Thank you for listening to 3sinhala Web Radio. Every day we are joined by more and more new listeners. We are very happy that our Radio is listened widely and all around the world. However, due to heavy web traffic and increasing bandwidth usage, we have to upgrade our streaming servers and services regularly. This costs a lot of money. Yet, 3Sinhala Web Radio will remain FREE for all our loyal listeners.

In order for us to continue providing Sri Lankan Classical Music, we urge your support. If you think it is worth a contribution, please do so using PayPal or Credit or Debit card. If it is difficult for you to spare a few dollars, we understand. Just relax and enjoy our own Sri Lankan music. Thank you!

Clarence Wijewardana (August 3, 1943 – December 13, 1996) was a Sri Lankan musician who pioneered the use of electric guitar in Sinhala music. He is said to have revolutionized Sri Lankan music in the 1960s and is often named as the father of Sri Lankan pop music - having influenced performers in ranging from W D Amaradewa, Premasiri Kemadasa to Athula Adhikari. His music is often characterized by simple melodies built around a melody that features the electric guitar – this style may be best illustrated by the song Malata Bambaraku Se (Translated: Like a Bee To a Flower).

Early life

Clarence Wijewardena was born on August 3, 1943, in Matale, Sri Lanka, to an estate medical practitioner. His family moved to Batugedara, Ratnapura, and abandoned a budding planting career to pursue music full time. He is married to Sheela Wijewardana and they have one daughter Amila Wijewardana.

Moonstones

Wijewardena formed the Moonstones at the age of 21 with Annesley Malewana as lead vocalist. Managed by an advertising icon, Sri Sangabo Corea, the group recorded several songs to be aired on the Saturday Star program in 1966. The young musicians were mentored by Sri Sangabo Corea together with veteran Radio Ceylon/SLBC broadcasters Vernon Corea and Vijaya Corea. Their 1968 debut EP Mango Nanda was released on the JVPC007 Philips label selling up to 5000 copies. It included the songs “Mango Nanda,” “Ruwan Puraya,” “Seetha Ude” and “Menike.” The sophomore release More Hits by the Moonstones came out November that year on the Sooriya label and included the hits “Kalu Mama”, “Rosa male”, “Ramani” and “Goyam Kapanawa.” “Mango Nanda” was selected the best Sinhala song by the Hit Parade program on Radio Ceylon. In 1969 the Moonstones welcomed female vocalist Indrani Perera who sang lead on the best selling “Dilhani.” Wijewardena himself only sang lead on “Dileepa Podi Puthu,” an adaptation of a poem written by Karunarathne Abesekara to his son.

During the ‘Moonstones’ era, Wijewardena, who performed as a composer and music director, became a singer. Wijewardena took the initiative to start a three-man band, he was only the finest self-taught guitarist, and as yet unknown. However, later the ‘Moonstones’ were formed with Annesley Malawana playing the key role as lead singer. Since then this exceptional man and his music dominated the Sinhala pop music industry. He is regarded by many as a pioneering Sri Lankan musician in the realms of Sinhala popular music.

After he left the Moonstones in 1970, he held a musical show in Moratuwa with Shanaka Perera and Wijith Peiris and the show was named as “Breakaways from the Moonstones”.

Golden Chimes

Wijewardena departed the Moonstones and formed a new music group called the Golden Chimes, with ex-Moonstones bassist Chanaka Perera and Lankika Perera in January 1971. Their first release included “Kimade Nawe”, “Mage pelpathe”, “Sihin Sinawai” and “Samanalayo.” Subsequently English language vocalist Anil Bharati joined. The second EP on Philips label contained “Malai Velai”, “Sihil Nuwan”, “Surangana Vesvala” and “Mage Viyowen” and third EP contained “Iru Dina”, “Sandai Tharui”, “Muhudu Rella” and “Thakkita Tharikita.”

