Semmangudi Srinivasa Iyer - An AlApana in kApi

I genuinely feel I don't deserve to even spell out the name of this musician extraordinaire, let alone comment on this piece of art. Nonetheless, I feel like indulging my urge to share some thoughts on this alapana. Kapi as we all know seems to have come from regions in the north of India. The way it has been amalgamated into the Karnatik system is a stunning example of what the spirit of sharing can lead to. Art has no boundaries is a cliché often heard, but such instances of give and take validate it. The sound of Kapi, in particular the Karnatik variant called Karnatik kapi as heard in compositions like Sumasayaka, parulana mata etc is a very karnatik sound, with all the gamakas, azhutham and what not that you expect in terms of rakthithvam. My definition of Kapi has always been a mix of Ramnad Krishnan and Brinda, but this alapana by Semmangudi Srinivasa Iyer was truly life changing. It's the perfect blend of all alapana techniques that you can think of employing the tools available to the artist like texture, volume, choice of syllables, known phrases, ways of combining known phrases, creating patterns that the artist feels is a new experience (not necessarily a new creation), dramatic soundscaping etc. In everything he does here, the spirit of the evolution of Kapi in the karnatik sound is celebrated. It's also obvious going by the ease with which the mahavidwan renders this alapana that 60 years of hardwork, introspection and assimilation is no joke. A thought that has always intrigued me is that the most technical piece of art is the one that should move you the most. Semmangudi mahavidwan srinivasa iyer proves it right! Violin - Unknown Uploaded for the sheer joy of sharing!