At its heart, music combines rhythm, melody, and harmony to evoke emotions and tell stories that resonate with audiences across the globe. It encompasses a vast range of styles and traditions, from classical symphonies to folk melodies to the infectious beats of pop music.
The piano, a versatile and beloved instrument, has played a central role in musical development for centuries. Its 88 keys, black and white, produce a wide range of tones, allowing musicians to create intricate melodies, rich harmonies, and powerful dynamics. Learning piano can be a rewarding journey, opening doors to musical expression, creativity, and a deeper appreciation for music.
The Youth Observer caught up with Dhiren Fernando, a young and talented pianist who recently made his debut as a soloist with the Symphony Orchestra of Sri Lanka (SOSL) at the ‘Romantic Masterworks’ concert at the Lionel Wendt.
Q: Can you tell us about your journey with the piano? When did you start playing, and what inspired you to pursue it professionally?
A: My journey with the piano started with passion and enjoyment before I transitioned to a more serious approach. I started learning to play at Music Matters in Sri Lanka when I was about eight. The environment there was very relaxed, allowing me to play what I liked without the pressure of exams. This casual and enjoyable introduction to music was fantastic for me.
After some time, I began taking lessons with Mrs. Menaka Sahabandhu, a classical style teacher in Sri Lanka, who provided a more structured method of learning. During this period, I happened to be travelling to Iceland with my family. The Guildhall School of Music and Drama in London, one of the top ten music schools in the world, used to offer advisory sessions at the time, where a senior teacher listens to a child play music and offers advice.
My mother arranged for me to go for one of these advisory sessions while we were in transit in London on the way to Iceland. I was only eight at the time, having only passed grade 1 piano, and the school typically required students to be at least eleven and have Grade Five distinctions in two instruments. Despite this, the Head of Piano, Mrs. Shelagh Sutherland, saw potential in me, invited me to audition, and ensured a special curriculum was made for me.
After that, I moved to England and studied at Guildhall for about eight years. Guildhall also does not insist on exams, the annual assessment is a performance and an interview. During my time in England, I played in various orchestras, including the school orchestra, and the Guildhall orchestra. My piano performances were mainly at school and Guildhall, and when I had temporarily moved back to Sri Lanka after Covid, I even competed in a competition in Sri Lanka, winning several awards.
A significant part of my musical journey has been influenced by my teacher, Ms. Dushyanthi Perera, whom I affectionately call Aunty Dushy. She has been my teacher since 2020 for both the piano and the double bass, and with her, I passed the Piano ARSM and Double Bass Grade 8 examinations, both with Distinction. Her guidance and support have been crucial to sustaining my interest in classical music. Without her, I would probably have given up music years ago.
Looking back, my initial love for music was nurtured at Music Matters, where my teachers encouraged playing what I enjoyed; at the time, this was mostly music from films, Pirates of the Caribbean, Star Wars. They emphasized the importance of loving music, which has stayed with me throughout my journey.
My experiences at Guildhall, under the mentorship of Mrs. Shelagh Sutherland, were transformative. Her belief in my potential and her encouragement played a crucial role in my development as a musician. Today, I continue to play piano and double bass, driven by my passion and love for music.
Q: Do you have any influential figures, like pianists or musicians, who have inspired you?
A: For sure, I’d say Aunty Dushy has been a significant influence from the start. When I was younger, I didn’t take classical music too seriously and was a bit lazy in terms of practice. Even when my teachers pointed out areas for improvement, I often took it as an insult rather than constructive feedback. However, after Aunty Dushy started teaching me, things changed. Initially, we didn’t get along very well because she is quite the perfectionist, and I was about 13 and a bit lazy.
Over time, we got used to each other, and I learnt how to use her criticism to my benefit, as she intended. She remains a perfectionist even to this day, particularly during rehearsals. She’ll point out every single little detail, and I’ll go through them to ensure everything is perfect. Her dedication and work ethic have been incredibly inspiring. Sometimes, I hear her play the cello, and it’s just wow!
