A first class performance by the Symphony Orchestra of Sri Lanka

The grandoise Nelum Pokuna, supposed to be a panacea for all such problems, has proved to be a gigantic failure, hardly suitable for the kind of theatre and concert we have, and in any case not affordable. That puts us firmly back in square one, which is somewhere in the 1960s, which is worse since the rest of the world has moved on quite a bit since then

The symphony orchestra of Sri Lanka (SOSL) led by Eshantha Pieris offered a polished Handel/Bach/Mozart performance recently at the Ladies College auditorium. Sadly, the performance outclassed the venue.

Apart from the music, the programme produced another note of excellence-its superbly researched and extremely well-written programme notes. The audience was treated to three pieces by Handel (The Arrival of the Queen of Sheba from 'Solomon,' Water Music and the Musical for the Royal Fireworks), one by Bach (harpsichord concerto) and the Jupiter symphony by Mozart.

Everything received more than adequate treatment owing to some inspired playing, especially by the string section (barring a few sleepy-looking players), with all elements stage was managed very well by conductor Eshantha Pieiris, easily the best conductor to head the SOSL in recent years. He has a thorough grasp of the essentials of conducting and has a delicacy of touch during the lighter, more airy passages which is a delight to watch. Unfortunately, he had his back turned to the audience while playing the pianoforte. That he was conducting with his right hand, while playing with the left was obvious enough. But one of the greatest pleasures in the world of music - indeed, in the whole world - is to see the hands and face of a classy pianist at work. Both become equally expressive at some point.

The other problem was that the venue was cramped. This auditorium would be all right for a five- member pop group or a homely string quartet. A symphony orchestra crammed into this space with piano or pianoforte, double basses, brass and woodwind instruments hardly has any elbow room.

Clearly, while we have always had musicians of great ability and individual brilliance, the classical music sphere on the whole hasn't moved forward by an inch in half a century. The pathetic state of our concert venues is the best indicator of this.

The Ladies College and Bishops' auditoriums and the Lionel Wendt are the best venues available for classical concerts. The former two aren't concert halls to begin with, though Bishop's has more space. They are simply school theatre and concert halls. The Wendt, despite its excellent acoustics, is badly in need of modernising, and it too, is too small for a large orchestra. It's badly lit and looks bleak.

The grandoise Nelum Pokuna, supposed to be a panacea for all such problems, has proved to be a gigantic failure, hardly suitable for the kind of theatre and concert we have, and in any case not affordable. That puts us firmly back in square one, which is somewhere in the 1960s, which is worse since the rest of the world has moved on quite a bit since then.

None of this is the fault of the musicians, of course. It isn't just classical music which has suffered. There has been a decline in the arts over the decades. The venues, again, stand as stark symbols of this malaise.

The Elphinstone and the Tower Hall were restored in the 1980s, but both have suffered from neglect. The Sinhala theatre depends largely on the very basic Lumbini school theatre. It's reverse side of the classical music scenario. While the country has money for super highways, new airports and high rise buildings, why can't it set aside some for the arts?

It's ridiculous to say that Western classical music is the domaine of the elite when welldressed people who don't look third world at all accept third world venues for first class music.

Until this problem is recognised and dealt with, we shall have first class musicians playing in second class venues, or worse.