Aishwarya Vidya Raghunath | Photo Credit: Special Arrangement
Not all heritage are loud. In some silence, in a raga grain, one settles in a break before a self. It is difficult to describe that Semangudi Srinivas Iyer’s music feels so until you sit and hear in front of him. For those of us who have heard him through recording and anecdotes, tribute concerts are closest to which we can get for his art. This month at the Music Academy, yet another evening marked its 117th birth anniversary, which featured Aishwarya Vidya Raghunath. She was with RK Sriramakumar on Violin, Arun Prakash on Mridangam and Guruprasad on Ghatam.
The option of opening the evening with ‘Merusamana’ at Mayamalawagowal was not amazing. This Tyagaraja Kriti, which compares Rama to the immovable Mount Meru, was one of the well -recognized openers of Semangudi, presented in the fours black black. For Semangudi, Maymalavagovala was never an early raga. ‘Merusamana’,He demonstrated how a fundamental raga could take the huge music authority.
The singing of this piece was known for its deliberate pacing, especially the remarkable silence between Pallavi and compliance. This moment, a breath of space was also seen in this concert before joining the collision. Sriramakumar’s violin stopped and the same collision occurred, only to resume as Anupalvi, created a place that many Rasikas immediately identified as Semangudi’s signature style. ‘Gala Munnu Sobhilu’ was followed by Nirwal and Kalpana. Kise was a clear transition from black to black health, which was different from an accurate, short break and a collision that elevates it.
Semmangudi Srinivasa Iyer | Photo Credit: Special Arrangement
The second piece in Karnataka Behgh, ‘Nenndu Vedakudura’, rarely heard in recent times, especially after the era of Semangudi, brought a soft lift to the speed of the concert. It is difficult to think about a semangudi concert without groan. The raga was almost another nature for him and the tradition was true, it came out with an alpana, which brought out his congenital compassion juice, the singers and elite, fully folded into music. When most of the audience hoped Neelkanta Shivan’s ‘Navsiddhi Peruvalaume’, the musicians surprised him by rendering the ‘Ram Ni Samanmevaru’ of Tyagaraj.Nirwal was caressed in Melody in ‘Paluku Paluku Teneloka’.
After a run of Tyagaraja compositions, Muthuswamy Deekshati’s ‘Amba Nilayadakshi’ was presented in Nilambari and on the contrary a moment was offered. Chauka Cla Tempo took out the tender domination of the raga and the perkuitionist responded with thoughtful stroke. A section in Kalpneshwar chased.
Semangudi’s contribution to Karnataka music is many, but his role is particularly out in bringing Swati Tirunal’s compositions to the list of mainstream concerts. His deep spirit of devotion and music insight gave these crites a strong rank on the stage of the concert. Echoing that dynasty, the concert next time depicted the vibrant ‘Gopanandana Valaripu’ in Bhunoshanwali.
A little, for many rasikas, strongly associated with Semangudi’s voice, a raga that he often returns, with a new intensity each time. Swarajati ‘Rave Himagiri’ was further presented by Syama Sastri. Alpana was engraved through the chakravyuh of little curves and layered cocerives. A special touch came during imagination, where the inspiration drawn from the original Chittaswar structure created a feeling of continuity between the musician and the artist.
By incorporating all the trinquilms, the tani avatar elevated the mood of the entire concert, starting from Keys Kala, ending with mail art. Arun’s clarity and accuracy on Mridangam was carefully followed by Guruprasad on Ghatam. Simple yet beauty corvis, embedded with a simple variation in a simple Thatikitathom The phrase – a treatment was done for the fans of Laa.
In Kapi, ‘Peru Lenna Mata’, a Rakti raga, was taken forward. Semangudi’s hobby is well known for Rakti ragas. He created this Javali, which Dharmapuri Subbaraya Iyer has done himself.
In Jhonpuri, ‘Sapashi Kausalya’ arrived in the crowd like a familiar face. With the switch of Madhyama śRuti, Chenchruti Thilana brought to the glow of Lea and Melody, which Semangudi remembered himself in the closing moments. Mangalam ‘Ram Chandraya Janak Rajj Manohara’, Wrapped in the evening.
Published – July 31, 2025 03:39 pm IST
