Semmangudi Srinivasa Iyer

[Balummi]

There had never been any rivalry in those days between Semmangudi Mama and MMI . The rivalry was only between GN Sir and Mama ! In fact MMI's thambura was always selected by Mama till his last days! this can easily be explained as MMI was a great admirer of Maharajapuram and naturally his desciple SSI. Dr.SAK Durga , my father's cousin,was a desciple of Maharajapuram and he specifically advised her to take lessons from MMI in Madras!
I am giving this information only to emphasis that as many rasikas have the wrong impression that SSI and MMI were rivals in olden days.

[Ramasubramanian M.K]

Balummi: You are right. I intend to cover this under the section "Mama's relationships to his peers" later.While comparisons are inevitable --they are misleading and taken out of context they would do injustice to the artists. The biggest point I have is that having known these artistes thro my Father and uncle, during those "heated alleged rivalries" amongst the various artists,their respective friends and admirers may have exacerbated whatever smouldering misunderstandings that may have existed at that time. In retrospect those incidents pale into insignificance(a sort of Much-ad--about-nothing"). remember the rasikas pie was not big, their (rasikas)" means" were limited, institutions had no corporate backing(as it is today)--against this background they had to make a living,raise their families etc etc--so if there were instances of "fighting-for-the-crumbs" triggered by petty gamesmanship it is to be expected. Mama himself is on public record praising his contemporaries(after their demise as some skeptics may "wag"!!) and has put his earlier comments in perspective.--more on this later--

Back to the 1940's and the Thiruvananthapuram days.

I do not know what were the precise circumstances or thought processes of Mama that led him to take up the stewardship of the Swathi Thirunal Academy. My guess is that he was in his early thirties, his career had not really taken off,his voice troubles overwhelmed his Vidwath,his seniors the (ARI,Musiri,Chembai Chittoor,MVI) were still prominent in the concert circuit--his contemporaries--GNB,MMI,Alathur were carving distinctive "niches" of their own thro their own inimitable styles(a departure from the tradition bound conservative styles) so that unless someone delved deep into Mama's music -- his extraordinary imagination and Bhava-laden style could not make much of a dent into the rasikas' minds.

A stable job that still gave him the flexibility of giving performances,the royal patronage that was always a plus and more importantly the invitation from Harikesanallur Muthiah Bhagavathar(HMB) were all decisive factors in his decision. HMB was getting old(in his sixties) despite putting in long hours at the palace could not keep pace with the gruelling demands of the Maharani. In fairness to the Maharani, her passion and sense of urgency about the revival of what she considered as a neglected treasure of CM Music(note it was almost 100 years since the death of Maharaja Swathi Thirunal(1813-1847 and none of his immediate and successive heirs had made any inroads into unearthing the King's work. There are several tales of HMB coming home exhausted after a day's work(Maharani will sit by his side when the archives were pulled from storage,dusted off and the text deciphered,would "pepper" HMB with questions on the Lakshya and Lakshana of the compositions,interpretations etc--so much so that when friends used to tease him(Forumites should know--HMB was a Bohemian in his tastes--clothes,food,entertaining etc etc--outspent his more-than-decent incomes) HMB will --- despite being exhausted would crack jokes about those encounters in salty language that would look like an unexpurgated version of Lady Chatterley's Lover!!!!(Forum protocol prevents me from citing these jokes--perhaps in some one-on-one sessions these could be narrated if forumites so wish!!!!).

As my grandfather who was at the same time in the Maharani's service as the Dewaswom Commisioner(the equivalent of today's Hindu religious Endowments Commissioner),also had similar gruelling experiences with the Maharani on the Administrative side , I found these tales as told to my uncle and who told it to me--fairly credible. Back to the HMB/Mama relationship. There were some strains(partly due to a fear on the part of HMB of being outshone by Mama and also a feeling that Mama may have overappropriated some of the credit that was due to HMB. In any case HMB(who died in the Mid Forties a couple of years after he left the Academy) had reason to self-congratulate himself on his choice of a hitherto unknown(in Kerala Crcles) visionary leader in Mama. I had earlier narrated an episode with Mama singing for the first time before the Maharani and HMB. Between them there was always an icy relationship(I am told)--understandable given the circumstances---the Mentor-mentee relationship is always fraught with potential for misunderstandings. It is a tribute to both parties that they did not "air" these feelings and exacerbate the issue.

