• How the Ceylon Quartet is redefining string music in Sri Lanka

For many, the idea of a string quartet is one of the 18th century, of Mozart and Beethoven complete with powdered faces and wigs – the stereotype of dramatic classical music. However, it has been a long time since the 18th century and string quartets today have evolved quite a bit. They do maintain their formality (it comes with the territory of playing instruments like the violin, viola, and cello), but they can also be quite playful. 

Sri Lanka does not boast many string quartets, and this week, The Sunday Morning Brunch sat down with Ceylon Quartet – a group of four young musicians who have dedicated much of their lives to mastering their string instrument of choice. 

Darshana Amarasinghe, Sanduni Vishaka, Manoj Wijayawardana, and Ravipathi Uthpala Kandage form this quartet, and since 2022, they have been slowly making a name for themselves by stepping out of the conventional genres of string music – though they do very much still play music from this genre – to embrace other genres like pop and even contemporary Sinhala music. 

Being part of a string quartet or any musical group demands dedication, skill, and a profound love for music. The Ceylon Quartet, by nature of their instruments, demands a more structured approach to their musical craft than other genres of musicians would. We explored exactly what goes into being part of a string quartet and why this quartet of young musicians chose to pursue a career playing string instruments. 

A string quartet consists of four string instruments: two violins, a viola, and a cello. This formation allows for a rich, layered sound that can encompass a wide range of musical expressions. 

Sanduni explained: “The standard definition would be four string members: two violins, viola, and cello. The viola is physically a bit bigger than the violin and smaller than the cello. It looks similar to the violin but sounds deeper and is tuned lower. We play all genres: pop, classical, and Sinhala. We want to be versatile and perform for the entirety of Sri Lanka, arranging songs for the string quartet regardless of genre.”

The Ceylon Quartet maintains this traditional structure, ensuring that each instrument’s unique qualities are utilised to their fullest extent. This adherence to tradition is complemented by their innovative approach to music, blending classical and local influences.

The beginnings of the Ceylon Quartet

The origins of the Ceylon Quartet can be traced back to the close friendship and shared musical experiences of two of its members – Darshana and Manoj. Students at Royal College, Colombo where their love for music blossomed, the two went on to play together in various orchestras, including the Symphony Orchestra of Sri Lanka (SOSL) and the Chamber Music Society of Colombo (CMSC).

Darshana recalled: “Manoj and I played in the Royal College Saga Orchestra together. We performed together many times in the SOSL, CMSC, and Krasna Chamber Ensemble (KCE). We wanted to start a string quartet since 2015 and we did try a few times, but because of individual commitments, we had a few false starts. 

“The Ceylon Quartet didn’t happen until 2022 when Manoj suggested trying again with musicians we knew. It was Manoj’s idea, and although I wasn’t initially keen, his determination made it happen.”

The quartet’s formation was also influenced by their group’s chance meeting with Lithuanian violinist Barbora Valiuk who took on the role of mentor and even came up with the name Ceylon Quartet as a means of helping the quartet distinguish themselves in the Sri Lankan market, especially given that there weren’t many quartets already present. 

What would become the Ceylon Quartet initially began with Darshana, Manoj, Ravipathi, and another musician, Yashod Gamage, but personal commitments saw Yashod leave the group, at which point Sanduni became its newest member. 

The quartet proper

Each member of the Ceylon Quartet has a personal story that highlights their connection to string instruments.  

Darshana, 30, began his musical journey at Royal College, Colombo, learning from Ashoka Pushpakumara and Lionel Bandara. He furthered his studies under Sulara Nanayakkara and Ursula Nelius and was a member of the Royal College Saga Orchestra. His favourite piece is Mozart’s ‘Violin Concerto No. 3 in G major’. 

Darshana’s musical journey was somewhat serendipitous. “In Grade 7, my music teacher asked us to choose between singing and playing an instrument. I couldn’t sing, so I selected the violin. I liked the way it looked, and then I met Rochana Ramanayake, who introduced me to Western classical music with Vivaldi’s ‘Four Seasons’.” 

He has performed with the SOSL, CMSC, and KCE. He currently serves as the principal cellist for the Gustav Mahler Society of Colombo (GMSC).

Manoj, 30, graduated from the University of the Visual and Performing Arts (UVPA) and was trained by Asanka Perera, Ashoka Pushpakumara, Lionel Bandara, Sulara Nanayakkara, and Ursula Nelius. He plays both the violin and viola, with Tchaikovsky’s ‘Violin Concerto in D major’ being his favourite. 

