Home is where the heart is

Jon Suters, Dinuk Wijeratne, and Nick Halley. Photo by Jennifer Almquist
Every seat in the Great Hall of the Norfolk Library was full. The audience ranged from toddlers held in their parents’ arms to gray-haired couples eagerly waiting to experience the music of the Dinuk Wijeratne Trio. Percussionist Nick Halley, bassist Jon Suters and Dinuk Wijeratne on piano, spent the next hour dazzling the grateful crowd with original compositions, superb musicianship and stories that wove a theme of “home” throughout the evening.
To award-winning composer, conductor and pianist Wijeratne — who was born in Sri Lanka, raised in Dubai, educated in the UK and at Juilliard, and now lives in Ottawa — home is many places: “Dubai was a melting pot of South Asian and Middle Eastern culture. Simultaneously I was being trained as a Western musician. I heard Mozart’s Piano Concerto No. 21 randomly when I was 12, and then I was hooked. It was my first spiritual experience.”
Wijeratne began the performance by saying: “Home is an ephemeral window in time, and perhaps the bittersweet quality of home is when we suspect that window in time has passed. I wrote this piece, “Homecoming,” in 2015 as a commission for piano and oud for the opening of the Museum of Immigration in Halifax, Nova Scotia. It was also the year I gained my Canadian citizenship.”
Recalling the origins of his composition “Damascene,” which was performed by the trio in the library Nov. 13, Wijeratne smiled: “I had traveled with the great Syrian clarinetist, Kinan Azme. We spent a few magical days in his home city of Damascus. It was a very precious time; it seemed like time had stopped. We have all had that feeling when you are perfectly at home in a new, strange place. Is home a state of mind? Is it the people we love? Or is it purely geography?”
A world-renowned musician, Wijeratne made his Carnegie Hall debut in 2004 playing with Yo-Yo Ma and the Silk Road Ensemble. He has been described by The New York Times as “exuberantly creative”; the Toronto Star called him “an artist who reflects a positive vision of our cultural future”; and the Manitoba Chamber Orchestra referred to him as “a modern polymath.”
Wijeratne has conducted the Calgary Philharmonic and the Qatar Philharmonic in Doha. His work “Two Pop Songs on Antique Poems” won both the 2016 Canadian Juno award for Classical Composition of the Year and the 2016 East Coast Music Award for Classical Composition of the Year.
For percussionist Halley, the performance was a return home. When Norfolk Library director Ann Havemeyer introduced the threesome, she noted that the first time she heard Halley perform in the library, he was 10, singing Beatles songs with Chorus Angelicus, a children’s choir started in 1991 by his Grammy-award winning father, Paul Halley.
Halley smiled and said: “It is meaningful to be back in Norfolk, and to feel the warm embrace of this special community. It is heartening to see so many familiar, gorgeous faces, everyone aging so gracefully. And the fact that they took the time to come and hear us, to support the amazing work that Eileen [Fitzgibbons] and Ann [Havemeyer]and the others at the library are doing makes this sort of homecoming that much more encouraging.”
Fitzgibbons is the events coordinator and children’s librarian for the Norfolk Library, all of whose music and arts programs are funded by The Norfolk Library Associates, which started in 1974.
Halley and his young family now live in Halifax, Nova Scotia: “By the time I got to Halifax, Nova Scotia, in 2008, Dinuk was already ‘Halifamous’ and well on his way nationwide. So I heard a lot about him long before he showed up to a gig of mine. Of course, I was terrified of him at first, but soon discovered what a gentle, magnificent soul he is. Playing-wise, it was love at first sight: of course, being so rhythmically compelling along with everything else, his music is any drummer’s dream, but I think he even liked me right off the bat, too.”
In 2010 the young Halley founded Capella Regalis, a Canadian charity dedicated to training singers, which includes a boys choir, a girls choir, and a professional men’s choir, offering a free music education and performance program for children and young adults in Nova Scotia. In 2012, Halley was awarded the Queen Elizabeth II Diamond Jubilee Medal in recognition of his contribution to Canada and Nova Scotia through the arts. For the 2013-14 season, Halley was the host of CBC’s national radio program, “Choral Concert.”
When asked about his dreams, Halley mused: “In one sense, I’m living my dream with Capella Regalis. I just want to keep building it. We’ve started an endowment, for instance. I would like to take them to England. Bring some coals to Newcastle and such. There is so much music I love within that genre; we will never get through it in my lifetime. I want future generations of kids to continue encountering that world of beauty.”