At this time Wijewardena found a professional lead guitarist at a wedding. He was the maestro Dixon Gunaratne.

When Christmas bells chime this man is never forgotten with the breeze in December. The Sinhala channels take the lead with the popular Christmas hit “Bethlehempure”. He is none other than the popular man who emerged from another Wijewardena group “Golden Chimes” – Anil Bharati. Clarence is a man who found new talent into Sinhala pop scene. Anil was one of them.

After evaluating Anil’s performance for one year, Wijewardena decided to enter him into the Sinhala pop music scene. Wijewardena composed “Ada Wei Iru Dina” for Anil which became an all time hit followed by the lovely Christmas song “Bethlehempure” and “Maa Adarai Nangiye”. Clarence offered him another all time hit “Tikirimalee” with “Ma Mulin Liyu Pem Pathe”, “Desa Vidala”, “Bambaraku Aduna”, “Sarojini” and “Iru Dina Pamanak”.

In 1972, Wijewardena and Dixon Gunaratne left the Golden Chimes and they both formed a new band known as Super Golden Chimes also with the support of Annesley Malawana in 1973.

The Super Golden Chimes

Wijewardena formed the “Super Golden Chimes” back in the company of his lifelong friend Annesley Malawana. It was one of the most productive music groups in Sri Lanka and together they hit the number one slot in the Sri Lankan music charts on both the Sinhala and English Services of Radio Ceylon and subsequently the Sri Lanka Broadcasting Corporation. For many years they enjoyed the reputation as Sri Lanka’s number one group in the 1970s and 1980s. After three years Wijewardena decided to go solo when Annesley Malewana announced his plans for marriage. The late Mike Gunesekere took over the Super Golden Chimes after Clarence left the group.

Experiments in Music

Wijewardena, like the Beatles, experimented with sitar music and introduced the sitar to some of the songs of the ‘Moonstones.’ Wijewardena was a musician’s musician. He had the ability to grasp new trends in modern popular music. For the first time (for a recording) he used a guitar wah wah pedal for the song ‘Pemkathwawa.’ Also the song ‘Sigiriya’ was the first Bossa nova beat song in Sri Lanka & later he used this beat for the songs Piyaneni, Mage Palpathe, Muhudu Rella, Renin Piyabanna, Maliniye, Ramya (Previously sung by Wijewardena in 4/4 beat), Ran Monarun (Winslow Six), Lalitha Kala (Chithra Somapala) etc. Also he used two guitar players to play lead parts & counter parts of songs such as Sumudu Mal Pipinu, Dileepa Podi Puthu etc. For the first time in Sri Lanka he used the blocked guitar tone for the song ‘Kusumalatha’. Wijewardena introduced some of the guitar techniques through his songs via a single guitar harmony style in the introduction of “Dellepa podi puthu” and arpeggio styles in “Sihina Lowak” and “Malata Bambareku Se”.

“The Twist” was a dance in the 1960s, inspired by rock and roll music of the West. It became a worldwide craze, enjoying immense popularity among young people and drawing fire from critics who felt it was too provocative. Wijewardena composed a song Ma langin for this style and released the song in “Ugayen ugayata” cassette in 1989.

For “Dineka me nadee thira” he used mute guitar technique for the introduction. Some of the guitar techniques Clarence used in his songs are alternate picking, Chicken picking, Carter Family picking, Cross picking, Flat picking, Golpe, Hammer-on, legato, Pick tapping, Pinch harmonic, Pull-off, Slide guitar, Sweep picking and tap harmonic.

Tribute songs

Wijewardena has composed and directed music for a number of songs for the daughters and sons of his friends and relatives. He composed ‘Piyaneni’ in memory of the late Reverend Canon Ivan Corea who was the father of Radio Ceylon broadcaster, Vernon Corea. Wijewardena had met Corea in Maha Nuge Gardens in the 1960s during his visits to meet with Vernon Corea. The song became an instant hit in South Asia and to this day it is sung by Annesley Malewana on his world tours.