When Mama took the job , he expressed his reservations about his lack of experience of leading formal music institutions--while he had supreme confidence in his ability to adopt the right pedagogical methods of teaching--despite his experience having been confined to one-to-one teaching---- but given his self-confessed lack of English knowledge his reservations about being the Administrator as well are understandable. However the Maharani impressed personally as well as by HMB's implacable confidence in Mama did a magnificent job of "selling" Mama the idea with an assurance that no effort would be spared
to support him with people skilled in Administration and who also had a musical year--one of my relatives who at that time was a senior official in AIR Trivandrum and a fan of Mama stepped up and silently steered Mama thro the shoals of office politics etc . This was the Greatest Asset Mama had and I am sure he would have succeeded as CEO of a Corporation or as a Chief Minister of state--the ability to identify the talent be it in Music teaching or Administration,lay out the ground rules without any equivocation and leave them alone without interference(although he himself did not get the same privilege from his Boss the Maharani!!).

He shielded the staff from the ever-inquisitive Maharani(uneasy lies the head that wears a crown) and later on after the monarchy had ended he continued now reporting to the CM(at that time Pattom Thanu Pilai) with the smouldering Kerala Politics ready to engulf and swallow the most astute political operative.

An incident narrated by my father as told to him by Mama would testify to his political sagacity and rightfully earned him the nickname Chanakya amongst his close friends.

Immediately after independence there was wrangling amongst the political parties(I am not sure if Pattom Thanu Pillai belonged to the Congress or the Praja Socialist Party--PSP--at that time) and the party in power had "eyes" on the pristine real estate of the Academy(Thycaud--a nice tree-lined neighborhood in TVM). There was a swift and silent move to "evict" the Academy and move it to Pattom(an outlier suburb of TVM) under the pretext of more land available for Academy's expansion and WHY the prize real estate within the limits of the City should be put to more benevolent public purposes than to merely satisfy a cultural elite(with the socialist overtones as an undercurrent behind the political machinations!). I believe the paperwork had moved so swiftly and was just awaiting the CM's signature that the Academy authorities were taken by surprise. Just when it seemed hopeless, Mama was approached and requested to seek a meeting one-on-one with the CM(PTP) and see if the issue could be resolved without the move . Mama sought the appointment and got it promptly.

Mama put together a cogent,calm,coherent argument without overtly stressing the retention of the Academy argument. My father till his death could not stop talking about how Mama "finessed" the argument. This was how he did it(I am putting it in my own words but the substance is intact)

CM I am glad you have the best interests of the Academy at heart and the move will facilitate expansion etc but there is one point which somehow the officers who did the study may have overlooked. The Academy students mix right now and for the foreseeable future is predominantly female. Pattom is 5/6 miles away and all these students(there were lots of night classes to accommodate the students going to school/college)--late night for the return the wait in the bus stops could be long and being a little desolate--Pattom in those days was very sparsely populated--this may be a safety hazard for the female students. he finished off the argument without implying anything but none-the-less strongly suggestive --of nightmarish consequences for his Administration and the Academy itself--if some rowdy elements take advantage of the relative isolation and harm the female students. Given the robust active press in Kerala in those days with the opposition "nipping" at his heels, does PTP need this additional aggravation that would cast a "pall" over his administration and impugn his sensitivity towards safety of women?
PSP I believe bought this argument lock stock and barrel and "nixed" the whole idea--I think the Academy still operates in the same premises(Forumites correct me if I am wrong!!)--sixty years after!

More recently in Chennai in one of the meetings with Semmangudi Mama and the CM (MK) presiding, MK seems to have remarked about Mama's political savvy and how relieved that Mama chose Music and not politics--had Mama chosen politics MK could not have succeeded and had MK taken to Music despite his family music background he wonders what a loss it would have been for the Music World. Obviously had MK known about this PTP incident his views would have been reinforced!!!

More later--

Request to forumites(who lived in TVM in those days) to come forward and pitch-in!!!
If not YOU WILL BE IDENTIFIED,EXPOSED,TARRED AND FEATHERED (with praise of course)!!

[Balummi]

There was a talk in those days that Mama had a strong lobby in Music Academy and was tipped for Sangeetha Kalanidhi in 1945 itself , much ahead of other stalwarts . And later the Academy suddenly woke up to see that Mama's guru Sri MVI had not been given the title yet though recognised as equal to ARI. Hence the title was forced on MVI as his desciple SSI was due to be awarded in 1947! This was indirectly emphasised by Sri Iyengar Mama while giving the felicitation address in 1959 when MMI was awarded the title . He said that "Mani" should have been made "a Kalanidhi" atleast 10 years earlier and the delay was that he never had a lobby in Academy!