Suters is as tall as his standing bass. He lives in New Marlborough, Massachusetts, with wife Samantha Halley (Nick Halley’s sister) and their children: “Each of my five children has been encouraged to play music and all of them have some facility with at least a couple of different instruments as well as vocalizing. We have homeschooled them all and music is a big part of our approach.”
Suters plays piano, guitar, string bass, cello, didgeridoo, banjo, mandolin, lute, violin, trombone, saxophone, drum set and percussion, and steel drums.
Suters has taught at Berkshire Country Day School, Indian Mountain School, Salisbury School, and Simon’s Rock of Bard College: “Teaching has enabled me to constantly go back to the fundamentals of music making and demonstrate and talk about them with students. I teach bass guitar, drums/percussion, keyboards, fiddle, brass instruments, and this has helped me to understand the relationships between the different instruments in an ensemble.”
When asked about his musical influences, Suters replied: “I am also a classical guitarist and grew up listening to my virtuoso piano prodigy brother play all the greats, so basically everyone from Bach to Scott Joplin, plus the usual rock influences: Jimi Hendrix, Led Zeppelin, classic jazz greats like Miles and Coltrane and more modern ones like Pat Metheny and Herbie Hancock. Brazilian composers and musicians like Villa Lobos, Garoto, Paulo Bellinati, African artists such as Youssou N’dour, Ali Farka Toure, and Indian musicians such as L Shankar, Talvin Singh, and Shakti.”
Suters has appeared on stage with James Taylor, Taj Mahal, Doctor John, Rickie Lee Jones, Martin Sexton, Madeleine Peyroux, Eugene Friesen, Paul Halley, Ed Mann (Frank Zappa) and Charles Neville of the Neville Brothers.
One evocative composition, “Chloe” by Wijeratne, is based on Italo Calvino’s book “Invisible Cities.” The composer illuminated the ideas behind the music: “Chloe reads like some bustling street scene, full of shady characters. There are twins wearing coral jewelry, a blind man with a cheetah on a leash — all very odd scenes. They don’t speak. When I read that the city of Chloe ‘has a voluptuous vibration to it,’ I knew I had to write this piece. Calvino wrote, “‘f everyone acted on their impulses, the carousel that is Chloe would come to a stop.’”
In each piece, the music flowed into the room like ocean waves, rhythmic and soothing, Wijeratne played piano with crystalline precision and emotion, the bass of Suters poured through the notes like honey. Halley’s wild percussions, played mostly with his fingers on drum kit, frame drums bendhir and riq specifically — “and the odd bells and whistles, doctoring up the kit with old shirts and weird stuff like that,” laughed Halley — provided the structure beneath the music. Playing together, the three musicians created an instinctual harmony in a language unspoken.
Composer and philosopher Wijeratne explained the spiritual origin of each of his compositions. “Lebanese/American Poet Kahlil Gibran, in a poem called ‘Upon Houses’ from his book ‘The Prophet’ describes the home not as an anchor, but as the mast of a ship. At first the home is a place for consolation, safety and comfort. Thereafter, home becomes the beginning of a journey of curious exploration. I find that to be a beautiful sentiment, so I wrote this piece I call, ‘Whose Windows are Songs and Silences.’”
The trio’s final piece ended with an immediate standing ovation. Half-asleep children and their parents and grandparents were clapping; the players held hands and bowed deeply. Fitzgibbons, who organized the event, felt the concert “was an exciting evening full of complex chords and improvisations... wrapped around with old friends and new.”
The combination of global musical traditions, jazz improvisation, poetry and literary influences, musicians at the top of their game, and the warm “welcome home” from the Norfolk community created an evening no one will easily forget.
Join The Lakeville Journal for a community celebration, featuring local nonprofits and businesses, festive family fun, great food, and engaging activities.
What to Expect:
See you at the Lakeville Journal Street Fair!
If you have any questions, please email streetfair@lakevillejournal.com
Cobbler n’ Cream
5 to 7 p.m.
Freund’s Farm Market & Bakery | 324 Norfolk Rd.
Canaan Carnival
6 to 10 p.m.
Bunny McGuire Park
Canaan Carnival
6 to 10 p.m.
Bunny McGuire Park
Cocktail Party
5 to 7 p.m.
