Article Written by Sunil De Silva
(former Attorney General of Sri Lanka)
Published: Thorathuru – Sri Lanka Association of NSW (SLA NSW)
This is our friend Maithri Panagoda is he drafting a legal docu-ment or is he writing another lyric?
22 October 2011 will be a memorable day for all Sri Lankans in Sydney. It was the evening at the Thornleigh Community Centre when an unas-suming Sri Lankan renown for his legal expertise displayed another facet of this multi talented man. I speak of Maithri Panagoda who released his compact disk “Sudu Weli” a composite of lyric written by Maithri and sung by artists of repute in Sri Lanka.
The near 400 guests were given a brief introduction by Don Wickreme about Maithri in his student days at Ananda College, where he excelled in Sinhala language and literature winning the coveted A.J.Fernando memorial Gold Medal for the best student in the Arts section, the F.R.Senanayke award for the student with the highest proficiency in Sinhala and the U.B. Dissnanayke memorial award for the student with the highest marks in Sinhala at the University Entrance Exam The compere Asela de Mel eased the audi-ence into a beautifully choreographed musi-cal evening.
The troupe of girls in white osari each carrying a lighted candle gave us an indication that a nostalgic evening was to follow.
I must say that Asela’s innovative conduct of using a travelling mi-crophone rather than the podium was very effective.
The dancers in colourful cos-tume and the live rendering of Maitri’s lyrics by the Sri Lankan muses in Sydney,
Aruna Kannangara, Lanka Priyanganie, Duncan Karunarathne, Chandrani Buddhipala, Nimal Punchihewa, Chaminda Kuruppu, Dulip Jayakody, Lalith Kalupahana, Thisal Padukkawidana brought out the depth of feeling in the simple but evocative words in the lyrics.
Remote contributions from Victor Ratnayake, Nanda Ma-lini, Ravidra Randeniya T.M.Jayaratne, Somaratne Dis-sanayake complemented a rare evening of musical talent.
A virtuoso performance by Mathisha Panagoda proved that the musical genius had transcended a generation
SUDU WELI
Within the compass of 19 Songs Maithri’s CD “Sudu Weli” captures the full spectrum of human emotions. Per-sonal interaction between parent and child, the emergence and pitfalls of youthful love in one set of lyrics and a vocalisation of patriotic duty in the others to present the unborn generation with a motherland free of conflict and a fertile soil for them to build a resurgent nation.
Maithri used a very clever mix of renowned Sri Lankan artistes and talented artists in Sydney to present his lyr-ics in vocal form, talented young dancers whose co-ordinated grace complemented Maitrhi’s lyrics, showcasing that our expatriate talent can match if not surpass those back home.
The lyrics caught the listener with the poetic combination of rhythm and fluency of language that enabled a master of the spoken word to express profound sentiment in the simplest of language. ‘Heta Upadina Punchi Puthe’ [song 6] put in to vocal music by Neela Wickremesinghe, T,M.Jayaratne and Premasiri Khemadasa, calls on the present generation to eschew disunity and unworthy behaviour to create an ideal environment as a herit-age for the yet unborn combined to bring forth the hopes and aspirations awaiting a son of Sri Lanka.
The chronology of events commences with ‘Kaalayae Weli Thalawa’[10] [Neela Wickremesinghe and Lionel Algama] the lyrics carrying a message permanently engraved on the times of sand of a heritage of a country. Our ancestors have left us a nation undefeated in battle with enemy forces, the present expresses the fervent as-piration of going further on the path our fathers’ trod and to stand on our feet and present the next generation with sound platform of prosperity. ‘The sun and the moon rise on our behalf, the forces of nature bestow, rain and sunshine with timely regularity. We shall face sorrow and joy with equanimity and we will build a new na-tion.’
‘Mama Yanawa, Mama Yanawa’[8] [H.R.Jothipala and Premasiri Khemadasa] vocalising the energy of a sol-dier with sturdy hands nourished by his mother and blessed by the water from the sky and warmed by the sun to clear all hurdles to reach the battlefront to end the denuding of the soil and to build a victorious land on which his son would weave necklaces with golden ears of rice.