[Ramasubramanian M.K]

Balummi: You have stolen my thunder on the Sangeetha Kalanidhi affair!! The incident is 100 % true. Although Mama was away from Chennai(being in Trivandrum) at that time,despite the fact that he did not enjoy the popularity of GNB or MMI, in the public eye---amongst the experts in the Experts Committee of the Academy,Mama enjoyed quite a following. Personally I would not begrudge that award at that young age--I attribute it to the "fairness" in God's "largesse"--a way of balancing for the lack of overdue recognition for his Vidwath.

Later on I will cover in the section on Mama and the Institutions--where Mama has been in the "Eye of the Storm" in the Kalanidhi selection process.

[annamalai]

Interesting point about Semmangudi getting the Sangeetha Kalanidhi when he was so young. A great musician no doubt. Was it that Academy was early to spot the talent like Sachin Tendulkar debut when he was 16 or there was a lobby ? ( tanjavur 18 village ?) Semmangudi got the award much ahead of his seniors - Chembai , Mudicondan V, Karaikudi Sambasiva Iyer, TNR ...

[MaheshS]

annamalai - Yes SSI did get it before some of his seniors and of course there was a lobby, Papanasam Sivan was given one in 1971.

I think you are mistaking Kumbakonam Rajamanikam Pillai [ SK - 1948 ] with T N Rajarathnam Pillai who wasn't offered one.

[Balummi]

Had Gandhiji been awarded the Nobel Peace prize , it was an honour for the Nobel Peace Foundation and similarly Academy is honoured had Mali , TNR or MDR been offered / accepted
Sangeetha Kalnidhi title! Is that not so? This is not to belittle Mama . His extraordinary greatness is not measured by recognition by Academy ! When somebody recently wrote abook / thesis on the great Carnatic Muscicians of the decades around 1940's and left out MVI and MMI , it is not a loss to these giants . Why should I choose to indicate about this book is that it received wide publicity repeatedly and nobody had commented about the points that I had made . When my friend questioned the author , he had simply said that he is not old enough to know anything directly about them and his attempt was only what he understood from elders and especially MMI did not have any special greatness to qualify in his book!

[rshankar]

When my friend questioned the author , he had simply said that he is not old enough to know anything directly about them and his attempt was only what he understood from elders and especially MMI did not have any special greatness to qualify in his book!

A case of 'kazhudaikku teriyumA...', perhaps?

[Pratyaksham Bala]

Interesting point about Semmangudi getting the Sangeetha Kalanidhi when he was so young. A great musician no doubt. Was it that Academy was early to spot the talent like Sachin Tendulkar debut when he was 16 or there was a lobby ? ( tanjavur 18 village ?) Semmangudi got the award much ahead of his seniors - Chembai , Mudicondan V, Karaikudi Sambasiva Iyer, TNR ...

If there was a lobby of 18 as quoted above, why SSI did not get it in 1946 itself? MVI was awarded in 1945. Secondly, why did the so-called power of 18 allow SSI to overtake Mudikondan Venkatrama Iyer? 18 vs 18?

[cmlover]

MKR
I have heard that Sir C P Ramaswamy Iyer played an equal role in the migration of SSI to Trivandrum.
SSI did not enjoy the Principal position but immensely enjoyed teaching. He also enjoyed setting to tune the works of ST. He apparently set more to tune than he actually confessed but admitted as just polishing. For example the famous BhAvayAmi was in Saveri which he set to the brilliant Ragamalikai. He used to discuss his efforts with his students who also made inputs but were not acknowledged. It was indeed a sight to see him majestically accompany His Highness during the Arat (10th day) Festival parade.

There are several jokes relating to him which cannot be shared here for obvious reasons.

He was fanatically attached to the Royalty and fully deserves the title 'Rajya Seva Nirata'. However he refused to throw his weight in favour of the Independance of Travancore advocated by Sir CP. That is how he survived the crisis among the Nair Brigade who increasingly resented the 'PaaNDi' brahmins in power. Let us leave out politics in these discussions...

[Ramasubramanian M.K]

CMLover: I have heard that HMB was the prime mover in bringing SSI to TVM although I know that CP had great respect for Mama and Mama counseled gently to CP and the Maharani that they ought not to fight the accession battle and the privy purse issue---there was a point when Sardar Patel(thro VP Menon his lieutenant in the consolidation of the princely states) had warned that continuance of the struggle would be totally counterproductive and subsequent "deals" may not be any more attractive. Mama always used to say "Arasangathai Ethirka Kodadu(Don't fight the Govt) but try to finesse it.
Yes Mama was not comfortable in the role of the Principal but once he was given the lattitude to bring assistants of his choice,he managed to assemble one of the best staffs--both in Admin as well as Teaching.
Some of the names not too well known to the public but great in their own niches.

