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Book Review
Varnam omnibus
SULOCHANA PATTABHI RAMAN
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TANA VARNA TARANGINI — Four Volumes: B. M. Sundaram; Rajalakshmi Trust; 10, Kalingayaran Street, Ram Nagar, Coimbatore-641009. Rs. 350 each.
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One of the most vital genres in the art of Carnatic music is the varnam, which means colour. The varnam is indeed a colourful composition sung at the beginning of the concert to set the tone and tenor of the programme. There are different varieties of varnams in Carnatic music, the tana varnam, the pada varnam, mostly employed for dance, and daru varnams. Many tana varnams were composed in days of yore with focus on the sringara bhava, as also with the bhakti vein running
dominant in others. The author explains lucidly the parts of a tana varnam as these volumes deal only with tana varnams. He also points out that although lyrics for the muktayi swaras and the ethukkada swaras of a tana varnam do not have sahitya, there are also certain exceptions with lyrics having been composed by various vidwans for the same varnam, eg. Ramaswamy Dikshitar’s varnam in Sriranjani “Sami Ninne Kori”.
According to the author, although it is believed that Melattur Veerabadriah was the first composer of a tana varnam, it can be authentically said that Govindaswamayya, an asthana vidwan in the royal court of Karvetinagar Venkata Peruman was responsible for the first tana varnam. The number of varnams that have been composed till today is too numerous to be listed. This colossal publication of 881 varnams by generations of composers in different languages and hordes of ragas comprises varnams that reflect superior craftsmanship, outstanding rhythmic imagination, arresting style and melodic charm. They portray a stunning canvas of this musical form. Some of the authors just to name a few are Abraham Pandithar, Thacchur Singaracharlu, Patnam Subramanya Iyer, Veenai Kuppaiyar, Pallavi Gopala Iyer, Thanjavur K. Ponnaih Pillai and Kurainadu Natesa Pillai and modern composers like Papanasam Sivan, M. Balamurlikrishna, Lalgudi Jayaraman, T.M. Thiagarajan, Raja Pujithar and T.R. Subramaniam.
Monumental work
B.M. Sundaram is no scholar come lately; he has been a compelling force in the sphere of musicology and has also distinguished himself as a teacher and composer in his own right. A recipient of numerous awards, he is both a polyglot and a polymath. The unique feature of these volumes is the incredible handwritten swara-sahitya notation, so flawless, absolutely simple to comprehend and easy for learning. The different patantharas have also been provided.
The aarohanam-avarohanam of the ragas including the very rare karpoorbarani, krishnaveni, lalithasimharavam, maithrabaavini, kaumodha, neela sakunthala are some of those included in the list. The different swaroopas of the ragas bearing the same name such as amrithavarshini are lucidly explained by the author.
This monumental work cannot be measured by mere words: it is an outstanding classic in both qualitative and quantitative terms. His searing passion for the art, unlimited hours of hard work, concentration, and commitment have all enabled the compiler to reach Golan Heights of achievement.
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