Douglas Library | 108 Main St.
Canaan Carnival
6 to 10 p.m.
Bunny McGuire Park
Boot Drive
8 a.m. to 2 p.m.
North Canaan Fire Co. | 4 E. Main St.
3rd Annual Fly-In
8 a.m. to 3 p.m.
Triumph Airfield | 547 W. Main St.
Canaan Railroad Station Museum
10 a.m. to 6 p.m.
Canaan Union Station
New England Accordion Connection
9 a.m. to 8 p.m.
Canaan Union Station
Canaan Carnival
3 to 10 p.m.
Bunny McGuire Park
Berkshire Resilience Brass Band
5 to 8 p.m.
Canaan Union Station
Barbecued Chicken Dinner
5 to 7 p.m.
St. Martin of Tours | 4 Main St.
Canaan Fireman’s parade
6 p.m.
Rosa setigera is a native climbing rose whose simple flowers allow bees to easily collect pollen.
After moving to West Cornwall in 2012, we were given a thoughtful housewarming gift: the 1997 edition of “Dirr’s Hardy Trees and Shrubs.” We were told the encyclopedic volume was the definitive gardener’s reference guide — a fact I already knew, having purchased one several months earlier at the recommendation of a gardener I admire.
At the time, we were in the thick of winter invasive removal, and I enjoyed reading and dreaming about the trees and shrubs I could plant to fill in the bare spots where the bittersweet, barberry, multiflora rose and other invasive plants had been.Years later, I purchased the 2011 edition, updated and inclusive of plants for warm climates.
On the cover of the new edition, a quote from Adrian Higgins of The Washington Post boasts, “Michael Dirr is the oracle of ornamental horticulture. I trust his judgements implicitly.”I heartily disagree with Mr. Higgins:I blame this book — and my poor use of it — for some of my worst tree and shrub choices.
I realize some readers might find this declaration inflammatory. The book still occupies a place of high regard among experienced and novice gardeners alike, so please allow me to explain.
In addition to giving the reader his opinion on the aesthetic worthiness of the woody plants included in the book, Mr. Dirr makes good on the book’s title with a review of each species’ hardiness. What makes a tree hardy?It thrives in its intended site, resisting disease with leaves and bark not readily eaten by insects and other critters.
Non-native plants make up the majority of the recommended hardy plants in the book.And here is why:Native trees and shrubs are, by evolution’s design, food source and host to our native fauna — critters large and small. There is no substitute equal to the fauna’s co-evolved flora.A native caterpillar cannot eat a kousa dogwood leaf, as it has not evolved to digest it.Non-native plants seemingly have the advantage if the lens we look through values pristine, uneaten leaves.
In the days when there were sufficient thriving ecosystems to maintain local habitats, a non-native specimen tree here and there was just fine.But where we live in Northwest Connecticut, our woods, meadows, marshes and other natural areas have, for a couple of decades, been severely compromised by invasives that have almost entirely removed the food sources for native insects. It is up to us — now — to plant native plants to save the food chain.Without insects, not only will native animals die, but human food sources will also be at risk.
The security of our food pipeline seems a worthy exchange for some caterpillar-eaten leaves — and to be clear, we’re not talking about non-native infestations such as spongy moth, but rather native caterpillars, which are the singular food source for nesting birds.
My issue is that, in being a trusted source for plant selection, Dirr’s book should give equal — if not prioritized — space to information on ecological impact.For example, it would be good to know when selecting a tree, that a native oak provides food and other ecosystem services to more than 400 native animal species, while a native tulip poplar supports fewer than 30 — though that includes the Eastern tiger swallowtail. Including information on the birds and insects attracted to a given plant would enable reader to weigh these factors in choosing what to grow.But this information is not mentioned at all.
Dirr makes no mention of the role some of these plants have played in the degradation of our natural areas — an omission that is highly relevant, as many of the plants featured in his book are, in fact, invasive culprits. Plants like barberry, porcelain berry and tree of heaven are showcased for consideration alongside native plants without recognition of the devastating infestations they can manifest. Tree of Heaven is now responsible for hosting the spotted lanternfly, which is devastating crops.
