CHENNAI: Who is the great man, who, to the accompaniment of Mirdangam and Tala, makes delightful tunes that have correctness of notes, rhythmic pauses, true devotion, dis passion, simplicity, elegance and the nine rasas, says Thyagaraja, in the kjriti Soga Suga Mirdanga Talamu (Raga Sri Ranjini). This aspect is being highlighted in a book titled Life and Music, on Semmangudi Srinivasa Iyeer. It is brought out as a centenary commemoration volume, written by Nirlon Subramaniyam, his dedicated disciple, who was conferred with the title of ‘Sangeetha Acharya’.
We are aware in many ways that Semmangudi’s life was a mirror to the progress of Carnatic music, through the 20th Century, but what kind of a person was Semmangudi?
Semmangudi, cut his first disc, comprising the Neelakantan Sivan song Nava siddhi Petralam in raga Karaharaprya. It has been often stated that, after Thyagaraja and Papanasam Sivan, it was this mastero Semmangudi, who coaxed the maximum life from this raga.
The book gives us an insight into various aspects of Semmangudi’s life including his association with members of the charmed circle T T Krishnamachary, Rajaji’s and how he fought back the obstacles he faced with infected tonsils that left a lasting impact on his vocal chords.
It is interesting to note that by then, the patronage of kingdom of Travancore, was evidently put on musical map of India by Swati Thirunal, the Maharaja, who was a great composer. Semmangudi continued maintaining a high profile, during the Travancore years, when he was appointed as Asthana Vidwan.
In those days, films were another area of opportunity for carnatic artists and though Semmangudi’s contemporaries were associated, barring Ariyakkudi and Madurai Mani Iyer with the medium, for many years, Semmangudi was prevented by his orthodox father.
The book further chronicles differences with critic Subbudu who made Semmangudi the butt of his writing once too often. His controversy with Balamurali Krishna, who claimed that he had created new ragas and reveals, how it was musically buried later through a concert when Semmangudi sang to Balamurali’s accompaniment on the violin, and the controversy over songs of Swati Thirunal with Veena Balachander.
Though he passed away in 2003, certainly his sonorous alapanas, the Sarvalaya Swarams and soulful neravals evoke applause and awe. The story of his life is an example, worthy of emulation, for it embodies hard work, struggle against all odds, a competitive spirit, a quest of excellence and a triumph of native intelligence.