Lyrics of varnams

rasam · Post by **rasam** » 09 Nov 2006, 07:45

I find it interesting that although no-one usually pays attention to lyrics of varnams, most of them have romantic (Radha-Krishna) and even erotic themes. Consider the following lyrics from popular varnams:

"Nilupa rani mohamaye" (charanam from vanajakshiro-kalyani)
Unendurable (â€œniluparaniâ€

arasi · Post by **arasi** » 09 Nov 2006, 10:24

I have wondered too. Would appreciate a chronological history of varNnams from somone who knows about it.
Assuming that a varNam gives a lively start to a concert and excercises the vocal cords (warming up), may I proceed to ask if devotional varNams were sung in the olden days? varNam being very much a part of dance, did it come about that many were composed for dance and in such variety of rAgAs that they were 'borrowed' for concerts? Since the meaning of sAhityAs were obscure to many (language barrier) and because of their musical merit, did the performers overlook the content of the sAhityas? A few vidwAns start their concerts with a hymn to ganEsa (because of the subject matter of varNams?) Yes, when you think about it, it is a bit odd that in a genre of music which is mainly devotional, we begin with a romantic (expression of earthly love) varNA. Are there a number of devotional varNams that we are not familiar with?
Anyway, in an instrumental concert, we merely hear the music and not the words. The way some vocalists sing them in a classical and serious way, you would think they are singing an MD kriti:)

rasam · Post by **rasam** » 09 Nov 2006, 13:04

I am certainly not an expert on the chronological evolution of the varnam as a composition, but I think they were mainly developed to expose students of music to a variety of different ragams and the gamakams therein. Varnams also provide excellent AkAram exercise, breath control and talam awareness (being able to sing at different speeds) besides being a little easier on the learner since it mainly consists of swarams, usually set to a simple talam like adi.

Now this being the case, I have always wondered why varnams take on various themes other than the devotional motif that CM is so steeped in. Apart from erotic themes, there are other motifs too: e.g. the mohanam ata tala varnam and the dhanyasi adi tala varnam I believe are in praise of kings. It maybe that prior to Ariyakudi, varnams were not considered as presentation pieces (I use the word 'presentation' as opposed to 'concert', since the latter term assumes its modern connotations only in the post-Ariyakudi period), but sometime in the annals of time came to be accepted as concert pieces with the lyrics/meaning/original intent quietly ignored. Indeed, modern composers like GNB, Lalgudi, etc. seemed to have composed varnams which have devotional themes leading one to wonder if the original intent of varnams has somehow been obfuscated.

All things said, the varnam is by far my favorite piece of the concert and I am glad it is sung as much as it is today. Whenever I learn a new varnam, it makes those 'bathroom-AlApanAs' of mine in that ragam that much more effective

It is said Semmangudi used to frown upon people who clapped after a varnam ... what a weird opinion to have!

arasi · Post by **arasi** » 09 Nov 2006, 20:34

SSI's reaction might have had a reason. 'The concert has just started. Wait until you hear more before you applaud!' Makes sense since you sometimes hear the audience applauding as predictably as punctuation marks--mechanically too, not only for each item but after rAgam singing, kritis and every little piece.
Nothing to do with the varNam, perhaps...

chalanata · Post by **chalanata** » 09 Nov 2006, 20:40

was it becuase varnams were originally meant as dance compositions and later turned as exercises for improving voice,gamaka and swara gnana?

ramakriya · Post by **ramakriya** » 09 Nov 2006, 22:01

As an aside, which is the oldest varNa available? Is Adi appayya the earliest known varNa composer?

-Ramakriya

kkumar29 · Post by **kkumar29** » 09 Nov 2006, 23:28

For a comprehensive view of the varnam please refer to the book "The Varnam" by Lalita Ramakrishna ISBN-81-85151-46-6.
The table of contents from the book:
1. Etymology, Form and Structure
2. Catigories of Varnams
3. Historical Reiview
4. The purpose of the Varnam and its intrinsic value
5. The Varnam - Its application
6. Structural and Stylistic Analysis
7. The Future
8. Appendices( which include, who, what and when and some discussions about specific varnams)

Very interesting book to read.

K. Kumar.

rajumds · Post by **rajumds** » 10 Nov 2006, 09:41

Not only varnams but also most of the padams have romantic content. The common thread is they are used in dance. In dance even if you don't understand the language of the song, the meaning could be understood by the body language & expressions of the dancer ( if they understand the song & convey the meaning thro dance).

Can we then assume that dance is basically an entertainment oriented art form. If so, since dance & music are related, music could also be an entertainment oriented art form & bakthi aspect came later

Vocalist · Post by **Vocalist** » 11 Nov 2006, 12:03

arasi wrote:SSI's reaction might have had a reason. 'The concert has just started. Wait until you hear more before you applaud!' Makes sense since you sometimes hear the audience applauding as predictably as punctuation marks--mechanically too, not only for each item but after rAgam singing, kritis and every little piece.
Nothing to do with the varNam, perhaps...

It could just be the audience's way of getting involved and keeping awake...

gdg · Post by **gdg** » 11 Nov 2006, 20:54

And again how varnams started preceding pillayar keerthanams?
There were also many who did not start with any of these but with a straight kirthanam. MMI followed it and TVS is following the same even today.
Are there any sentiments attached to these?