Semmangudi Srinivasa Iyer

Semmangudi Srinivasa Iyer is considered to be one of the greatest Carnatic vocalists of our era.

He was the youngest recipient of the Sangeetha Kalanidhi at the age of 39. He has received the Padma Bhushan and Padma Vibhushan, Sangeet Natak Academy award, and Isai Perarignar. He was affectionately addressed as "Semmangudi Maama" by his disciples or "Pitamaha", the grand sire of Carnatic Music.

For Semmangudi, the music journey began in 1908, the year of his birth. His cousin Narayanaswamy Iyer nurtured Semmangudi's talent initially before he found masters in Sakharama Rao and Maharajapuram Viswanatha Iyer. In 1926, he performed his first music recital at Kumbakonam. He was known for producing soulful music, highly creative and yet very orthodox, despite a recalcitrant voice.

Semmangudi had an uncharacteristically nasal voice in an era when practically every prominent Carnatic singer had an impeccable voice. In his youth, a famous kanjira performer commented, "His voice is as melodious as the noise created when a coconut shell is scraped on a rock. Don't bother to give him vocal training. Let him learn to play the violin." But with sheer grit and determination he worked on his greatest handicap - his voice. The same person who suggested a switch over to fiddle played kanjeera for him in a concert at a later date!!!!

He was instrumental for his work on the krithis of Maharaja Swathi Thirunal Rama Varma. After attending one of his concerts in 1934, Maharani Sethu Parvati Bai of Travancore was so impressed that she invited him to come to Thiruvananthapuram to popularise the compositions of Swati Tirunal. He was the Principal of the Swathi Thirunal College of Music for 23 years, until the age of 55. Then became the Chief Producer of Carnatic music at All India Radio, Madras from 1957 to 1960. In later life, he concentrated on concert performances and tutoring youngsters. His gave public concerts even after the age of 90.

"The two pre-eminent essence of Sri Srinivasa Iyer's music were - dignity and depth. His music owes its dignity to his faithful adherence to the traditional school and the infinite pains he has taken to dive into the depths of the science," says a 1933 concert review. These words hold good even after sixty one long years.

Semmangudi was widely renowned for his virtuosity as a concert performer. He was famous for the meticulous planning that he put into every concert, including the choice of krithis, raagas and duration.He was an acknowledged master in improvisation. Even today, people recall with awe, his presentation of Ragamalika in those five ragas. He never resorted to any gimmickry adhering to austerity in music

His singing style has been widely followed, and his prominent disciples include M. S. Subbulakshmi, T. M. Thyagarajan and violinist, Prof. T. N. Krishnan. His senior disciples include Palai CK Ramachandran, Kumara Kerala Verma,P.S.Narayanaswami, V.Subramaniam. Semmangudi’s rendering of Saint Tygaraja's kriti 'Nagumomu' has not been surpassed till date.

One of his students recollected, “If we wanted to learn a kriti which he did not know, he would ask us to come the next day. He, by then would learn the song and be ready to teach the next day. This in itself is a sample of his greatness as a Guru".

“He taught us not only music but also etiquette and the tricks of the trade,” recollected the violin maestro T.N. Krishnan.

Speaking of his guru’s magnanimity and affection, he said: “He treated us like a family and expected nothing in return. His family was very loving and cared for all the disciples as if we were their children.”

“What is not there in Semmangudi’s music is not there in music itself,” said Mridangam wizard Umayalapuram K. Sivaraman.

At a very young age, he was married to Thayyu ammal. Thayyu ammal he always acknowledged as a pivotal factor for the success of his career. The entire family was run with streamline precision by Thayyu ammal, when he had to frequently travel for concerts and also spend most of his time involved in music.

Semmangudi was a traditionalist to the core; he refused to cross the seas to receive a coveted award in Amercia. The Carnatic Music Association of North America had conferred him the title of Sangeetha Sagara in acknowledgment of his life time achievements.

The Association, respecting Semmangudi's feelings sent its representatives to India to present the award. Amazingly, the octogenarian gave a two hour concert after the award presentation. He comments, “Performing at this age is a strain both on me as well as the audience, but still I sing. In the middle of the concert, my dentures gave me problem, so I removed it and performed a toothless katchery !"

Whether toothless or not, it is a fact that this great musician still draws a good crowd, commands the same respect, and leaves his rasikas awe-struck by his splendid performance.

Semmangudi, in his own lifetime, has seen Carnatic music emerge from temples onto sabha stages and to the farthest shores. He has also seen the music, or rather its practice, metamorphose - from being the preserve of professional families to being a shared cultural experience of common people. Semmangudi was part of this change but never forsook the divinity and grandeur of Carnatic music; instead he was the torchbearer of its purity of next generations of musicians.