How Semangudi Srinivasa Iyer continues to inspire young Karnataka singer

The Music Academy Auditorium, Chennai, was not with silence, but with expectation. The occasion carried out the weight of the dynasty and the memory of a voice that once defines an era. Of. Conducted by Vivekanandan, his magnificent grandfather, Semangudi R. In memory of Srinivas Iyer, the endowment concert attracted the Raskas, which came not only to listen but also to remember. For many people, Semangudi was not just a scholar, but an institution. A music conscience that determines unrelated standards for bhava-ladane music, raga integrity and literature clarity.

Young and promising singer Adithya Madhavan offered a thoughtful curate to the 90-minute Couchery, which celebrated the Quintayant Semangudi Soundscape. He was supported by VSP Gayatri Shivani on violin and Kaushik Sridhar on Mridangam.

The list of focused demonstrations on Karaharpriya and her Janya paid tribute to Semangudi Bani, which is known for a Rakti-oriented approach for her casuals Nishadam-Richa Ragas, Bhava-Pailed delivery and Raaga Alpana.

The concert was opened in Kalyani with Varnaam ‘Vanazakshi’, which was presented at a slight speed. Adithya used it as a launchpad to settle her voice, initially married to a slight breath breakdown. However, as the concert proceeded, Adithaya began to shine through the open neck delivery, with sensitive soft support that survived the overstatement.

Sangita Kalanidhi Semmangudi R. Srinivasa Iyer | Photo Credit: Hindu Archives

If Semangudi’s voice has come into our memory, it is partly due to the presentation like ‘Marubalaka’ in Sri Ranjani, a work resonates with such an accuracy that its architecture has been prescribed. Adithya saw this classic again with a sense of restraint and melodySuddhamThe attraction of the raga allows unnatural emerges. His Kalpneshwar was crisp and well proportional in ‘Dhari Nerigi’. Gayatri’s violin, never only resonating, but expands the phrases of the singer with a spontaneous sympathy.

Semmangudi Srinivasa Iyer’s concert published in review Hindu In 1996 | , Photo Credit: Hindu Archives

The sub-dated section was marked by a brief, yet emotionally bright Verli Alpana, where the innate karuna juice of the raga was brought out. Varli’s choice essentially developed memories of Semangudi’s permanent relationship with raga, especially through iconic rendering such as ‘Ka Va Va’. Moving forward in Dikshitar’s Magnum Ops ‘Mamava Meenakshi’, Adithya maintained a stable trick and ‘Shameame Shankari Digvijaya Pradayini’ had an attraction of evening to Niraval. Their breathing control, alignment with rhythm, and the depth of voice was notable. Violin and Mridangam replied in coordination, extending the grandeur without distracting it.

Papanasam Shivan’s ‘Apan Avatathi’ in Karharpriya is a low-time performance composition, which serves as a node for Semangudi’s love for raga, was distributed as a sharp difference before the main piece of concert. Mail black composition, although light in tone, was well placed in sequence, a measured contrast was offered that did not break the classical intensity.

Adithya Madhavan was appropriately supported by VSP Gayatri Shivani and Kaushik Sridhar Photo Credit: Jothi Ramalingam B.

Adithya reserved its detailed expansion for Kamboji, which is known for its Regal and Rakti Nature. Gayatri’s violin response was equally hypnotized, capturing devotional-rasa and the dignity of Kamboji with Sangatis, which were subtle, yet influential. Kriti, who then, was ‘Mr. Raghuvara Apmeya Mamav’, a bold and welcome option, a Tyachagraj piece, known for its composition structure that combines devotion with a dramatic phrase. Kalpanawar demonstrated her creativity, where she rapidly launched the fire, and concluded with a flight, which appreciated. Kaushik’s Thani avatar which was then fast and attractive, giving the audience a rhythmic differences without overwhelming the tonal atmosphere of the concert.

The concert ended with a cool rendering of “Saya Pashyat Kausalam” in Jonpuri, a fitting Thukkada That slowly leave the grand grandeur of the main.