Raga distortion: Chatusruti Daivatam in Shanmukhapriya?

[shreyas]

https://www.youtube.com/watch?v=lQfJ9s0r6u8 - MSS

https://www.youtube.com/watch?v=JUpWaGmgxSE

https://www.youtube.com/watch?v=u1-1BDkKj9g

https://www.youtube.com/watch?v=ErKrD4wwmXY

https://www.youtube.com/watch?v=GdAdKFAeB0w - Sid Sriram

I was perusing random Carnatic recordings on YouTube, and came upon Sid Sriram singing Saravanabhava Ennum. I had heard a T M Krishna version of this song before, and being used to the regular treatment of the song, was mortified when the former presented the pallavi of the song with not one but TWO chatusruti daivatams...

My guru had told me in the past that such mutilation does occur now and then, but this is the first time I am actually seeing it with Shanmukhapriya. As it is, I am not a fan of Sid Sriram's music (first of all, I don't like his extremely high-pitched voice, which is technically not his fault, but I also think his manodharma sounds quite artificial and is quite banal in general, and his pronunciation of words is quite deplorable - He said Kurume Deva as Kurme Deva and ended the slokam on Sarva Ka...... instead of Sarva Karyeshu Sarvada), and this just made me resolute about never listening to him again.

Surprisingly, however, I was able to find multiple renditions with the same error (even MSS' rendition demonstrates a shade of D2!!) Is this a conscious choice made by some teacher a long time ago, or is it for the sake of melodic convenience? Eitherway, this is unacceptable.

I have heard similar lacerations occurring in multiple other ragas: adding shades of M2 and N3 in Mohana, for example, or Panchamam in Sriranjini, and I have heard that in the higher reaches, a lot of artists have the predilection to add Chatusruti Rishabham in Thodi (in phrases like SRG,,,PMGRS, for instance), but I am yet to hear the latter. I have also seen krithis (especially those of Dikshithar) reconstructed to 'sound better' which I am not a fan of.


I remember hearing in an interview (and also a lec-dem about allied ragas) of T M Krishna that Bhairavi is actually supposed to be sung (as per Dikshithar's tradition) with only D1, and that D2 was a swara that only appeared in phrases like D,ND and SNDNS. He said that over time, D2 became a dominant note in the raga, and Semmangudi taught him to sing it like its earlier avatar (he gave the example of Kodandapani in the krithi Koluvaiyunnade) without much usage of D2. Is it possible that similar deliberate distortions led to the usage of D2 in Bhairavi as well?

Anyway, this is a very heavy topic that deserves an expansive exploration. Any senior rasikas could provide some clarifications on this. I am still quite irritated by the sheer disrespect shown to the sanctity of a raga and the expression of the composer.

[shankarank]

Somebody rebelled !

[shreyas]

???

[Ranganayaki]

Two of those videos are not even supposed to be included - it’s not fair to include the two small kids or the lady in blue, who are more Rasikas and learners than performers. They are just participating in some community event. It’s up to their teachers to let them know.

Since these are not videos that we would necessarily choose to watch, and it’s no fun to listen just to find possible lapses, may be you could point out the exact time-stamp of the moments where these occur. You could leave out the non-performers.

Personally I don’t like the idea of chatusruti rishabham in SP. I dont think melakartas can be bhashanga ragas.

[shreyas]

Ok, 6:50 in the first video and 1:50 in the last one. The first one is more of a hint, the second a flagrant D2.

[Ranganayaki]

Ok thanks, but I don’t think you meant 1:50 in the last video - he sings a high Sa at that spot. It might have been at 1:40, at the second iteration of “sarva ‘kaayeshu’

It was certainly difficult to listen to for the music and the pronunciation. He does say “kurme” as you said, he also says kaayeshu instead of “kaaryeshu,” but he actually does say ”Sarvadaa” at the end, not ”sarva ka.” I think it is possible that you were expecting his third repetition of “sarva karyeshu” and so you heard it like that and felt he ended abruptly at Sarva Kaa.

[shreyas]

Oh sorry. I meant 1:51 (sara-VA-nabhava-YEN-num) where VA and YEN are sung with D2.

[Ranganayaki]

You must have a very fine ear if you call that glaring. I think he’s just saying SS - nn for Sara-vana. On the second time around, he does go lower to the dha.. so I’m not sure of what you’re saying. But MSS’ d2 was much more obvious. I think it’s a pitfall of that kind of gamaka, and it is not intentional.

[shreyas]

I mean, he does sing

Sa Ra Va Na Bha Va Yen - num
Sa Sa Da(2) Ni Pa, Da Ri Sa Da (2) Ni

I found the D2 to be quite apparent...

Sara-VA-nabhava-YENN-num

Where Va and YENN are sung with D2.

[Ranganayaki]

Ok, thanks , I only disagreed on which singer’s was a “hint” and which was “flagrant”, and that might be a difference in our sensitivity. But my main point was that it was not intentional, in response to this suggestion from you:

Is this a conscious choice made by some teacher a long time ago, or is it for the sake of melodic convenience? Eitherway, this is unacceptable.

It’s a mistake. Is there any instance of melakartas having anyaswaras? No, because if they do, they automatically become janyas, and get a different name. So this cannot be by choice.