1. K.R.Kumaraswami( KRK or Kumaru as he was affectionately called-- a brilliant tunesmith,teacher and the loyal #2 to Mama--incidentally Kumaraswamy's brothers are K.R.Kedaranathan, another great teacher,tunesmith, and K.R.Athmanathan(Athma)--steadfast,loyal.caretaker for MS Mami and TS Mama for over 40 years till their deaths--incidentally Semangudi Mama was responsible for introducing Athma to MSS/TS as well as VVS(Violin). A sidebar story on KRK(Kumaru).

My uncle could never stop talking about Kumaru Mama's Gnanam and teaching abilities. My father too had great regard for Kumaru Mama. Once in the late forties/early fifties, one of my father's close friend---a Big Executive with the Walchand Construction group in Bombay asked my father to suggest a nice Senior level teacher for his daughter who had learnt Hindusthani Music under a reputed teacher in Bombay and had given a few HM concerts of decent quality and now wanted to learn CM. My father approached Semmangudi Mama to see if he himself would undertake the assignment. It was for three months during April-June when the Academy was closed for the Summer vacation---spacious accommodation in the Host's house and any privilege or amenity the guest may ask for would be granted!! My father thought Mama would jump at the offer--but Mama strongly advocated Kumaru Mama for the assignment and persuaded a reluctant Kumaru Mama to undertake the assignment. KRK was a highly, principled person who would bow down to no man. He finally accepted. Kumaru mama wasted no time in bringing the lady upto speed(no hankering for concerts, no desire for sight seeing and other diversions-- which in those days any visiting musician would come to expect!!,no visiting friends and relatives. My father arranged a concert in a pandal in Matunga for KRK(I forget who were the accompaniments). I remember it was a serene bhava-laden concert(KRK's voice was even more uncooperative than SSI's!!). After his return to TVM and a couple of years later when the Academy was opened in Tiruppunithura KRK became the Principal. Mind you SSI himself was only in his forties and needed every opportunity to keep himself in the limelight but not only did he not stand in the way of the progress of persons under his tutelege,he actively promoted them wherever he could.

Another such anecdote. In 1948, Mama wanted my father to give a chance to T.M.Thyagarajan in Bombay--TMT was hardly twentyfive and relatively unknown at that time-- concert slots(once/month were filled by the veterans(ARI/Musiri/SSI/MVI/GNB/MMI.) plus the Sabha needed gate collections and the Sabha could not afford to risk younger but relatively unknown artistes--no matter however talented they may be--my father amidst reservations amongst his colleagues persisted and arranged TMT's concert. Mama not satisfied with pushing TMT pitched another young prospect for violin- to accompany -his cousin Semmangudi Narayanaswamy Iyer' son and TKI's grandson(Kalyanam was his name--he died in his late thirties-- relative unknown even in Chennai surroundings). TMT was a trifle disappointed that his Guru in pushing his(TMT) case did not give him an opportunity to bring someone that he knew well and talented. As it happened the violinist was all nervous(seeing the audience in Bombay) and botched the whole concert much to the chagrin of TMT. I still remember how nonchalantly TMT disguised his disappointment when the artistes returned to our flat. An anxious Kalyanam unaware and oblivious to his poor showing ,asked TMT repeatedly what TMT thought of his playing that day. TMT finished the whole conversation with these words: Anna, Innikki Neengal Vachicha Vasippai Nan Enna enru solven in a well-camouflaged mocking tone !! Kalyanam took it as a compliment and felt relieved afterwards . TMT later bemoaned to my father that his first opportunity in Bombay did not go as he would have wished but was grateful that his Guru had given him the chance.
At the same time, Mama also sent another young man(Chellamani as he was affectionately called) who had graduated out of the academy to Bombay(Mama did not think he would succeed as a concert musician but was impressed with his teaching abilities) and asked my father to help him with tuitions to a couple of students--children of my father's friends. My father had him teach Varnams (every Varnam that he taught my sister I still remember and can help if somebody forgets!! even today--so good a teacher he was. My father also introduced the young man to two of his friends--one of them had two daughters who were talented and had good voices and the other young girl(whose parents were connoisseurs and very knowledgeable).
Guess who those two sisters were--none other than the BOMBAY SISTERS(Saroja/Lalitha).

