That period not having more micro phone and recordings like now is the only victory for the organisers and participants God's grace and faith in their knowledge
So happy to see M.S. Amma and Brindamma sit and sing together. Two legendary vocalists of the world of Carnatic Classical Music 🙏. Unfortunately, both seem quite displeased and rightly so, by the male singers going out of sync with the female singers.
sitting to the right of maharajapuram is Seenu mama,Sri Semmangudi Radhakrishna Srinivasa Iyer He was born in Tirukkodikaval, Tanjore district as the third son of Radhakrishna Iyer and Dharmasamvardhini Ammal. He lived with his maternal uncle Tirukkodikaval Krishna Iyer, a violin maestro, until the age of four and after his death, moved back to his parents' home in Semmangudi, Tiruvarur District. At the age of eight he started learning music from his cousin Semmangudi Narayanaswamy Iyer. This was followed by some rigorous training under Thiruvadaimaruthur Sakharama Rao, a famous Gottuvadhyam exponent, an event considered by Semmangudi as a turning point in his life. This was followed by another training stint with Narayanaswamy Iyer, during which time he learnt a lot of varnams and keerthanams. Then he had a musical apprenticeship with Maharajapuram Viswanatha Iyer. In 1926, he performed his first music recital at Kumbakonam. In 1927 gave a concert in the Madras session of Indian National Congress, another event considered by Semmangudy as a turning point in his life, as it catapulted him into the big league of vidwans at that time. He was known for producing soulful music, highly creative and yet very orthodox, despite a recalcitrant voice.
🙏🙏🙏great endaro mahanubhavulu andariki vandanamulu Really a great Santana of many Swara Saraswathis in one place Pleasing pleasure to eyes and ears 🙏🙏🙏
The musician referred to is none other than the great Sri Semmangudi R. Srinivasa Iyer. This year marks the 100th Birth Anniversary of one of Carnatic music’s legends. His music and style, still available to us through audio and video recordings, is an inspiration to the younger generation of artistes. This article is a tribute to the pitāmaha (grandfather) of Carnatic music.
Galaxy of Carnatic music stalwarts reciting Pancha ratnam at Thiruvaiyaru Aradhana - a class of its own (my mother, whose native is Panchanathi kshetra, delivered me singing Entaro mahanubavulu on Thai Pushya Bahula Panchami day (of course, at West Mambalam Kothandaramar koil st at her eldest sister Rajalakshmi's house )- I've enjoyed Thyaga Bruhama aradhana between 1964 and 1970 on the banks of Cauvery (sand) ; after 6 p.m , every day during Aradhana every year, these stalwarts are allotted 45 min for each of them - heard John B Higgins reciting Siva siva ena radha- Panthuvarali during utsav ; no chance for a live Aradhana like this- Once Shri T K Rangachari concluded the aradhana concert and got up but Shri Thanjavur Upendran ( mrudhangam, Sabha secretary) requested him one more krithi and he rendered Manavyaalakim- Nalinaganthi like a tiger which is still ringing in my ears ( accompanied by Shri V V Subramanian on voilin). Thyaga Bruhmam blessed me to hear Semmangudi, Chittoor, Musiri, Ariyakudi, Maharajapuram (Viswanatha Iyer) { my chitthappa Thiruvaiyaru K Gopalakrishnan accompanied for vocal support- one of the krithis in Aarabh}, M S, M L V, Madurai Mani Iyar, Madurai Somu, Alathur Brothers (thodi) , Manakkal Rangarajan, Mayuram Rajam, Radha- Jayalakshmi, Brindha - Muktha (Aahiri), Trichur Ramachandran, Madhirimangalam Ramachandran, Pappa Venkatramaiah- voilin (Theliyaledhu Rama), Chittibabu veena, N Ramani flute, (renders Sethulara / Bhairavi before pancharatna- now this has become a chorus ), H R Sastri (flute), Ayyalur Krishnan, Mangalampalli Balamuralikrishna, A K C Natarajan chlorinet, , Nadhaswaram by Namagiripattai, Thirukarugavur Mani ( Subramanian), Thiruveezhimazhalai Govindarajan, , Oh, what a period it was !!
the late ms subbulakshmi can be heard very very clearly among the other singers. i think the next singer out of this generation who takes part almost every year is smt. sudha raghunathan. i think shankar mahadevan has also taken part in this aradhana some years, i am not quite sure. dispite not being of southindian or even indian heritage, i follow this festival every year as much as i can. would love to take part in this festival some day. is it only ristricted to southindians only? can non indians like me also join in? about my classical background, i am training myself in hindustani singing since 2017, but when it comes to carnatic, then i am selftought mainly through the internet, youtube, and intence listening. after all, when you have the technique of hindustani down, the other one becomes much cimpler to grasp. that is what i observed while comparing the two systems of classical music. thank you so much for posting this video. hello from an iranian woman in Sweden: Nicki Rafiei.
