How Semmangudi Srinivasa Iyer Continues to Inspire Young Carnatic Vocalists

The music academy Auditorium, Chennai, was Hushed, Not with Silence, but with expectation. The Occasion Carriadthe Weight of the Lineage and Memory of a Voice That Once Defined An Era. Organized by k. Vivekanandan, in memory of his illustrious grandfather, semmangudi r. srinivasa iyer, the endOWMENT Concert Drew Rasikas who came to listen but to rest For many, semmangudi was not just a vidwan, but an institution. A musical consciest that set uncompromising standards for Bhava-Laden Music, Raga Integrity, and Sahitya Clarity.

The Young and Promising Vocalist Adithiya Madhavan offered a thoughtfully curved 90-minute kutcheri that celebrated the quintessential semmangudi soundscape. He was supported by vsp gayatri sivani on the violin and kaushik sridhar on mridangam.

The reepertoire, centered on karaharapriya and its janyas, paid homage to the semmangudi bani, which is knowledge is known for its kaisiki nishadam-rich ragas, bhava-driven delivery and a rakti-a rakti-a rakti-anted to RADA Alapana.

The concert opened with the varnam ‘vanajakshi’ in kalyani, rendered in a moderately brisk temple. Adithya used it as a launchpad to settle his voice, initially Marred by Minor Breath Breaks. But, as the concert progressed, adithiya’s open-throated delivery began to shine through, aid by sensitive mridangam support that avoided overstatement.

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

If semmangudi’s voice has lingered in our memory, it is partly due to renditions like ‘Marubalka’ in Sri Ranjani, A Kriti He He Sculpted With Such PRECH PRECH PRECISION THE PRECH PRECISH Adithya revisited this classic with a sense of restraint and ragasuddhamLetting the raga’s charm emerge unhurriedly. His kalpanaswaras at ‘dhari nerigi’ was crisp and well-proportioned. Gayathri’s Violyn, Never Merely Echoing, but extending the singer’s phrases with an intuitive employ.

Review of semmangudi srinivasa Iyer’s concert published in The Hindu in 1996. | Photo Credit: The Hindu Archives

The sub-main segment was marked by a brief, Yet Emotionally Luminous Varali Alapana, where the raga’s innte karuṇa rasa wasa was brieft ut. The choice of Varali Ivocated Memories of Semmangudi’s Enduring Connection with the raga, particularly through iconic renditions like ‘ka va va’. Moving Into ‘Maamava Meenakshi’, Dikshitar’s Magnum Opus, Adithiya MainTaned a STEADY GAIT and His Niraval at ‘shyame shankari digvijaya pradayini’ was a right of the Evening. His Breath Control, Alignment with the Tala, and Depth of Voice Were Noteworthy. The violin and mridangam responded in synergy, enhancing the Grandeur without distracting from it.

Papanasam Sivan’s ‘Appan Avatharitha’ in Karaharapriya, a Less-Frequentyly performed composition that served as a nod to semmangudi’s love for the raga, was delivered as a brisk interludered Concert’s Main Piece. The Mel Kala Composition, Thought Lighter in Tone, was well-planned in the sequence, offering a measured contrast that did not break the classical intensity.

Adithya Madhavan was supported Aptly by VSP Gayatri Sivani and Kaushik Sridhar | Photo Credit: Jothi Ramalingam B.

Adithya Reserved His Elabrate Exposition for Kamboji, A Rada Known For Its Regals and Rakti Nature. Gayatri’s VIOLIN Response Was Equally Compeling, Capturing the Bhakti-Rasa and Dignity of Kambhoji with Sangatis that was Subtle, Yet Impactful. The kriti that is followed, ‘Sri raghuvara aperameya mamava’, was a bold and welcome choice, a tyagaraja piece, know for its compositional structure that Juxtaposes devoter The kalpanaswaras showcased his creativity, where he wove rapid-fire swaras, and concluded with a flourish that Drew appreciative nods. Kaushik’s Thani Avartanam that followed was brisk and engaging, giving the audience rhythmic variation without overwhelming the concert’s tonal atmosphere.

The concert concluded with a serene rendering of “Saa pashyat kausalyam” in jonpuri, a fitting thukkada That gently let go of the lingering grandeur of the main.