The other young girl the young man ended up marrying--she is none other than Alamelu Mani--Mother of Hariharan(Playback singer) and one of the prominent disciples of Brindamma and Mukthamma. Unfortunately Chellamani Sir(as he was affectionately known in Bombay Music Circles) died very young--I think in his early forties--of heart attack. To this day any young person from Bombay who had atleast some rudimentary training under Chellamani Sir could lay claims to a decent level of proficiency. Older Bombay forumites I am sure would agree with me.

Mama(SSI)'s judgement was impeccable.

More on other persons Mama had championed during his TVM days later------

P.S. Why am I belaboring this point--just to disabuse the notion prevalent even amongst some of his own disciples that Mama had not done enough for his disciples and had indulged in self-aggrandisement in those days and promoting himself on every conceivable occasion.

[rajeshnat]

Anecdote that i am double posting as it involves SSI and MVI in thiruvananthapuram:
---------------------------------------------------------------------------------------------------------
Interesting Incident that I heard thru grapevine about the jAmbhavAn MaharAjapuram Vishwanatha Iyer (MVI) in the context of swati tirunal navarathri mantapam concert.

A long time before when MVI was somewhere in Tanjore district,at that time his sishya SSI being a principal of the swati tirunal music college wanted to get more sanmAnam (fame and money) to MVI . So MVI was invited much before the concert date in Trivandrum by SSI and he was given a semi-royal treatment . It was and is customary to sing only Swati Tirunal krithi's and SSI knowing that MVI does not know Swati Tirunal krithis , arranged his prime disciple TM ThyagarAjan (TMT) to teach krithi sahityam of Swati Tirunal to MVI.

TMT,as per SSI's instruction used to visit on the first day to MVI's guest house and wanted to help MVI to learn few sahityam of Swati Tirunal . MVI excused saying "today my throat is not good ". The next day TMT again went for which MVI said "In kerala it is raining and is not conducive for my throat , I would prefer the sunshine of Tanjore". TMT the junior sishya was caught in between SSI's instruction and MVI's reluctance. The days rolled by and MVI just gave excuse after excuse.Not sure if he learned even one.

The D Day rolled. The crowd thronged to hear MVI , known for his manOdharmam . SSI and travancore royal family were present . MVI started with a hamsadhwani . He sang a detailed pantuvarAli alApanai . Most were expecting Swati Tirunal's sArasAksha or saraseeruha . But MVI sang one of his favourite siva siva yenarAdha , a thyagarAja's composition .

Then a detailed arAbi alApanai was sung. The audience expected Swati Tirunal's narasimha, but MVI sang a detailed ThyagarAja's joota murAre. He went on and on without singing even one krithi of Swati Tirunal . I am told that the travancore royal family got up and left some time during the concert (pantuvarAli???).

Incidentally at the end of the concert SSI went to MVI and said "You could have sang sArasAksha in pantuvarAli" for which MVI replied sArasAksha and siva siva yenerAda are just one and the same.The bottomline , one can see MVI's love of ThyagarAja krithi in one side of the spectrum or one can spot him as he was very adamant in not even singing one Swati Tirunal composition and breaking the tradition . Certainly to me MVI had his own individuality and ways to protest .

Note: I may have not got the krithis absolutely right and not sure about when MVI said to SSI about both pantuvarAli(T and ST) are same ,but this incident is true.If some one can add color and bring more authenticity claims(especially MKR sir) , please do that.

[rajeshnat]

MKR Sir
WIth SSI's voice not at his best , even before going to thiruvananthapuram, shri SSI taking up teaching related work may have been more worse to his musical career . I have heard thru grapevine that KR Kumaraswami had one of the best voices , he kind of over practiced and taught and lost his voice.

In same token can I assume SSI was street smart in the sense he kept an army of disciples under him who must have taught lot of students in thiruvananthapuram.

[Sivaramakrishnan]

Ramasubramanian, could you please provide information on (late) K S Harihara Iyer one of the senior most disciples of Semmangudi. His concerts used to be broadcast by AIR (Kerala). Perhaps he spent his last years in Calicut or Palghat.

Another specialty was his unique husky but powerful voice at 2 kattai pitch. He sang many rare Uruppadis.

[thenpaanan]

MKR Sir
WIth SSI's voice not at his best , even before going to thiruvananthapuram, shri SSI taking up teaching related work may have been more worse to his musical career . I have heard thru grapevine that KR Kumaraswami had one of the best voices , he kind of over practiced and taught and lost his voice.

