Kathmandu, April 28 – On Saturday, the Russian Centre of Science and Culture in Kamalpokhari became a hub of melody during the second installment of the ‘Spring Concert’, organized by the Kathmandu Youth Orchestra. The festivities commenced with an opening ceremony conducted by Nhuchhe Bahadur Dangol, a dedicated music teacher, paving the way for an enchanting night where melodies bridged divides and brought together various traditions.
Nhuchhe Munikar managed the program, with Sabin Munikar, who founded the Kathmandu Youth Orchestra, leading the orchestra. This performance highlighted Nepali traditions presented anew via Western symphonic instruments.
Thirty-six artists graced the stage, expressing their love for music. This event wasn’t merely a tribute to melodies; it was an homage to the innovative concept of the Kathmandu Youth Orchestra—a fusion of traditional Nepalese sounds with classical orchestra techniques. Each melody underscored a strong sentiment of cultural dignity and musical harmony. Additionally, the gathering marked the release of the book titled ‘Nepal’s Melodies.’
Sabin, who established the Kathmandu Youth Orchestra, looked back at his twenty-year odyssey with the orchestra, underscoring that the main objective of these gatherings is to highlight Nepal’s distinct musical essence. His musical path started with support from his uncle, Dharma Munikar. “Even though the instruments come from the West, the tunes belong to us,” he notes, stressing that Nepalese music can also be elegantly conveyed using Western instruments.
Phoebe Shrestha, an accomplished Western classical violinist, received her musical training from the esteemed institutions such as the London College of Music and the Associated Board of the Royal Schools of Music. In addition to her expertise in music, she also possesses a Bachelor’s degree in Business Studies along with a Postgraduate Diploma in Counselling Psychology. Starting from 2007, Shrestha discovered solace and mindfulness via playing the violin. Over ten years, she has honed her skills both as an educator and serves on the board of directors for the Kathmandu Youth Orchestra. Believing firmly that music knows no boundaries nor genres, Phoebe took part as a violin soloist in the performance and provided guidance to fellow musicians involved.
“Combining Eastern customs with Western musical tools goes beyond mere performances; it’s about asserting that music knows no borders,” she explains. “By honoring our heritage and welcoming international inspirations, we demonstrate that music unites everyone irrespective of their origins.” She further notes, “Music surmounts barriers and brings people together from every corner of the world.”
In a world dominated by Western music, Shresthra underscores the importance of acknowledging Eastern heritage. She states, “We must recognize the depth of Eastern traditions. Embracing our origins allows us to craft something that resonates universally.”
Iva Maharjan, aged 24, who performed as a cellist, reminisces about how everything started in 2011. She mentions that her brother, Sabin, talked about his dream of establishing an institution and initiating classes. Upon hearing from their parents whether she wanted to participate, she recalled that initially, there were just four pupils—a humble commencement that has since grown into a flourishing musical environment. Maharjan embarked on her musical path at 11 years old after Sabin exposed her to playing the cello.
In discussing the second installment of the Spring Concert, Maharjan emphasized the focus on folk music, classic Nepali melodies, and Nepal Bhasa. Recalling last year’s standout performances, she mentioned the Kumari dance and the Lakhey dance, noting that this year featured the highlight as the Yak dance instead.
To Maharjan, music serves as a form of meditation. Engaging with an instrument assists her in concentrating, enabling stress to dissipate. Following every recital, she experiences rejuvenation, which she characterizes as deeply satisfying.
To her, musical instruments resemble deities, which she ties into the observance of Bishwakarma Puja, during which she venerates her violin. She expresses that self-teaching herself Western instruments posed significant difficulties but found the experience worthwhile. Mastering the cello specifically presented a hurdle; however, witnessing fellow novice cellists pursue their interest fueled her inspiration.
She thinks that once a larger audience experiences traditional Nepali tunes played with Western instruments, it piques curiosity as well as helps maintain cultural legacy. This demonstrates effectively that these instruments aren’t limited to just Western classical compositions; they have the power to enliven the vibrant melodies of Nepal’s musical heritage.
The American musician and artist Dr. John Sharpley served as both the conductor and mentor for the ‘Spring Concert.’
Sharpley expressed that Nepal has become akin to his second home. His faith in the transformative potential of music—its capacity to bring people together and effect change—is what continually brings him back to Nepal. Despite residing in Singapore for four decades, he boasts an impressive assortment of more than 300 musical instruments. However, Sharpley sees these objects merely as tools rather than end goals; they represent deeper concepts such as philosophical insights, spiritual beliefs, and a universal sense of human unity, emphasizing our collective capability to embody these values.
Sharpley strongly identifies with the Kathmandu Youth Orchestra, believing that he has valuable contributions to make—ranging from imparting his musical expertise to instructing them on the nuances of sound production, expression, and merging traditional Nepalese melodies with Western instrumentation. He expresses that collaborating with Nepali artists and vocalists is an honor, noting that these performances allow him to immerse himself deeply into Nepali culture and spirit.
He has cultivated a particular affection for the Sarangi. He also mentioned that ‘Ukali Orali’ is his most beloved tune, frequently moving him to tears whenever he listens to it.
Amelia Kang, a musician and sound healer, expresses her deep affinity for Kathmandu. She explains, “The essence of Nepal’s culture and heritage is deeply intertwined with spirituality and nature. This place exudes an elemental energy—closely connected to earth, water, fire, air, and ether.” During her visit, Kang conducted a sound-healing session, supported by fellow musicians who contributed melodic layers using various instruments as part of the performance.
The second installment of the Spring Concert by the Kathmandu Youth Orchestra showcased the vibrant fusion of Nepalese heritage with Western symphonic compositions. In their recital, both performers and tutors demonstrated how melodies have the power to unite communities, uphold cultural values, and foster collective spirit. This event underscored the dedication of aspiring Nepali artists who strive to honor their origins whilst exploring fresh opportunities, thus forging an era where ancient customs seamlessly merge with contemporary creativity in perfect unison.