Maithri cleverly uses Doi, Doi Doi, Doyya Baba’[9] [Neela Wickremesinghe Premasiri Khemadasa] of rocking a baby to sleep with a lullaby “where did your father go, he went to work for the country. His scent is in the air, sleep without crying, your future will flower from the drops of sweat your father sheds at his work place- when you awaken from your sleep – we would have won our victory a new sun will be shining – sleep without crying’
The theme is developed in ‘Ahasa Balaapan Puthune’ [1] [Neela Wickremesinghe and Premasiri Khemadasa] calls upon the next generation to cultivate and develop the bounty of a motherland left as a heritage earned by the blood and sweat of their ancestors and blessed by nature in the form of the bright sun and fertile soil below their feet.
Picked up in ‘Sudu Weli Mathupita’ [2] [Niranjala Sarojini and Lionel Algama] calling on the group of child-hood friends now reaching manhood and the citizens of today, to build on their shared participation in child-hood play and fraternity of living and eating together and sharing each other’s joys and sorrows.
The noble sentiments form the theme of ‘Paa Wee, Paa Wee Me Enne’ [4] [T.M. Jayayratne and Premasiri Khemadasa] drawing from the winds that kissed the swords of the ancient past and mingled with the sweat of present to create the lush rice fields of the golden homeland, and an exhortation to announce to the future how you built this land with your efforts.
The theme is capped by ‘Peradiga Ahase’[19] [Dulip Jayakody and Sangeeth Wickremesinghe] which hails the cessation of hostilities – as a new sun arises in the eastern sky to the music of conch shells echoing from all di-rections. Recognising the sacrifice of blood and life that achieved the peace that reigns and the Lion Flag flut-tering proudly in the sky. The song calls all to join hands to march forward with cries of victory and make the motherland fertile and bloom with ten thousand flowers.
From the patriotic to the intensely personal, Maithri uses lyrics in ‘Dedunna Paayanne’ [16] [Lanka Pryangani and Lalith Shanthapriya] to express the yearnings of youthful love, perceiving his beloved as the one makes the rainbow form makes birds smile. ‘You are the bubbling brook, the fragrance of a flower in bloom, I see you wherever I turn my love. You are the morning sun, you are the songs that the birds chirp and your fragrance fills the air’. The spring of youthful love, the dawn of a dream world and you fill my heart.’
Maithri moves the awoken love in ‘Awara Giren’ [17] [Nimal Punchihewa and Aruna Kannangara] as the sun sinks in the western horizon and dusk falls stilling the birds in song and the world prepares to sleep, leaving young lovers in reciprocating smiles. They are alone giving the lovers freedom to sing or shout of their dream in the spring of life – like petals floating in the breeze – overcome with love as the evening cools to join in fond embrace.
The burgeoning love flowers in ‘Neela Ahase Tharaka Eli’ [7] [Amara Ranatunge and Dayaratne Ranatunge] as the lovers walk the Galle Face Green in content while the stars light up the blue sky – the stresses of life blown away by the cool breeze – the dreams of the past overridden by the thoughts of the future. Unconcerned about possible pain tomorrow, to enjoy the rare occasion for a smile to light up.
In ‘Anantha Wu Akase’ [13] [Lalith Kaluphana and Anura Kannangara] Maithri traces the fulfilment of the growing love with ‘I am coming tomorrow to carry away your smile like the scent of the saman flower across the infinite sky before the spring is gone’. A promise that the land in which he lives is fertile and victorious seeking an end to loneli-ness, with words of love to adorn his household and to satisfy him with a kiss.
As is often true in life the idyllic dream is shattered in ‘Jeevithaye Thana Nilla Dige’ [5] [Abywardana Balasooriya and Premasiri Khemadasa] by the traditional cultural prejudices that strike the nascent flower of love as if struck by a thunder bolt. As the beloved is stepping out on her journey along the sward of life, hand in hand with another, the dejected lover calls out “Forget me, forget me’ Maithri uses a clever devise of asking rhetorically ” Can tears bring the flower back to life. Like in a dream butterfly feelings are brushed aside, arisen by new thoughts through the sight of a lucky – eyes”
The adoration in ‘Obey Sinhawai’[18] [Chandrani Buddhipala and Indrajith Mirihana] echoes “Your smile – your soft words relieves the pain and sorrows of a shattered palace and becomes a cooling stream that quenched the thirst”
When dreams become nightmares it is your smile that brings good fortune like the waves in the ocean and light streaming from the moon as I set foot to the future in the warmth of your love.