...

This rings true. Even though physiologists say over and over that the voice box is such a miraculously supple mechanism that one can speak/sing for the entire waking duration of the day and still not do any long-lasting damage, one frequently finds teachers whose voice is "gone" over time.

It is just accepted as a fact of life that teaching is bad for the voice but I have never seen any analysis of precisely what it is that ruins the voice. This is especially intriguing because, whether it is true or not, one hears this quite often with CM teachers and as a teenager in Mumbai I have heard many a raspy teacher. One does not hear that often of HM teachers losing their voice due to teaching although there is the occasional instance such as Pandit Jitendra Abhisheki who lost his voice over time (not clear why he lost his voice, but he did have many students). I have no idea of how it is in WCM.

-Then Paanan

[srkris]

Incidentally at the end of the concert SSI went to MVI and said "You could have sang sArasAksha in pantuvarAli" for which MVI replied sArasAksha and siva siva yenerAda are just one and the same.

That is an interesting comment. In what way would sArasAkSa and siva siva siva be the same musically (apart from being in the same raga)?

[Sathej]

He sang a detailed pantuvarAli alApanai . Most were expecting Swati Tirunal's sArasAksha or saraseeruha .

Guess the latter should be Saroruhasana - one of the Navarathri Krithis.

Sathej

[Balummi]

Dear srkris ,
You are correct . I was also wondering what was the common factor except the raga between 'Siva Siva' and 'Sarasaksha" . May be not to embarass anybody , MVI might have polishly suggested that he did not know the composition of Swatitirunal! Dr. SAK Durga might be able to answer this question.

[Ramasubramanian M.K]

Sivaramakrishnan: K.S.Harihara Iyer settled down in Kallidaikurichi --his house was opposite my uncle's house in Srivarahapuram St. . Whenever I visited my uncle for the last 25 years I used to meet him. He was an excellent teacher--being one of the senior most sishyas of Mama bore the brunt of the typical Gurukulavasa "grunt" work but never complained. While in Trivandrum he lived in the Chalai section where my grrandfather lived so that members of our family learnt lots of krithis from him . He and Mama would sing Janani Ninnuvina or Amba Kamakshi--the higher and the lower octave--it was simply divine.

He was a very simple man and did not have much of a concert career-- a little bit of a "Kammal"(Tamil) voice lent its own charm. Talking of Kammal, reminds me of a Lalgudi Sir's joke about Maharajapuram Viswanatha Iyer. " Avar Saareerathile oru kammal, kadile oru kammal"(Kammal in his voice and kammal-ear-stud in his ears!!

[vs_manjunath]

SSI mama's Kiravani RTP in the company of MSG and others is an excellent one!

[fduddy]

MKR Sir
Is Vechoor Harihara Subramania Iyer different from K.S.Harihara Iyer ? I understand he is also from the ST academy and teacher.

[annamalai]

MKR sir,

1. Why was Semmangudi selected to fine tune Swathi Thirunal compositions ? Muthiah Bagavathar makes sense, since he was a Vaggeyakara. There is some history that Tanjore Quarter - Vadivelu was invited to Trivandrum. Semmangudi was not a composer. Papanasam Sivan (who knew Malayalam and Sanskrit, ...)

2. Heard that Muthiah Bagavathar departure from Trivandrum was not pleasant terms ?

PS: This thread is idle for a few days.

[mankuthimma]

MKR sir,
PS: This thread is idle for a few days.

humble attempt to keep it active
http://www.mediafire.com/?f64dh5tsmy4v6ba
an uncharacterically mellow SSI

[vs_manjunath]

Coolji- Can u pl u/l the vintage(EP) of SSI in which he has sung a brilliant & breathtaking ' cHala kaLala' in Arabhi of Thyagaraja..

[Ramasubramanian M.K]

Annamalai: Been tied up-shall resume within 24 hours. Your Questions are very legitimate.Although I have no personal knowledge of HMB,I have heard rumors that relations between Mama and HMB were not always cordial. I must confess this subject--strange as it might seem--never came up either with my father or myself.

However this gives me the freedom to speculate and conjecture -- which I will --- with absolutely not an iota of evidence or authenticity to it and without any compunction whatsoever!!!!
Consider yourself adequately forewarned!!!!!