Semmangudi has large set of prominent disciples, some of whom did gurukulavāsam, others whom he taught while at the Swati Tirunal Academy and others who took casual lessons with him. His prominent disciples include two Sangeetha Kalānidhi-s: Prof. T. N. Krishnan (who accompanied him on violin in many concerts) and T. M. Thiagarajan. Disciple P. S. Narayanaswamy is a well respected musician and mentor to some of the stars of the current generation. Kallidakurichi S. Harihara Iyer had a long association with Semmangudi and also became the Principal of the Swati Tirunal Academy. K. R Kedaranathan is a senior disciple who later became a Professor at the Chembai Music College. Other notable disciples include Palai C. K. Ramachandran, V. Subrahmaniam, Neyatinkara Vasudevan, Trivandram R. S. Mani, Vaigal Gnanaskandan, Parasala Ponnammal and K. Omanakutty. M. S. Subbulakshmi and K. J. Yesudas (a Music College disciple) have also learnt many compositions from Semmangudi. T. M. Krishna had the fortune to receive advanced tuition under Semmangudi for over seven years.
Is it just me or is MS Amma not very happy with some of the male singers? They seem to go on their own course and not in sync with the women. Then I remember the times were different. However, I also wonder at the same time, what a difficult time it would have been for women artists like MS Amma and Smt Brinda (sitting together in the video) with all the chauvinism! Just an observation not to hurt any one's feelings. Namaskaram!
Yeah evident from 8:13 where Brindamma is pointing towards the person to her right ... MS Amma is also disturbed by the pace of the song and sometimes she stops in between to go with the pace....Anyway this is the best rendition of Jagadanandakaraka I've ever heard...
I had good morning really good morning .... as I could see real musical legends of early years in one site... also great concert by them all in chorus.. can be comparable...with tysagaraja himself... the vaggeyakara tyagaraja might had overwhelmed by hearing these great swaras by so many living lgends of this season.. great... our heartful thanking to shri ranganathan garu... for .generating this version for public in air.. once more my great regards B V Sarma and family group
I don't know if I am the only one experiencing this problem,but whenever I try to hear this beautiful rendition in excellent quality done by Mr Srinivasan I can't seem to hear it in one headphones/earpiece. There's only sound in one output. I hear this in both my laptop and phone. The problem is there.
what a great gathering of veterans singing in chorus the immortal kritis of the inimitable Nadabrahmam. Thanks for uploading such a great event. Vijayaraghavan
So nice to see all the legends at this legendary place! Some of them whom i could identify are MS Subbulakshmi, T Brinda, Maharajapuram Santhanam, Semmangudi Srinivasa Iyer, Kunnakudi Viswanathan , S Ramanathan🙏🙏
Those days the male domination was so much that they were trying to quell MS amma. But MS amma is an incarnation of goddess, they couldn’t do anything.
These events are meant for spreading spiritual energy.At once,god manifests himself in front of the very forms. Saraswati is making her presence known,through so many of her gifted children.As if telling the ignoramus,not to search her anywhere else,that she is the source of all forms of knowledge.Amazing!!My mother's presence in the audience is a koh-e-noor in the diamond studded,amazingly glowing crown of Sri Swaminarayan.And ammu's pranam at 8:43 for sri tyagaraja :),hmm wonderful!!! :))
Semmangudi learnt many Kshetrayya Padam's from T Brinda. Stop comparing who's what, everyone has their own core competence and unique repertoire in those days.
Unnecessary comments. If I say I can clearly hear M Chandrasekharans violin voice in the din can anyone believe😂. M S was sitting near the microphone. No magic. Do not hype.
T Brinda taught Semmangudi who initiated at the age of 8 but Brinda at the age of 2. Can anybody help who has large vidwath, either Semmangudi or MS AMMA?
