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An era is gone
THE CHIEF producer of Carnatic music at the All India Radio, Chennai, was immersed in his work when an elderly gentleman entered the room. The visitor was promptly offered a seat. Quite bluntly the visitor told the producer that his rendition of Kharaharapriya at Trichy, which he had happened to hear the previous month, was not up to the mark.
The visitor then asked the producer if he could sing the same for him once again. The AIR boss, Semmangudi Srinivasa Iyer, got up, closed the door and rendered the raga. The visitor was so moved that he was virtually on the verge of tears. He profusely thanked Semmangudi and left the room. So much for this maestro's modesty and concern for his rasikas.
Born in 1908, Semmangudi was initiated into music by his cousin Semmangudi Narayanaswami Iyer. He was then trained by the famous gottuvadyam Vidwan, Thiruvidaimarudur Sakha Rama Rao and Umayalpuram Swaninatha Iyer. `Seenu' soon blossomed into a full fledged vocalist under the tutelage of Maharajapuram Viswanatha Iyer. He wisely perfected his own individualistic style without imitating any of his mentors, for which he was complimented by Palakkad Mani Iyer, as a singer of Navarasa Bhani.
Semmangudi confesses in his memoirs that his ascent to great heights was not due to his naturally lavish voice or a pliable throat for creating intrinsic gamakas. It was simply through constant `sadhana,' which enabled his refractory voice bring out the delicate melody, which is so essential in Carnatic music.
There was widespread criticism that Semmangudi's raga alapana had a slant towards the nadaswaram style but the ever-increasing crowds for a Semmangudi concert made the detractors withdraw their remarks.
Semmangudi was at his best when rendering Tyagaraja compositions, especially in Kharaharapriya and its janya ragas. Of course he was equally good when it came to the delineation of Harikhamboji and its derivatives. Ragas such as Malavi, Manji, Ahiri, Vagadeeswari and the like became delightful when rendered by this master. The swara singing, attached to any major composition, attained new dimensions. Even in the primary tempo, his curves had an uncanny grace that it linked to the diction consummately. This was best reflected when he sang swaras in ragas like Ritigowla, Kannada, Adhdhana, Sahana, Dwijawanti and so on.
The Swati Tirunal krithis became increasingly popular because of the researches and publications conducted by Semmangudi. He also rendered yeoman service in popularising compositions of Sadashiva Brahmendra, Narayana Theertha, Jayadeva and so on. When Semmangudi Srinivasa Iyer was at the helm of Swati Tirunal Music College, Thiruvananthapuram, he had to surmount many official obstacles. Here his lack of general education did not hamper him in his official duties. With his customary finesse and polished behaviour he could impress upon his superiors and get things done smoothly.
When asked about his reluctance in composing krithis, Semmangudi had once said that he was only a humble `Nadopasaka.' But his keen musical mind surfaced when he transferred Bhavayami into a virtual garland of sparkling ragas.
Now Semmangudi Srinivasa Iyer is no more. One shudders to think what would have been the fate of Carnatic music in Kerala had he not taken over from Muthiah Bhagavathar as the Principal of Swati Tirunal College of Music. Today a gurgling stream of the famed Semmangudi Padhathi has taken its firm course to enrich Carnatic music in the State.
V. JAYARAMAN
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