rhythm of the flow of the film's plot. Dr. Siri Gunasinha commenting on 'Sanasuma Kothanada', expressed his deep appreciation for the music which he said was planned with precision and to the point. This recommendation in turn, made Lester James Peries to choose Khemadasa for the music composition in "Golu Hadawatha."

The music in "Nidhanaya" is considered a monumentally successful work of music that featured special voices and sounds totally uncommon. These voices and sounds which begin to play in the scene of murder in the latter stage of the film, were produced from a superbly excellent orchestral arrangement. Unlike today's trend, those days we had the practice of providing theme music to the scenes by strictly following them. That is why there was more life in music than today's theme music," he commented.

"Once N.M. Perera, came to see a symphony of mine when he was the Minister of Finance. He had to stand at the entrance of the hall for half an hour because he was late by five minutes. The western tradition does not allow anybody to enter the symphony if he is late. He had known the rule and did not directly come in though he was allowed in."

"I met Dharmasiri Pathiraja when he was involved in screen writing in 'Hantane Kathawa'. Later I directed music for his film 'Ahas Gawwa'. Wijaya Kumaratunga who was making his first appearance in these films, earlier had acted in one of my music dramas. Later in 'Bambaru Awith' by Dharmasiri Pathiraja, I transformed the boringly traditional setting of songs. Dharmasiri Pathiraja and Dharmasiri Bandaranayke gave immense freedom for me to plan my music within the setting of the film's scenes. Once, Dharmasiri Bandaranayke was startled when I asked him to find, some "mantras" for music arrangement in 'Thunweni Yamaya'. The Sinhala mantras, almost inaudibly used in music, produced the desired effects for the scenes of the film."

"Still, our current song has not freed itself of the traditional mould of beginning, middle, and the end. To change this trend for the better, we need a deep study of music and a close association with foreign masterpieces and creations", he said.

In whatever way, the immense public tribute paid to Guruge Premasiri Khemadasa Silva on his death is really encouraging because it shows the response of a grateful, progressive nation. The recognition, and honour that came to him Penetrated all gaps of social classes of this country. Behind the massive public honour for him is nothing other than his own dear and complex arts and social utility.