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The news item said that the award is being conferred in recognition of Pandit Amaradeva’s contribution and invaluable service to promote unity, brotherhood, peaceful living, coexistence, reconciliation and national integration – quite a handful!
Frankly, the Maestro does not need further recognition. The titles, awards and accolades showered on him both locally and globally over the past few decades are ample proof of his talent and versatility. It has been acknowledged that he is a national treasure.
When there are so many popular artistes much younger than him, over the past few years Pandit Amaradeva has always been the people’s choice as the Most Popular Male Vocalist at the annual SLIM-Nielsen People’s Awards. What more?
We enjoyed his songs in our school days at Ananda. We continued to sing his ‘Shantha Me Re Yame’ and ‘Peenamuko Kalugange’ during our university trips along with Moratuwa Baila and Sunil Shantha’s ‘Olupipeela’ and ‘Handapane’ and CT Fernando’s ‘ Selahinikovul’ and ‘Barabage’. We invited him to Peradeniya in the early days of the campus in the 1950s for Mela concerts.
When we were at Peradeniya, Amaradeva had ‘vanished’ to Bhatkande University in Lucknow thanks to the initiative taken by the Lankadeepa Editor D.B. Dhanapala and Professor Edirirweera Sarachchandra. His tutors included Pandit Vishnu Govind Jog who was most impressed with his violin playing. He excelled in his art and by the time he returned after a five-year stint at Bhatkande, he had collected a ‘double degree’ – Sangeeth Visharad (vocal) and Vadya Visharadh (instrumental – violin).
On his return (by then Albert Perera had become Amaradeva) he had a challenging assignment – composing music for Chitrasena’s epoch making ballet, Karadiya. It was right up his street and the theme song ‘Hoiya, Hoiya’ by Mahagama Sekera became an instant hit. The music was appreciated by rasikas both here and abroad. Amaradeva had created a new path in Sinhala ballet music. Earlier in Nala Damayanthi, Sekera and Amaradeva had created the classic ‘Aetha Kandukara Hima Warane’.
Innovation
The State radio at the time encouraged innovative musical programs. Jana Gayana, which he pioneered with Madawela S. Ratnayake, was an experiment in presenting the traditional folk music in a new garb. It marked the beginning of a creative effort in developing an indigenous music based on folk melodies.
Then came Madhuvanti with Mahagama Sekera where a combination of ragadhari music with folk traditions was used to create some of the most beautiful melodies. That’s how songs created in the early sixties – ‘Sannaliyane,’ ‘Irata Muwaven,’ ‘Mala Hiru Basina Sendeyaame’ and a host of others – occupy a special place in our music scene. Vijaya Geetha written by Dalton Alwis produced some of the most memorable patriotic songs like ‘Sasaravasanaturu’.
Another noteworthy combination was Amaradeva and Sri Chandraratne Manawasinghe. ‘Jaganmohini,’ created for the Sarasaviya Film Festival in 1964, has come to stay as a unique invocation to Sarasawathie. When Amaradeva sings Manawasinghe’s words in ‘Mahabovannama,’ we could feel the movement of the leaves of the Bo tree.
Early days
It is interesting to go back to the days when he started to blossom out by showing his capabilities both as a gifted music composer and a top grade singer. He fell into this rare category and during just five years in the 1960s, he won four Sarasaviya awards – once as Best Music Director (‘Gamperaliya’ – 1964) and thrice as the Best Playback Singer (‘Getawarayo’ – 1965; ‘Senasuma Kothaada’ – 1967; ‘Sath Samudura’ – 1968). He was then the only artiste to win so many awards at the only film festival.
Incidentally, Pandit Amaradeva’s playback singing in films dates back to the days of the second Sinhala film – ‘Asokamala’ (1948). The songs he sang – ‘Ayi Yameku Kale Aale’ and ‘Bhavebhitahera’ still sound fresh. He was then a teenager.
The music created by him for Sinhala films stands out way ahead of others, as evidenced by the scores in Gamperaliya, Ranmutuduwa, Ransalu, Getawaray, Delovak Atara, Akkara Paha, Sadol Kandulu, Tung Mang Handiya, Parasathu Mal, Saravita and Madol Duwa. Equally unique was his rendering of film songs. ‘Pipunu Kusuma’ and ‘Sinindu Sudu Mututalawe’ (Sath Samudura) written by Dr. Siri Gunasinghe set to the music of Somadasa Elvitigala or ‘Sansara Gamane’ (Senasuma Kothanada – Premasiri Khemadasa’s music) are just a few examples.
In the mid-1960s I got to know him closely when I started ‘The Arts’ column in the weekend Observer. I recorded his radio programs on audio cassettes. In my collection are his first LP and the early audio cassettes. That was long before CDs came out.
In recent years I have kept the English readership informed of his musical pursuits through ‘Kala Korner’ in The Sunday Times. A collection of these was published and presented to him on his 86th birthday last year. ‘The Musical Genius’ is the only book on him in English – there have been many in Sinhala.
His recent CD ‘Sonduru Minisa’ is an effort by the Amaradeva Foundation to present a mix of old and new creations for future generation to enjoy. The maiden DVD is to be released shortly.
Incomparable contribution
Pandit Amaradeva’s contribution to the development of Sinhala music is incomparable. Trained in the rigid Indian classical tradition, he turned his attention towards the folk tradition in Sinhala music in an attempt to create something original.
“Elements in Indian music are necessary in colouring the folk transitions but we must not follow the Indian pattern slavishly” – this was his philosophy. He soon proved what a lot can be achieved if one is sure of the right approach.
Awards
In 2001, Pandit Amaradeva joined the select band of Ramon Magsaysay Award winners being chosen for the prestigious award – Asia’s Nobel Prize – for his significant contribution to literature and creative communications for over five decades.
“I consider it an honour conferred on the entire community of Sri Lankan artistes,” is how Amaradeva reacted to the news.
Awards and rewards are nothing strange to Amaradeva. Ever since he obtained the degree of ‘Sangeet Visharad’ (vocal) and ‘Vadya Visharad’ (instrumental – violin) from Bhatkande Institute of Music, Lucknow, India he has been our foremost musician – singer, violinist, music composer and director. Developing his own style, his contribution to the development of modern Sinhala music has been enormous.
He was the first Sri Lankan to be honoured by the Bhatkande Institute of Music with the title ‘Pandit’ in 1991 in recognition of his outstanding contribution towards the development of Sri Lankan creative music.
The University of Kelaniya conferred the degree of Doctor of Philosophy (Ph.D) – Fine Arts ‘Honoris Causa’ in 1991 and the University of Ruhuna, conferred the degree of Doctor of Literature (D Litt) in 1993. For his “extraordinary inborn talent, a capacity of selfless effort, intense commitment and charming humility,” he was recognised by the University of Peradeniya in 1999 with the conferment of the honorary degree of Doctor of Letters (D Litt). He was conferred the titles ‘Kala Keerthi and ‘Deshamanya’ by the President of Sri Lanka.
With all these titles before (and after) his name, when he was once asked how he should be addressed, he reminded that he was still ‘plain and simple Amaradeva’. “Call me Amare,” he said.
One can go on and on about his lasting contribution to Sinhala music. The journey is not over. It’s encouraging to see him continuing his mission. He is still full of ideas. We need him to show the way at a time when our music, as most other things, is drifting aimlessly.