The dream comes true in ‘Kalana Mithuriya Diga Gamane’ [15] [Chaminda Kuruppu and Aruna Kannagara] the re awoken heart hears words of sweet love and enjoys the endearing glances of a young lass who guides him on the righteous path and lights up the darkened sky drawing tears of joy to the tired eyes. “You are the wavering line shin-ing on still water – You are the sole star shining in a dark night”
In ‘Mage Urumaya’ [12] [Thisal Padukkavidane, Sangeeth Wickremesinghe] we hear the lament of a young emi-grant blaming his parents for having disentitled him to the lush green sward along which they had paced their steps. Blaming them for depriving him of the sights of the trees and vines they saw and the bird song that they heard. For denying him access to the fruits and leaf vegetables that enriched the lives of his parents.
In ‘Piya Senehasa’[11] [Aruna Kannagara and Ravi Kulatilleke] Maithri develops the dichotomy that faces a loving son who leaves his homeland and migrates to a distant land. Evocatively saddened by recollections of the loss of a father who showed his son the rightful path, tears of love streams down his cheeks. To him the father was like the light of the sun that dispels the darkness. The son regrets that he was not by his father’s side to hear the final words when the father breathed his last. He expresses a wish to be reborn father and son in the coming years and a contrary wish that the father would reach final enlightenment and not be reborn in human or divine form.
Mage Sihinaya” [14] [Duncan Karunaratne and Indrajith Mirihana] sees paternal love from the point of view of a father who seeks to realise his sunken dream, drained down flowing streams and blown away in the wind, by encour-aging the son to strive to bring true his dream through the efforts and achievements of the son.
‘EEye Raa Mama Sihinen Dutuwa’[3] [Rohini Jayasinghe and Justin Gallage] is an introspective insight “last night I dreamt that I had shaved my head and walked with downcast eyes wearing saffron robes, being taken to the seat, to deliver a sermon among devotees in pure white, to the sounds of ‘saadu saadu’.”
As the moon smiles through the bo leaves, and a nightingale sings, she confuses the eight precepts of the Buddhist philosophy and wakes up from her dream.
Thanks Maithri for a brilliant weave of human emotions into vibrant fabric of golden dreams. Sunil De Silva (former Attorney General of Sri Lanka)
The near 400 guests were given a brief introduction by Don Wickreme about Maithri in his student days at Ananda College, where he excelled in Sinhala language and literature winning the coveted A.J.Fernando memorial Gold Medal for the best student in the Arts section, the F.R.Senanayke award for the student with the highest proficiency in Sinhala and the U.B. Dissnanayke memorial award for the student with the highest marks in Sinhala at the University Entrance Exam The compere Asela de Mel eased the audi-ence into a beautifully choreographed musi-cal evening.
The troupe of girls in white osari each carrying a lighted candle gave us an indication that a nostalgic evening was to follow.
I must say that Asela’s innovative conduct of using a travelling mi-crophone rather than the podium was very effective.
The dancers in colourful cos-tume and the live rendering of Maitri’s lyrics by the Sri Lankan muses in Sydney,
Aruna Kannangara, Lanka Priyanganie, Duncan Karunarathne, Chandrani Buddhipala, Nimal Punchihewa, Chaminda Kuruppu, Dulip Jayakody, Lalith Kalupahana, Thisal Padukkawidana brought out the depth of feeling in the simple but evocative words in the lyrics.
Remote contributions from Victor Ratnayake, Nanda Ma-lini, Ravidra Randeniya T.M.Jayaratne, Somaratne Dis-sanayake complemented a rare evening of musical talent.
A virtuoso performance by Mathisha Panagoda proved that the musical genius had transcended a generation
SUDU WELI
Within the compass of 19 Songs Maithri’s CD “Sudu Weli” captures the full spectrum of human emotions. Per-sonal interaction between parent and child, the emergence and pitfalls of youthful love in one set of lyrics and a vocalisation of patriotic duty in the others to present the unborn generation with a motherland free of conflict and a fertile soil for them to build a resurgent nation.