Wijewardena composed a song for the son of Mr and Mrs. Vijaya Corea and it was titled as “Viran Bilindhu Puthe” After that Wijewardena changed the chorus part of the song and sang that songs as “Kiri Muhuda Kalabala” Also Wijewardena composed a songs for the son of Chanaka and Lankika Perera and it was titled as “Sihina Pathum Wimane” Also the song “Bethlehempure” which was written by Sri Lanka’s famed lyricist, Mr Karunaratne Abeysekera, became an instant hit on the island. It was one of many songs capturing the Christmas spirit and the birth of Jesus. Wijewardena also composed ‘Naththal Seeya’ in the early 1970s.

Wijewardena’s first solo is ‘Dileepa podi puthu’ was written by Radio Ceylon broadcaster, Karunaratne Abeysekera for his own son. Wijewardena appreciated the work of Karu and wrote an instant song Seetha Pawan to express his gratitude on the day of the funeral of Karunaratne Abeysekera.

Film music

Wijewardena entered the film music industry at that time. The first film with music directed by Wijewardena was ‘Sikuruliya’ and the sound track was supplied by the Golden Chimes – the film includes a scene where Wijewardena and the Golden Chimes perform at a party. Also for the music of the songs of Sikuruliya film, Wijewardena used western musical instruments as well as eastern musical instruments. The song ‘Wasanthaye Mal Kekulay’ which was composed by Wijewardena was the first song that consists of five lines in the chorus part of the song. He directed music for the films in a different and unique style of his own.

