Semangudi Srinivasa Iyer Strod Karnataka music world like a colossus and today, it is right as right Music pithmahaHe inspires many young musicians. His worthy and well-known disciple TM Krishna recently performed a concert as part of the Santita Kalanidhi Semangudi Srinivas Iyer Birth Anniversary Series organized by Nada Inbum.
At the beginning of the concert, his co-star. For a request by Arun Prakash, Krishna shared the memories of Semangudi. He said that “for many people, it is ‘Maru Balka’, ‘Meru Samana’, ‘Chala Kalla’, and ‘Sapsit Kausalya’, Virutams, Shloka like ‘Shringram Kshitinandini’, and especially in his second speed (Random Kalam), there are renders in the form of Deepaswas.
Talking about what was a great analyst of Sangeet Semangudi, Krishna said, “He thought deeply about the ragas, about the suitability of every rendering of his, and it is also clear in some interviews available online. Time and again, he returned to an idea ‘raga suungham’. Was, where he was within the scenario, on which he had a song.
In search of music integrity
Semangudi Srinivas Iyer Parambur is performing at the Sangeeta Sabha. , Photo Credit: Hindu Archives
Krishna reflected on the commonly used words, “Thinking Musician,” and how it is often used considerably. “All musicians think – this is necessary. But what Semangudi brought was something else: music thought morality. It was not about their ego or showcasting skills – it was about the best service about music. This fairness, selfless discovery of music integrity, was invaluable. Even at the end of his life, Semangudi discovered music.”
In many memories, a particularly lived with Krishna. He recalled, “When Semangudi Mama was ill and hospitalized, my wife music and I went to see him. When he saw us, he said softly, ‘Bhayma Iruku’ (I am afraid). The natural belief was that he was afraid to pass.” Athilai.
This was followed by a concert that was a suitable and moving tribute from a disciple to a guru.
Such a performance cannot be the only patchwork quilt. Carefully plan, abundant intuition, sensitivity and an infallible sense of proportion is essential for its success. And Krishna is naturally gifted with these qualities.
Asveri Kriti of Tyagaraja ‘Lekana Ninnu’ with which he started, set a tone for the evening. Kriti was decorated with Kalpneshwar in Pallavi.
Karaharpriya Semangudi was one of Srinivas Iyer’s favorite ragas. , Photo Credit: Hindu Archives
Raga was a favorite of Karaharpriya Semangudi, and Krishna presented an attractive Alpana of the raga for the ‘Navsiddhi Petralm’, Neelkanta Shivan. Subsequently, he took a detailed description of Devagandhari. Any raga in Krishna’s hands shows his never ending discovery for excellence. He rarely chose Dixit Krishna, ‘Vadaneswaram Bhajham Sada’ and presented it in a seding four yesterday, while disturbing the essence of the raga. Semangudi presented the song in 1966 under the recurrence of his Sangeet Academy.
This was followed by Anand Bhairavi composition by Swati Tirunal, ‘Pahi Takshu Purlaya Mamayi’. The vowels that Krishna presented was affected.
The main raga of the evening was Shankara Bharanam. After a thorough alarming, Krishna provided a glimpse of Tanam, and the rest of it was left to complete the violin player Akkarai Subhalakshmi. As a co-co-stubborn, Subhashti always raises pace with the singer, forming a mark as a successful compatible.
Semangudi’s favorite Pallavi
Akkra with Tam Krishna | Photo Credit: Special Arrangement
Krishna took Semangudi’s favorite Pallavi, ‘Chakkagani Bhajana Jess Variki Takkuva Galada Shri Ram Dininamu’ in Adi Tala. It was a simple, yet sweet Pallavi, and beautifully expressed the essence of the song. Unlike the growing trend of composers by composers and indulging in exaggeration, Krishna showed restraint and adroitness in both Pallavi and Kalpana, especially in high tempo. K. K. on Mridangam. Thani by Arun Prakash, and n. Guruprasad should actually be a continuation and part of RTP. Both enriched the concert through their intelligent game.
Krishna then continued with a Virutham in Mayamalawagowal, Sahna, Hamir Kalyani and Kapi, and back into the reverse order. ‘Maulaau Ganga Shashankau’ Sanskrit poetry was written by Appayya Dixit in praise of Nataraja of Chidambaram. It was a head at Semangudi’s concerts. One of the favorite of Mestro who came forward was ‘Sapasit Kausalya’ in Jhonappuri, composed by Panchpexa Shastri. In Sahna, Kshatraya Padam sang Krishna ‘Mergadu Rammanav Na Samini’. ,
TM Krishna paid tribute to ‘Sakhi Sakhuditu Jessen’ by TM Krishna by Dharmapuri Subbaraya Iyer and ‘Pibare Ramarasam’ of Sadashiv Brahmandral with ‘Pibare Ramarasam’.
Published – August 07, 2025 12:50 pm IST