The first person I heard play classical music was Miss Shanti Dias, another pianist. It was the first classical music concert I ever attended. Although I don’t remember all the details, I recall being very impressed.
In terms of well-known pianists, the one who had the most significant impact is Alexei Sultanov, the pianist who won the Van Cliburn International Piano Competition. His recordings, especially of pieces I’ve been learning, have been incredibly educational. He was only 19 in those recordings, and listening to him play has been an inspiring and educational experience for me.
Q: How do you balance the technical and emotional aspects of playing the piano?
A: I believe that if you don’t enjoy playing, there’s no point in doing it. Enjoyment naturally helps you balance the technical and emotional aspects of playing. You can’t achieve the emotional depth without a solid technical foundation, but the emotional aspect is always more important. My teacher always says that it’s not about how it sounds; it’s about how you make the audience feel. She’s told me multiple times that if you make just one person in the audience cry, then you’ve won.
Q: What are the techniques you use to balance the technical and emotional aspects?
A: It’s not exactly a technique. The technical aspects should become second nature, something you’re not actively thinking about while playing. I aim to reach a level where I’m not focused on the mechanics but rather on the music itself and how it fits within the overall performance. While playing with the orchestra, I’m often listening to how I blend with everything else rather than just focusing on my part. Of course, there are moments where it’s just me, and I need to concentrate more on my playing.
I usually don’t think about manufacturing emotion in a technical manner, I play the way that I feel the music. However, if I had to break it down to nuts and bolts, the emotional aspect can be brought out by small things, for example, slightly slowing down, speeding up, playing louder or softer at different points. It’s about crescendos and diminuendos., If you break it down like that, the emotional and technical aspects tie together. For instance, when I imagine a phrase in a piece, I know the notes and the interpretation simultaneously. When I’m playing, I let the notes flow and focus on shaping the music emotionally.
Q: What have you enjoyed most about performing with the Symphony Orchestra of Sri Lanka?
A: Performing with the Symphony Orchestra of Sri Lanka, a prestigious and historic ensemble established in 1958 and one of the oldest orchestras in Asia, has been an incredible experience. I have thoroughly enjoyed the social aspects of this journey, getting to know the talented musicians, and the teamwork involved in performing a concerto. Achieving perfect synchrony with a diverse range of instruments is truly fascinating. I especially love how my musical lines intertwine and converse with the cellos, clarinets, bassoons, and violins.
Q: What has your first experience performing as a soloist with an orchestra been like, and how is it different from performing solo?
A: My first experience as a soloist with the orchestra has been eye-opening and deeply enriching. Every rehearsal unveiled new melodies and nuances within the work. Playing while attuned to the surrounding instruments is a stark contrast to performing solo, where I focus solely on my part.
Practicing with Mrs. Shanthi Dias, fondly known as Aunty Shanthi, who accompanied me on the second piano part during my SOSL audition, was instrumental in my adaptation. She offered invaluable advice, drawing from her own experience performing this concerto with the SOSL. Her insights were particularly beneficial in mastering the piece, given her intimate familiarity with it.
Q: When compared to other countries, do you think Sri Lanka holds a place in classical music?
A: When compared to other countries, there are few classical musicians in Sri Lanka. It’s not as common as it is in some other places. However, even though it’s less common, those who are interested and actually pursue it are very talented and committed, they could compete on any international stage. For example, people come for orchestra practices after working long hours — sometimes nine or ten-hour days. They show up at 6.30 in the evening and keep going, demonstrating their absolute commitment every time.
The teachers in Sri Lanka are on a different level compared to most teachers in the UK. Teachers in the UK are obviously very good, but they often let students work and perform at their own pace. In Sri Lanka, especially my teacher Aunty Dushy, and other teachers in other subjects I’ve encountered, they always encourage and support students to be better than their best. Being rather a lazy person, I am very grateful for this encouragement from teachers.