Maithri used a very clever mix of renowned Sri Lankan artistes and talented artists in Sydney to present his lyr-ics in vocal form, talented young dancers whose co-ordinated grace complemented Maitrhi’s lyrics, showcasing that our expatriate talent can match if not surpass those back home.
The lyrics caught the listener with the poetic combination of rhythm and fluency of language that enabled a master of the spoken word to express profound sentiment in the simplest of language. ‘Heta Upadina Punchi Puthe’ [song 6] put in to vocal music by Neela Wickremesinghe, T,M.Jayaratne and Premasiri Khemadasa, calls on the present generation to eschew disunity and unworthy behaviour to create an ideal environment as a herit-age for the yet unborn combined to bring forth the hopes and aspirations awaiting a son of Sri Lanka.
The chronology of events commences with ‘Kaalayae Weli Thalawa’[10] [Neela Wickremesinghe and Lionel Algama] the lyrics carrying a message permanently engraved on the times of sand of a heritage of a country. Our ancestors have left us a nation undefeated in battle with enemy forces, the present expresses the fervent as-piration of going further on the path our fathers’ trod and to stand on our feet and present the next generation with sound platform of prosperity. ‘The sun and the moon rise on our behalf, the forces of nature bestow, rain and sunshine with timely regularity. We shall face sorrow and joy with equanimity and we will build a new na-tion.’
‘Mama Yanawa, Mama Yanawa’[8] [H.R.Jothipala and Premasiri Khemadasa] vocalising the energy of a sol-dier with sturdy hands nourished by his mother and blessed by the water from the sky and warmed by the sun to clear all hurdles to reach the battlefront to end the denuding of the soil and to build a victorious land on which his son would weave necklaces with golden ears of rice.
Maithri cleverly uses Doi, Doi Doi, Doyya Baba’[9] [Neela Wickremesinghe Premasiri Khemadasa] of rocking a baby to sleep with a lullaby “where did your father go, he went to work for the country. His scent is in the air, sleep without crying, your future will flower from the drops of sweat your father sheds at his work place- when you awaken from your sleep – we would have won our victory a new sun will be shining – sleep without crying’
The theme is developed in ‘Ahasa Balaapan Puthune’ [1] [Neela Wickremesinghe and Premasiri Khemadasa] calls upon the next generation to cultivate and develop the bounty of a motherland left as a heritage earned by the blood and sweat of their ancestors and blessed by nature in the form of the bright sun and fertile soil below their feet.
Picked up in ‘Sudu Weli Mathupita’ [2] [Niranjala Sarojini and Lionel Algama] calling on the group of child-hood friends now reaching manhood and the citizens of today, to build on their shared participation in child-hood play and fraternity of living and eating together and sharing each other’s joys and sorrows.
The noble sentiments form the theme of ‘Paa Wee, Paa Wee Me Enne’ [4] [T.M. Jayayratne and Premasiri Khemadasa] drawing from the winds that kissed the swords of the ancient past and mingled with the sweat of present to create the lush rice fields of the golden homeland, and an exhortation to announce to the future how you built this land with your efforts.
The theme is capped by ‘Peradiga Ahase’[19] [Dulip Jayakody and Sangeeth Wickremesinghe] which hails the cessation of hostilities – as a new sun arises in the eastern sky to the music of conch shells echoing from all di-rections. Recognising the sacrifice of blood and life that achieved the peace that reigns and the Lion Flag flut-tering proudly in the sky. The song calls all to join hands to march forward with cries of victory and make the motherland fertile and bloom with ten thousand flowers.
From the patriotic to the intensely personal, Maithri uses lyrics in ‘Dedunna Paayanne’ [16] [Lanka Pryangani and Lalith Shanthapriya] to express the yearnings of youthful love, perceiving his beloved as the one makes the rainbow form makes birds smile. ‘You are the bubbling brook, the fragrance of a flower in bloom, I see you wherever I turn my love. You are the morning sun, you are the songs that the birds chirp and your fragrance fills the air’. The spring of youthful love, the dawn of a dream world and you fill my heart.’