For Manoj, the transition from Eastern classical music to Western was pivotal. “I played Eastern classical music initially, but Asanka Perera introduced me to Western violin. He taught me how to breathe and play, and this cultivated my love for Western classical music.”

He has performed with the SOSL, CMSC, and the KCE. He is the second principal violinist for the GMSC and has led the National Youth Orchestra as the principal second violinist.

Ravipathi, 24, studied at Royal College, Colombo and is graduating from the SLTC Research University, having studied music. He was taught by Rochana Ramanayake, Ashoka Pushpakumara, and Kanthi Priyadarshini. He plays the cello, with Beethoven’s ‘Moonlight Sonata’ being his favourite piece. 

For Ravipathi, it was a combination of familial influence and personal discovery. “I played drums initially, but the turning point was the Royal College ‘Saga’ concert where I played the cello for the first time. My sister played the cello at home and I was fond of its sound. There are not many well-known players in Sri Lanka, which made me more interested.” 

He has performed with the GMSC, the National Youth Orchestra, and the National Unity Orchestra, contributing both as a cellist and percussionist.

Sanduni, 26, was born into a musical family with parents who are music lecturers at the UVPA. Taught by Thushani Jayawardena and Ananda Dabare, she holds a BA (Hons) in Music. Her favourite piece is Felix Mendelssohn’s ‘Violin Concerto in E minor’. 

Sanduni’s inspiration came from her mother, a North Indian violinist. “My mother wanted me to try Western music as she didn’t have the chance when she was young due to a lack of teachers. I wasn’t keen initially, but playing with my teachers and at school concerts made me realise that the violin suited me best.” 

Sanduni has performed with the SOSL, National Youth Orchestra, KCE, and National Unity Orchestra. She currently serves as the concertmaster for the GMSC and plays second violin in the Ceylon Quartet.

From mainstream to string

The Ceylon Quartet takes a collaborative and adaptive approach to arranging different types of music for their performances. They believe in leveraging each member’s strengths and experiences to create unique interpretations of both classical and contemporary pieces. The maestro behind the arrangement of music to be played by the quartet is Darshana. 

“When a band or orchestra plays a song, there are several layers of music involved, each played by a different instrument. When arranging such music for a string quartet, we have to choose the right and most important elements and arrange it in such a way it can be played by four instruments alone,” Darshana explained. “When I adapt music for the quartet to play, I take the strongest-feeling rhythms and melodies to be played by the four instruments.” 

One challenging aspect of this process is balancing the vocal component of a song with the musical components of a string quartet, which does not use vocals, and so the vocal component of the song still needs communicating across the four instruments of the quartet along with the rhythm and melody. “I don’t approach it as an arranger or composer,” Darshana said. “I approach it more as an audience member; how do I feel when I hear this rhythm, melody, and instrument? Do I feel good?” 

This process not only enhances their creativity but also ensures that each piece is tailored to their ensemble’s dynamics. Sanduni said: “It’s important that we remain true to the essence of the music while also making it our own.” Their dedication to experimentation and cohesion enables the Ceylon Quartet to breathe new life into a diverse repertoire, making each performance a distinctive experience.

The first chord of a broader symphony

The Ceylon Quartet’s motivations go beyond just the four of them and playing for personal and professional enjoyment. They aim to bridge the gap between classical music and local audiences in Sri Lanka. 

Darshana noted: “We wanted to start a professional string quartet to perform Sinhala and local music as well as international classical music. We aim to introduce this style to our local music crowd and direct it towards proper string quartet concerts.”

Manoj echoed this sentiment, emphasising their educational goals. “We have a thing for education. We want to teach children and inspire them to learn classical music. There is a big need to bring Western classical music to Sri Lanka outside of Colombo, and we plan to do workshops and concerts islandwide.”

The future for the Ceylon Quartet is filled with ambitious plans. They aim to hold concert series across the island, conduct educational workshops, and inspire the next generation of musicians. Darshana shared: “We are planning a concert series not just in Colombo but islandwide as well. We also plan to do workshops on string instruments and their benefits.”

The musicians’ dedication to their craft and their community is evident in their commitment to both performance and education. As they continue to grow and inspire, they remain a testament to the power of music and the unique beauty of string instruments. Through their efforts, they hope to create a lasting impact on Sri Lanka’s musical landscape, blending the rich traditions of classical music and the unique beauty of string instruments with the vibrant culture of Sri Lanka.