Hindustani musicians to have commanding respect for the Carnatic tradition.
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| Dr Semmangudi Srinivaser Iyer - The Titan of Carnatic Music | |||||||||||||||||||||||||||||||||||
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| Semmangudi Iyer lost his voice in his teens and when nobody believed that he could ever be a vocalist and even mocked at his rough voice, he undertook austere riyaz and penance that made his musical genius overshadow the limitations of his voice. | |||||||||||||||||||||||||||||||||||
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| A great admirer of Hindustani music, Dr. Semmangudi Iyer developed a style of delicate balance of lakshana (character) and lakshya (creativity) in his renditions that lies in the crossroads of Carnatic and Hindustani music satisfying both conformance and improvisation. | |||||||||||||||||||||||||||||||||||
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| Raga Kharaharapriya is Semmangudi Iyer's forte and no one in his time can match his impeccable calibre, virtousity and imgaination in this raga as mentioned by the greatest mridangist of all time, Palghat Mani Iyer. | |||||||||||||||||||||||||||||||||||
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| He won the respect and admiration of the late Sarod maestro Ustad Hafiz Ali Khan and his son Ustad Amjad Ali Khan (who calls SSI his guru) and both visit his home everytime they visit Chennai. | |||||||||||||||||||||||||||||||||||
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| The undisputed Titan of Hindustani music, Ustad Bade Ghulam Ali Khan so admired his incredible range and brilliant display of raga lakshana and lakshya when he witnessed Semmangudi Iyer in a 4 hour concert in 1955. | |||||||||||||||||||||||||||||||||||
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| His prominent disciples, all Sangeetha Kalanidhis include Bharat Ratna M S Subbulakshmi, Prof T. N. Krishnan and T. M. Thyagarajan. | |||||||||||||||||||||||||||||||||||
| Slokam - Janaki Rama (Kapi) with the violin legend M.S. Gopalakrishnan | |||||||||||||||||||||||||||||||||||
| Ustad Bade Ghulam Ali Khan - Tansen of the 20th Century | |||||||||||||||||||||||||||||||||||
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| Schooled in the Patiala Gharana or (style), Ghulam Ali Khan is the foremost and most impressive master of thumri and kayal singing. His vocal range spans all three octaves as well as the nuances of both male and female voices. | |||||||||||||||||||||||||||||||||||
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| Hailed as the Tansen of the 20th century by many, Ustad Bade Ghulam Ali assimilated all the techniques of feminine nuances and brillantly applied them appropriately in his renditions creating an unparalleled style like no other. | |||||||||||||||||||||||||||||||||||
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| His preference for live performances over recording has left a universe of emptiness in the library of Hindustani music in his short lifespan. | |||||||||||||||||||||||||||||||||||
| He was the among the last of a great era of thumri and khayal singers including his closest rival Ustad Amir Khan. A great admirer of the Carnatic giant Semmangudi Srinivaser Iyer , he was one of the few great Hindustani musicians to have commanding respect for the Carnatic tradition. |
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| He has emphasised that the ragas are to be rendered in only specified timings and based on his observations, scientific benefits are also involved. >>> | |||||||||||||||||||||||||||||||||||
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| List of his famous recordings including in Raag Hameer and Raag Bageshri More... |
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