Maithri moves the awoken love in ‘Awara Giren’ [17] [Nimal Punchihewa and Aruna Kannangara] as the sun sinks in the western horizon and dusk falls stilling the birds in song and the world prepares to sleep, leaving young lovers in reciprocating smiles. They are alone giving the lovers freedom to sing or shout of their dream in the spring of life – like petals floating in the breeze – overcome with love as the evening cools to join in fond embrace.
The burgeoning love flowers in ‘Neela Ahase Tharaka Eli’ [7] [Amara Ranatunge and Dayaratne Ranatunge] as the lovers walk the Galle Face Green in content while the stars light up the blue sky – the stresses of life blown away by the cool breeze – the dreams of the past overridden by the thoughts of the future. Unconcerned about possible pain tomorrow, to enjoy the rare occasion for a smile to light up.
In ‘Anantha Wu Akase’ [13] [Lalith Kaluphana and Anura Kannangara] Maithri traces the fulfilment of the growing love with ‘I am coming tomorrow to carry away your smile like the scent of the saman flower across the infinite sky before the spring is gone’. A promise that the land in which he lives is fertile and victorious seeking an end to loneli-ness, with words of love to adorn his household and to satisfy him with a kiss.
As is often true in life the idyllic dream is shattered in ‘Jeevithaye Thana Nilla Dige’ [5] [Abywardana Balasooriya and Premasiri Khemadasa] by the traditional cultural prejudices that strike the nascent flower of love as if struck by a thunder bolt. As the beloved is stepping out on her journey along the sward of life, hand in hand with another, the dejected lover calls out “Forget me, forget me’ Maithri uses a clever devise of asking rhetorically ” Can tears bring the flower back to life. Like in a dream butterfly feelings are brushed aside, arisen by new thoughts through the sight of a lucky – eyes”
The adoration in ‘Obey Sinhawai’[18] [Chandrani Buddhipala and Indrajith Mirihana] echoes “Your smile – your soft words relieves the pain and sorrows of a shattered palace and becomes a cooling stream that quenched the thirst”
When dreams become nightmares it is your smile that brings good fortune like the waves in the ocean and light streaming from the moon as I set foot to the future in the warmth of your love.
The dream comes true in ‘Kalana Mithuriya Diga Gamane’ [15] [Chaminda Kuruppu and Aruna Kannagara] the re awoken heart hears words of sweet love and enjoys the endearing glances of a young lass who guides him on the righteous path and lights up the darkened sky drawing tears of joy to the tired eyes. “You are the wavering line shin-ing on still water – You are the sole star shining in a dark night”
In ‘Mage Urumaya’ [12] [Thisal Padukkavidane, Sangeeth Wickremesinghe] we hear the lament of a young emi-grant blaming his parents for having disentitled him to the lush green sward along which they had paced their steps. Blaming them for depriving him of the sights of the trees and vines they saw and the bird song that they heard. For denying him access to the fruits and leaf vegetables that enriched the lives of his parents.
In ‘Piya Senehasa’[11] [Aruna Kannagara and Ravi Kulatilleke] Maithri develops the dichotomy that faces a loving son who leaves his homeland and migrates to a distant land. Evocatively saddened by recollections of the loss of a father who showed his son the rightful path, tears of love streams down his cheeks. To him the father was like the light of the sun that dispels the darkness. The son regrets that he was not by his father’s side to hear the final words when the father breathed his last. He expresses a wish to be reborn father and son in the coming years and a contrary wish that the father would reach final enlightenment and not be reborn in human or divine form.
Mage Sihinaya” [14] [Duncan Karunaratne and Indrajith Mirihana] sees paternal love from the point of view of a father who seeks to realise his sunken dream, drained down flowing streams and blown away in the wind, by encour-aging the son to strive to bring true his dream through the efforts and achievements of the son.
‘EEye Raa Mama Sihinen Dutuwa’[3] [Rohini Jayasinghe and Justin Gallage] is an introspective insight “last night I dreamt that I had shaved my head and walked with downcast eyes wearing saffron robes, being taken to the seat, to deliver a sermon among devotees in pure white, to the sounds of ‘saadu saadu’.”
As the moon smiles through the bo leaves, and a nightingale sings, she confuses the eight precepts of the Buddhist philosophy and wakes up from her dream.Thanks Maithri for a brilliant weave of human emotions into vibrant fabric of golden dreams. Sunil De Silva (former Attorney General of Sri Lanka)