Malcolm v. Stülpnagel, Galle.
On Saturday the 31st January, the Chamber Music Society of Colombo performed at the historic 18th century Dutch Reformed Church in the Galle Fort. Presented by the Galle Literary Festival and sponsored by the Royal Netherlands Embassy, the elite ensemble, directed by Lakshman Joseph de Saram, made a tremendous artistic impact.
The proceedings began with the Dutch Ambassador, Ms. Leonie M. Cuelenaere making a brief but glowing tribute to the Society’s Founder/Director. Following which, the Ensemble went about its business of creating what was most probably the best live classical experience this country has heard in a while. The packed to the rafter’s concert reflected the reputation of the Society and the dazzling variety of music that is one of the Ensemble’s strongest characteristics. Each work stood out distinctly from the rest, but the overall program had a natural flow and a sense of fundamental inevitability. To sum up the sound and intensity of the CMSC, think of a typical Italian chamber group, inject them with steroids, and you have the Chamber Music Society of Colombo.
The overture to Johann Christian Bach’s opera Artexeses began the concert. Wonderfully layered crescendos, pointed string playing and excellent sound from the horn section. The ensemble vindicated the much-maligned J.C. Bach; it is a pity he is not performed more often.
The 18th Symphony by a 17-year-old Mozart was equally satisfying. The four movements flowed seamlessly, fire provided when called for and such sweetness in the Andante. The Minuet and Trio was done with style, and the finale was taken at a breath-taking speed that was bracing.
The late Dr. Premasiri Khemadasa’s final work of distinction closed the first half. Beyond Horizons is a wordless evocation for soprano and orchestra, originally performed in Prague; Eriko Tokúra Perera sang it on this occasion. The music was described as a quiet requiem for the iconic composer, the mystic minimalism in the score was very apparent, and the depth of feeling and emotion that was injected into the piece was more than admirable, it was the most moving work on the program.
American composer Stephen Allen’s The Dawn of Kandula opened the second half. Based on a chapter from the Sri Lankan medieval epic The Mahavamsa, the virtuosic writing was extremely visceral and effective. Unfortunately for the audience, program notes were not included, thus preventing any real understanding of the embodied meaning of Allen’s complex polythematic structure. We could only imagine what the original chapter was all about, making the musical expression of it a futile guessing game. However, as absolute music goes, it worked.
Albinoni’s Concerto for five instruments was a minor revelation. The string section of the Society took center stage and created a wall of sound not commonly heard in these parts of the world. Intimate as well as aggressive. Lush layering and exposed brick, all in the space of nine minuets. It deservedly garnered bravos from the enthusiastic audience.
The concert closed with the Symphony Sacré of the obscure German classical composer Johann Melchior Dreyer. As the Artistic Director stated, the music had freshness and vitality that was altogether quite bewitching. The symphony showcased a wide gamut of musical and emotional textures that the Society was able to express with considerable authority. It was exciting music played with relish. I hope the Society programs more of Dreyer in its future concerts.
Although the concert was an undeniable success, it was not without its flaws. There was an obvious lack of consistency in the level of playing skills and experience between the principal players and the rank and file. Also, I felt the orchestra should have been on a raised podium; only the first 10 rows were able to see the musicians without craning their necks. Secondly, the idiots with their ringing mobile phones. How many times do they have to be told to switch them off during a concert! Outrageously unsettling. Thirdly, the typical delay in starting, the downbeat was a good 25 minutes late. Unacceptable. It was also disappointing that the ensemble did not perform an encore. A standing ovation is a rare commodity at classical concerts the world over, and it is remiss that the Artistic Director made a succinct statement to the audience by closing his score and leading the ensemble off stage. He may have had his reasons, but it is not what we expected, thus slightly anti-climactic.
However, there is no denying this; the Chamber Music Society of Colombo is making people want to go to live classical concerts in this country. It is music without compromise, without disclaimers, and served with a dollop of intoxicating tropical passion.
July 20th, 2009 | Reviews and Media