In Tamil, there is a saying that the rains might have stopped but it is still drizzling. This post on the Day 16 of the lecture demonstrations is akin to that.
The final day of the season was the only day the theme of the discussions was not about Dikshitar. The first lecture of the day was by the recipient of this year’s Musicologist Award, Prof. Dr. C.A. Sreedhara. He spoke on “The evolution of the flute in Carnatic music” to commemorate the centenary of Vidwan T.R. Mahalingam. The famous flautist, affectionately called Mali was born in November 1926 and this celebration promises 2026 to be the year of the eccentric and extremely talented flautist.
Dr. Sreedhara started by tracing the references to flute in ancient Indian texts. He explained that these references are available right from the Vedas and in other texts such as Upanishads, Bhagavatha, Mahabharata and Ramayana. He explained in the details the mention of types of flute, playing techniques and more from Bharata’s Natyashashtra. He then took up Silappathikaram, a fifth / sixth century Tamil classic as his next source. Dr. Sreedhara explained that the book mentions materials used for making flute, structure of the flute including dimensions, playing techniques, and qualities of flautists. He was so inspired by the details that he has even made a prototype based on these details. Saranga Deva’s Sangeetha Rathnakara from the 13th century was the next treatise he referred to. In this too many details such as the types, materials, structure, playing techniques are all mentioned.
He then went on to talk about contributions by flautists starting with Kumbakonam Sharabha Shastri, who was instrumental (pun intended) in making flute as a concert instrument from its earlier position as an accompaniment to dance, being part of an ensemble and so on. Sangita Kalanidhi Palladam Sanjeeva Rao, Shastri’s disciple was next and a recording of his playing was shared. Tiruppambaram Swaminatha Pillai was termed as innovative and a recording of his was played. And that brought up Mali. Dr. Sreedhara heaped praise on his music and played extracts from his performances.
Dr. Sreedhara’s delivery style was very engaging. But given that this was to commemorate the centenary of Vidwan Mali, I was hoping to hear more of his playing in the demonstration part but that was not to be.
And just like that, we came to the final lecture demonstration of the season. This year’s Sangita Kala Acharya, Thanjavur R. Govindarajan, was in conversation with the well known Lalitha Ram on the Var Tavil. Very aptly, the lecture began with the traditional invocation phrases played on the tavil, followed by a Dikshitar composition, in keeping with the theme of the year. Sri Govindarajan began with an explanation of the history of the Var Tavil.
Although there is no clear historical evidence regarding its origins, he estimated this form to be over two hundred and fifty years old and suggested that it may have evolved from another percussion instrument, the Nagara. He listed several doyens of earlier generations who played the Var Tavil and specifically highlighted their felicity in accompanying Nagaswaram artists rather than showcasing individual brilliance. The instrument lent itself so naturally to accompaniment that it sounded like a third Nagaswaram, he remarked. He also observed that it was possible to identify artists by the distinctive sound of their tavil and their playing style, something that is difficult to find today.
Lalitha Ram then steered the conversation toward the physical aspects of the Var Tavil. Srinivasan, who currently possesses the knowledge required to construct these instruments, was present on stage and was introduced. The art of making the Var Tavil had been lost for a generation, and Srinivasan played a key role in recreating this tradition. The Var Tavil is constructed using bamboo frames, goat skin, and buffalo leather strips that bind the structure together. These strips are called var, which gives the instrument its name. Over time, however, the instrument evolved for reasons of convenience. The var and the frame began to be made of metal, bamboo was replaced by wood, and eventually even the wooden body was substituted with fiber. Similar changes have occurred in the mridangam as well.
Lalitha Ram shared that he had met the person who initiated the first of these changes. Apparently, that individual later remarked that had he known where these changes would eventually lead, he would never have made that initial modification. Lalitha Ram then played an archival recording, and Sri Govindarajan pointed out the distinctive sounds of the Var Tavil that simply cannot be replicated on present day tavils. In fact, a doctoral thesis has been written on the lost sounds of the Var Tavil, underscoring the magnificence of this instrument. Sri Govindarajan acknowledged the efforts of Swamimalai Saravanan and Lalitha Ram in bringing the Var Tavil back into the performance arena. He dedicated his sixty years of playing the tavil, and all the accolades he has received, to his grounding in the Var Tavil tradition.
In the true spirit of a lecture demonstration, Sri Govindarajan then played on both a contemporary tavil and a Var Tavil, allowing the audience to clearly hear the contrast between the two. Even to my untrained ears, the sound of the Var Tavil was far more mellifluous and soothing. He also demonstrated certain possibilities that are unique to the Var Tavil and not achievable on the modern instrument.
Lalitha Ram has written a far more detailed and authoritative note on the Var Tavil, the link to which I have shared. I strongly encourage readers to read that piece and to listen to this lecture. No amount of writing can truly capture the nuances of the sounds that were demonstrated.
Link to Ram's write up - https://www.facebook.com/share/p/1D53GCVJvt/
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