Nadasurabhi Cultural Association located in Koramangala, Bangalore is in the forefront of promoting Classical Carnatic Music. Nadasurabhi conducts the highest quality music concerts every month and a week-long Annual Festival in November, free of charge to all rasikas. Our other events include a youth festival, Thyagaraja and Purandaradasa Aradhana, and music competitions for children.
Varnas - Page 5
Written by Smt.Harini Raghavan
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Page 5 of 5
As a post script to this article, I wish to bring to the notice of the
readers certain facts about Varnas which call for further study. First,
if we compare the lyrics of the Varnas, many of them (pallavi) start
with a similar sahitya like ‘ninnukoriyunnanu’, ‘ vanajakshi’, ‘sami
ninne or neepai’, ‘sarasuda/sarasija’, ‘chalamela’, ‘viribhoni’, and so
on. In some Varnas even the charanas are repetitive. What is it that
makes for the common pallavi, even if the theme be the same? Secondly,
all the ata tala varnas start at the same eduppu. Why aren’t the
lyrics managed in such a way that each of these ata tala varnas start
at different places? Is there any specific reason for composing ata
tala varnas that style? Lastly, even though the Varnas have varied
themes, majority of them are composed with ‘sringara’ as the theme. In
a Pada Varna composed mainly for dance, there is scope for ‘abhinaya’
and bringing out the particular ‘rasa’ is possible. (it also conforms
to Bharata’s expectation/prescription). But in a Taana Varna where the
purpose is entirely different, when there is no such requirement, nor
is it apt to express the bhavas intended, at the beginning of a
carnatic music concert, why have our great composers even thought of
‘sringara’ for a crisp Varna? When an artist opens a concert with a
Varnam at a high speed where does he have the opportunity to bring
forth the intended rasa/bhava, or make the audience understand what the
lyrics mean? There are ample examples of Taana Varnas which are
regularly sung at concerts, having erotic thems. To quote a few,
‘sarasuda’ in ‘saveri’, ‘inthachalamu’ in ‘begada’, ‘karunimpa’ in
‘sahana’, ‘eranaapai’ in ‘todi’, ‘viribhoni’ in ‘bhairavi’ (ata tala)
and ‘vanajakshi’ in ‘kalyani’ (ata tala). These are certain aspects on
which the learned musicians and musicologists should throw more light
upon. The topic is open for debate and more insight or any valuable
contribution will be appreciated.
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