The music of Sri Lanka originates in cultural traditions deriving from three influences: the religious practices of Buddhism, the aftereffects of Portuguese colonization, and the commercial and historical influence of Indian culture – specifically, Bollywood cinema. The Theravada sect of Buddhism has influenced Sri Lankan Music since Buddhism arrived in Sri Lanka two millennia ago.
Portuguese colonizers arrived centuries after the Buddha, in the mid 15th century, bringing with them cantiga ballads, ukuleles and guitars; as well as desendants of africa (referred to, historically, as kaffrinhas), who brought with them a style of music now referred to as baila. The people of these two regions, and the musical traditions they brought with them, served to contribute further to the diverse musical roots of modern Sri Lankan music.
Folk Music
There are sets of folk poems (kavi) unique to members of different castes (farmers, cart drivers, miners, etc). These originated as a way to pass time for the individual groups as they engaged in their work. Today, they are sung as a form of cultural expression.
Kavi also exists that accompany folk rituals. The rituals are rarely performed today but the songs survive among folk musicians.
Another traditional Sri Lankan folk style is called the virindu. It involves an improvised poem sung to the beaten melody of a rabana. In the past there were contests in which two virindu singers would compete with verse.
Endemic Instruments (The Béra)
According to the historical record available today, it is believed that several instruments originated within the tribal groups that once inhabited the island presently known as Sri Lanka. Among these, seven remain in use:
1. Gáta Béra – Also referred to as the Kandyan Drum; it is a double-headed, barrel-shaped drum, that is played by hand).
2. Thammátama – A twin-drum (similar to the bongo) that is played with two sticks instead of by hand.
3. Yak Béra – Also referred to as the Low Country Drum; it is a double-headed, barrel-shaped drum, that is played by both hands (one in one side).
4. Udákkiya – A small, hour-glass shaped drum, that is played with one hand while the other hand modifies the tension of a cloth wrapped around its centere (thereby changing the pitch of the drum-head) .
5. Hand Răbāna – A drum similar to the tambourine (except in that it does not possess metal jingles)
6. Daŭla – A double-headed, barrel-shaped drum played by hand (on one side), and by a stick (on the opposite side).
7. Bench Răbāna – Similar to the hand rabana, except larger (it is often played by three to eight individuals simultaneously).
In addition to these drums, a new drum was recently created (in 2000) by Sri Lankan musician Kalasoori Piyasāra Shilpadhipathi, referred to as the Gaŭla – it is a barrel-shaped instrument containing one head from the Gáta Béra, and one from the Daŭla. A set of rudiments (practice rhythms) were also created by him to accommodate the instrument’s unique tone.
Also in addition to these drums, the dhōlki is also used by many musicians – though this drum is believed to have descended from those brought to Sri Lanka from India – unlike the aforementioned instruments; which are believed to have existed in Sri Lanka prior to the arrival of the first Indian explorers (though this is difficult to verify due to the proximity of the two nations to one another – it is impossible to say, with any degree of certainty, that no cultural exchange occurred between the peoples of southern India and Sri Lanka prior to any particular date in history).
In 2011, an eBook and a small print book were published with basic playing technique for the Thammattama drum, using Western Notation as a basis. The title is “Sri Lankan Drumming: The Thammattama,” published by BookBrewer.
Western Music
Western classical music has been studied and performed in Sri Lanka since its introduction during the British Colonial period of the 19th century. The upper middle-class and upper-class citizens of the country traditionally formed the pedagogues, students, and audience of the Western classical tradition in the country, although western music is also offered as a subject at secondary schools and at tertiary level. The Symphony Orchestra of Sri Lanka is one of the oldest western orchestras in South Asia. The foundation of the National Youth Orchestra has helped increase interest and participation more widely in society and among young people outside Colombo. Many Sri Lankans have continued to reach the upper echelons of classical performance, including world renowned cellist Rohan de Saram, pianist Rohan de Silva [1], and many other composers, organists, and orchestral performers.
Recorded Music
The earliest stars of Sri Lankan recorded music came from the theater at a time when the traditional open-air drama (referred to in Sinhala as kolam, sokari or nadagam) remained the most popular form of entertainment. A 1903 album, entitled Nurthi, is the first recorded album to come out of Sri Lanka via Radio Ceylon. The station, which had long held a monopoly over Sri Lanka’s airwaves, had been established in 1925, and one of Sri Lanka’s pioneering broadcasters, Vernon Corea, almost immediately grasped the opportunity to introduce Sri Lankan Music on the English Services of Radio Ceylon.
In the wake of western and Indian proliferation in music, composer and singer Ananda Samarakoon emerged from training at Rabindranath Tagore’s school at Shanthiketalan to develop a uniquely Sinhalese music tradition in 1939. His work such as “Punchi Suda”, “Ennada Manike” and notably “Namo Namo Maatha” (adapted as Sri Lanka’s national anthem later) established the sarala gee genre. Another artist Devar Surya Sena with his Western education was pivotal in popularizing folk songs of Sri Lanka to the English elite that bore higher status in the country at the time.
Rock music
Sri Lanka has a significant underground metal and hard rock community which is growing in popularity among upper middle class teenagers and young adults. Some internationally known Sri Lankan metal bands include Stigmata, Chitral Somapala, Whirlwind, Old Castles Massacre, Funeral In Heaven, Paranoid Earthling. The main rock radio station is Sri Lanka is ‘TNL Rocks’ which is a very popular radio station among the youth of Colombo, Kandy and some other suburbs of the island. Many other bands too have emerged ever since the 1990′s making the Heavy Metal underground much bigger. While Colombo being a breeding ground for many hard rock bands like Stigmata,Kandy gave birth to the pioneer Grunge outfit Paranoid Earthling which was the first rock band to emerge from the Hill Capital. Kandy is also the strong hold for Black Metal bands like “Pariah Demise” “Lieu De Fault” and some Doom Metal bands as well.

3Sinhala Web Radio – Classic Sri Lankan Music Online 24/7.
 
Listen using your default MP3 player
Listen using Winamp/iTunes
Listen using Windows Media Player
Listen using REalONE Player

Listen from behind a firewall on port 80