Similarly Euonymous alatus (winged euonymous) and Actinidia arguta (hardy kiwi) — two highly invasive plants touted in the book — have been banned or are close to being banned for sale from nurseries in the state of Massachusetts. To his credit, Dirr does point out the invasive nature of Ligustrum sinense (Chinese privet), calling it “a terrible and devastating escapee that terrorizes floodplains, fencerows and even open fields, reducing native vegetation to rubble.” Yet Japanese honeysuckle gets an understated warning, with Dirr describing this massively invasive shrub as “bullying their way into understory and open areas.”
The latest edition of Dirr’s book devotes seven pages of copy and photos to various Berberis species, about which Dirr waxes poetic. He notes the addition of “30 new cultivars” in the latest revision and complains that “this species is under assault for its aggressive invasive nature.” He refers to Berberis thunbergii — Japanese barberry, the most invasive of them all — as “the species of major importance in garden commerce.” This plant has already been outlawed for sale in New York, Pennsylvania, New Hamphsire and Maine.A few weeks ago, a bill was passed in Connecticut recognizing the harm of a broad group of invasive plants. Under this new legislation, barberry will be phased out from sale or transport by October 2028.
In understating the invasive nature of many non-natives and de-prioritizing the importance of native species, Dirr’s widely used reference may be partly responsible for many a devastated woodland, forest, meadow and marsh in New England — if not across the U.S.Certainly, the evolution of species, and scientific knowledge about the environment, is changing faster than new editions of books can be printed. I can only hope that if a new edition of Mr. Dirr’s reference book is in the works that it will account for this criteria we now know to be vital in plant selection.
Which brings me back to that quote on the cover from The Washington Post and the larger issue it suggests:Should “ornamental horticulture” get a pass when it comes to ecological survival?I think we can agree — it should not.The consequences are simply too destructive.
Dee Salomon ‘ungardens’ in Litchfield County.
Foxtrot Farm & Flowers’ historic barn space during UAW’s 2024 exhibition entitled “Unruly Edges.”
Art lovers, mark your calendars. The sixth edition of Upstate Art Weekend (UAW) returns July 17 to 21, with an exciting lineup of exhibitions and events celebrating the cultural vibrancy of the region. Spanning eight counties and over 130 venues, UAW invites residents and visitors alike to explore the Hudson Valley’s thriving creative communities.
Here’s a preview of four must-see exhibitions in the area:
1. Wassaic Project (37 Furnace Bank Road, Wassaic)
“So It Goes” is a powerful group exhibition curated by Eve Biddle, Bowie Zunino, Jeff Barnett-Winsby, and Will Hutnick. The title, drawn from Kurt Vonnegut’s “Slaughterhouse-Five,” signals a reckoning with how we process the horrors of the world. Through play, reflection, and immersive scale, 43 artists respond with urgency and imagination. Installations can be seen throughout the town of Wassaic at Maxon Mills, Gridley Chapel, and Luther Barn, each space transformed by this deeply thoughtful show.
2. Foxtrot Farm & Flowers (6862 Route 82, Stanfordville)
“Queer Bestiary,” a group show curated by Charlotte Woolf, is inspired by Patricia Ononiwu Kaishian’s book “Forest Euphoria.” The exhibition investigates queer ecology and human relationship to land through the work of 10 artists using painting, sculpture, textiles, and photography. The exhibit is accompanied by a variety of interactive experiences including tattoo pop-ups, karaoke, book readings, and pick-your-own flowers.
3. ChaShaMa North/ChaNorth (2600 Route 199, Pine Plains)
ChaShaMa North (ChaNorth) will have open studios all weekend and has partnered with Paradice Palase, a platform for emerging artists, to mount a site-specific sculpture exhibition featuring 20 artists entitled “Alone, You Are Heard.” On Saturday evening, July 19, stop by for Weird Music Night for an audio-visual synthesis of experimental music, performance art, and unexpected happenings. Don’t miss this opportunity to experience an eclectic lineup of acts that redefine the boundaries of performance.
4. Millbrook Arts Project(3 Friendly Lane, Millbrook)
The Millbrook Arts Project is hosting a curated exhibit entitled “Generated Utility” at the newly renovated gallery at the village library. The exhibit will feature the work of artists Natalie Beall and Kathy Greenwood. Additionally, visitors will have access to 12 open artists studios across town. The weekend culminates in a free outdoor concert on Saturday evening at 6 p.m. at the Millbrook Bandshell. Enjoy the Indie-Folk sounds of Strawberry Runners and She Keeps Bees.
For more information and a complete list of participating artists and locations, visit: upstateartweekend.org