Benjamin Britten's centenary concert

By Mahes Perera

The third concert in the Earle de Fonseka Chamber Music Series will be performed by the Symphony Orchestra of Sri Lanka on April 27. The concert which at the Lionel Wendt Theatre will be recognised as the Benjamin Brittens Centenary Concert and will be directed by the only Sri Lankan female conductor, cellist Dushyanthi Perera.

Dushyanthi Perera

The concert itself is a tribute to Dr Earle de Fonseka who "was a guiding force in western classical music in Sri Lanka for decades." From the beginnings of the Symphony Orchestra, which was in 1961, Dr. Earle de Fonseka was the familiar figure on the podium taking the orchestra through its paces in rehearsals as well as in concert performances, until his demise in 2000. Many musicians who learnt from his tutelage admit that Dr. de Fonseka influenced their musical careers and owe their current success to him.

His influence was felt not only in orchestral music but also in chamber music. According to the many musicians who were associated with him, his home was a meeting place for them, exchanging views on music and also exploring the many genres of ensemble music.

The concert on April 27 is their way of remembering him and his contribution to classical music in Sri Lanka.

Piano melodies

Since this is the centenary year of Benjamin Britten's birth the chamber orchestra has included in its program Britten's Simple Symphony which he wrote when he was 20 years. The work in its net setting is a re-cast of a number of his old piano melodies in four movements for string orchestra.

The Serenade for Strings by Victor Herbert, a composer of the early American scene and his lesser heard work is the choice of the Symphony Orchestra. The work is in five movements with an attractive melody to lose yourself into it.

The third selection of the orchestra is the lively Italian Serenade by Hugo Wolf. It is a free form rondo and to quote Robert W. Gutman "the essence of the delicious Italian Serenade is its antithesis of romantic sentiment and mocking wit".

A few days before the concert we were fortunate to meet Dushy and have a conversation with her regarding the concert.

Records

Most musicians confess they owe their introduction to classical music to Dr. Earle de Fonseka. How about you?

"Dr. Earle de Fonseka introduced me to chamber music when I was 10 years old. I became the cellist in his quartet, and we would meet at his house every Saturday evening to rehearse.

He had a vast collection of records, and sometimes he would ask me to come an hour before the rehearsal just to listen to chamber music.

Chamber music is a lot more intimate than symphonic works and requires more detail in terms of interpretation and precision. In a chamber orchestra every member has to play like a soloist.

The writing is such that it demands sensitivity, and the musicians need to be aware of what every instrument around them is playing.

Their understanding is important, as they have to be able to make the music come alive."

Is conducting an orchestra a challenge to you, especially since you are a female and regular on the podium?

"I enjoy conducting and directing music groups as much as I have enjoyed teaching over the past 25 years. I don't think of it as a challenge. I have immense co-operation and support from the musicians - they have been my colleagues and friends and we have been making music together for years.

I faced the challenges with them as a player, now I have to take one step further, where I become responsible for the musical interpretation.

As a conductor, I try to the best of my ability to make the players aware of what the composer's intentions were, and guide the musicians in a way that they re-live that moment, and draw the audience into having a similar musical experience."