[mankuthimma]

Coolji- Can u pl u/l the vintage(EP) of SSI in which he has sung a brilliant & breathtaking ' cHala kaLala' in Arabhi of Thyagaraja..

http://www.mediafire.com/?3z7v5zlw0c3pq54

[rajeshnat]

MKR sir,

1. Why was Semmangudi selected to fine tune Swathi Thirunal compositions ? Muthiah Bagavathar makes sense, since he was a Vaggeyakara. There is some history that Tanjore Quarter - Vadivelu was invited to Trivandrum. Semmangudi was not a composer. Papanasam Sivan (who knew Malayalam and Sanskrit, ...)

2. Heard that Muthiah Bagavathar departure from Trivandrum was not pleasant terms ?

PS: This thread is idle for a few days.

annamAlai

Before MKR Sir adds more , I was just thinking as HMB was born in 1877 and SSI in 1908 , that is a 31 year difference. With SSI taking up the trivandrum assignment in 1940's , I guess the age was surely in favour of SSI. Though I would love to know more on what ever you asked?

When you said " Papanasam Sivan (who knew Malayalam and Sanskrit, ...) ", you were about to say some thing more which you just skipped, you can complete what you wanted to say.

[annamalai]

rajeshnat,

I meant Papanasam Sivan could have been considered for that job - given that he was a Vaggeyakara - with his knowledge of Sanskrit and Malayalam. Sorry for the typo.

For the choice of Principal of Madras Music College - I understand several people were considered (Tiger Varadachari, Ariyakudi, Maharajapuram, Musiri, Mudicondan ....) and many deliberations and finally, Musiri was selected.

[pvs]

I request senior users to post more of Semmangudi Srinivasa Iyer's older recordings (78 rpm, etc). The recent post of CalaKallaLadu is vintage SSI...Thanks many many!
I did not know such a recording of SSI was available. But then of course I did not know lots more that this forum is educating me on, thanks to veterans like Mankuthimma, MKR, VKV et al.
Thanks again!!

[mankuthimma]

http://www.mediafire.com/?c89r8rpycllzi

PVS
You are Welcome .I have added three more 78 RPM recordings into this folder.Will search for more vintage stuff.

[nrswamy]

Kindly uploud his gems chetasri,Daskshinamurte.Enduku,Todi,Shanmukapriya, etc....
(coolji sir,vkv sir)
Thanks.

[vs_manjunath]

MKR- I have read SSI mama used to enjoy playing Cards in the afternoon !!!Please tell more abt this. Who all would join him for playing cards in his house.

[mankuthimma]

Uploaded
Indu Ennage Govinda - ( Kannada )
Selected on purpose to check if VSM can start at 7 am sharp for office . I bet he cant.
Gopanandana - Bhushavali
to the folder
http://www.mediafire.com/?c89r8rpycllzi
I remain amazed at the hold this Master has on our senses . Each concert of his has atleast a 100 downloads here. Each track atleast 50. Such a perfect Concert artist.

[mankuthimma]

Kindly uploud his gems chetasri,Daskshinamurte.Enduku,Todi,Shanmukapriya, etc....
(coolji sir,vkv sir)
Thanks.

Will post links everytime MKR posts a story

[vs_manjunath]

Uploaded
Indu Ennage Govinda - ( Kannada )
Selected on purpose to check if VSM can start at 7 am sharp for office . I bet he cant.
Gopanandana - Bhushavali
to the folder
http://www.mediafire.com/?c89r8rpycllzi

Coolji Thank u so much for these U/Ls. As my morning quota of chking Forum was completed much before u'r uploads, i did leave my home around 7 am. I chked u'r msg after reaching office around 0845. Will be d/l in the evening. I never ever knew that SSI has sung ' Indu Enage'. Will write more after enjoying in the evening.

[pvs]

Dear Mankuthimma, Thanks very much again! you are right in using the phrase 'hold on our senses' to describe Sarvalaghu Iyer's (my 'pet' name for SSI) music. I've listened to his Arabhi at least 50 times since downloading a couple of days ago. This record was jointly held by his 'airport' concert's Mukhari and Varali previously. Wishing this unearthing of more recordings doesn't stop (not just SSI's but also other stalwarts).

[vs_manjunath]

Coolji- rasikas really won't be knowing how hard the musicians must be practising each song before it's presented! When we hear songs sung by stalwarts we know each song is so much perfected and that's why it will be so enjoyable. Each song must have been practised for 50 times or more!

[mankuthimma]

VSM
Hope you liked the kannada song . Be prepared to surprised . Again and again. 8)
PVS
No it wont stop.

