Wholesome patanthara

Beginning this week, V. SUBRAHMANIAM, senior disciple of Semmangudi Srinivasa Iyer, will analyse the various aspects of the veteran's genius.

CARNATIC MUSIC, especially the creations of great composers, has been handed down generations through the oral tradition. The core of Carnatic music being the use of `anuswaras' and `gamakas' (musical ornamentations) and subtle nuances, only a guru can impart such subtleties correctly. A written notation of a composition shows only the basic structure of the piece and not the nuances. Even a recorded rendition of a song cannot replace the guru in conveying the finer aspects of the raga bhava (the spirit of the raga).

Semmangudi Srinivasa Iyer belongs to the Tyagaraja sishya parampara (musical lineage), and in particular, the Umayalpuram school, which is acknowledged as one of the most authentic in the rendition of the compositions. In the oral tradition, there are always possibilities of unsuitable `sangatis' (musical phrases) that are not in conformity with the lakshana (grammar) of the raga, getting unwittingly introduced into the compositions. Semmangudi usually examines in detail any composition that he chooses to render and eschews such sangatis. Thus, these compositions are reshaped by the doyen to ensure better musical appeal. He would then write the final form of the song in notation.

Thereafter, he would teach the song to his disciples and ensure that all the musical contours of the song are completely understood by them. After this, he would render it with them at least 20 times before presenting it on the concert platform. After such a thorough analysis and practice, the song would become such a wholesome complete musical mould, that any attempt at improvising would totally fail. The mould of the song never undergoes any change even when rendered tens of years later.

The musical continuity that Srinivasa Iyer builds into the compositions with definite, smooth-flowing sangatis pregnant with raga bhava and linkages is noteworthy. In addition, the sangati patterns would be so structured that they would perfectly set into the basic rhythm (sarvalaghu). Even if the singer does not keep the beat, the song will flow perfectly on the ``tala'' structure. Srinivasa Iyer has held audiences spellbound with mere kriti renditions without any raga alapana or kalpana- swaras. Kritis which rasikas (music lovers) look forward to at his concerts include the masterpieces, ``Ksheenamai'' (Mukhari), ``Marubalka'' (sriranjani), ``O Rangasayee'' (Kambodhi), ``Amba Neelayadakshi'' (Neelambari), ``Akhilandeswari'' (Dwijawanti) and ``Kamakshi'' (Bhairavi-swarajathi).

The great veteran, indeed a legend, has captivated his listeners with his unparalleled and wholesome kirtana patanthara for over three-quarters of a century.

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