[vs_manjunath]

VSM
Hope you liked the kannada song . Be prepared to surprised . Again and again. 8)

'Indu Enage' was Very Enjoyable.Each song by SSI is a treasure!!!
It's quite happy to know that v will have lot of surprises from ur archive. Will b eagerly waiting for u'r surprises.

[pvs]

Thanks yet again for the downpour.
Salilam varshaya varshaya varshaya... (sorry, couldn't resist)

>> ...Each song must have been practised for 50 times or more!
very true. The other striking thing about the stalwarts of yesteryears and the 'stalwarts' of today (too broad a generalization) is the total absence of 'fluff' (for want of a better word) in the formers' renditions. They are crisp and focussed, unlike the meandering ones, with disjointed segments in between, so often encountered in today's high quality digital recordings...

It's almost as if the artistes are under a precondition that they have to give something new everytime. Experimentation is fine, even absolutely necessary, but it should be done in private, pass the test and then presented in public. The more I listen to MMI, SSI, GNB, ARI, MVI, MDR, MSI, DKP, MSS, MLV, etc. the less inclined I am to click on something new. I'm not knocking the newer artistes but an aspect that sticks out to me...

[vasanthakokilam]

Uploaded
Indu Ennage Govinda - ( Kannada )

That is indeed Bhairavi. Here MSS sings the same song in Mukhari http://www.youtube.com/watch?v=nrZZi_SZL3k

SSI and MSS singing it in different ragas is interesting. Bhairavi is probably the more common one. Both sound excellent.

I wonder what the lineage/pathanthara of the Mukhari version is..

[rshankar]

VK, the mukhAri version 'sounds' better, probably because mukhAri makes for better 'pleading' as Sri PD is beseeching the lord to show him his lotus-like feet in this composition...

[Sreeni Rajarao]

VK, the mukhAri version 'sounds' better, probably because mukhAri makes for better 'pleading' as Sri PD is beseeching the lord to show him his lotus-like feet in this composition...

Ravi,
indu enage gOvinda is not a purandara dAsa kRti.

It is attributed to Sri Raghavendra Swami.

[rshankar]

Oh, thanks, Sreeni!

[vasanthakokilam]

VK, the mukhAri version 'sounds' better, probably because mukhAri makes for better 'pleading' ...

Yes indeed so. Ever since I heard this MSS version a couple of years back, this has a soft spot in me. And my affection for the step-child raga also contributes to that, I suppose. But definitely a better match of sAhityabhAva and sangeethabhAva ( and the higher kattai is an added match for that rasa )

[vs_manjunath]

I remain amazed at the hold this Master has on our senses . Each concert of his has atleast a 100 downloads here. Each track atleast 50. Such a perfect Concert artist.

"Sangeetha sAdhakana sotthu !!! SSI sangeetha idu akshara saha sathya antha prove mAduthe!" Coolji- U can suitably translate in english for rasikas to enjoy..

[mankuthimma]

http://www.mediafire.com/?iffcqok91cpv1sd
Sevikyavendum - Kalyani -SSI
Musical interludes while MKR is composing his post.

VSM. yes let me try - knowing well that sreeni will correct me.
Sangeetha sAdhakana sotthu !!! SSI sangeetha idu akshara saha sathya antha prove mAduthe!
These are treasures of a Musical , Self realised , Practitioner .
Especially for SSI , this description is perfectly fitting one.

[annamalai]

Uploaded
Indu Ennage Govinda - ( Kannada )
.

Thanks for the upload. I would like to add a plug - The best moving rendition of this krithi Indu Enage (Mukhari) is by TK Rangachari, IMHO. From his mini-speech before the song, it is evident he is moved by this krithi.

[mankuthimma]

My vote to S Janakis version for a kannada movie.
Bhimsen Joshi has sung it too.

[Sreeni Rajarao]

http://www.mediafire.com/?iffcqok91cpv1sd
Sevikyavendum - Kalyani -SSI
Musical interludes while MKR is composing his post.

VSM. yes let me try - knowing well that sreeni will correct me.
Sangeetha sAdhakana sotthu !!! SSI sangeetha idu akshara saha sathya antha prove mAduthe!
These are treasures of a Musical , Self realised , Practitioner .
Especially for SSI , this description is perfectly fitting one.

MK, Thanks for dragging me into this! I will try!

I think V S Manjunath is trying to say that music is an absolute asset (or treasure) of only an absolute (or ardent) practitioner. SSI's music proves that this is absolutely true!

Too many absolutes in my interpretation, but I think that is what this phrase emphasizes!

Let us not distract the flow of this thread anymore and enjoy the chronicles and the music!