Different Notes :
An interview with Pandit Shiv Kumar Sharma
BOMBAY : It's befitting that the 1986 Sangeet Natak Akademi Award has gone to the internationally known instrumentalist, santoor samrat, Pandit Shiv Kumar Sharma. He is the pioneer who popularised the santoor and employed it in Hindustani classical music. Had he not done it , this string instrument would have remained confined to the valley of Kashmir.
Time was when purists looked askance at the 'intrusion' of an obscure folk instrument like the santoor into the Indian musical tradition. But this did not inhibit Shiv Kumar Sharma from perfecting his mastery over the instrument. He was determined to reveal to the music lovers in the country that the santoor could communicate pure classical abstractions as beautifully and as effectively as any other string instrument of indigenous origin.
If, therefore, the santoor enjoys pride of place in the galaxy of concert instruments in this country today, it is largely on account of the inventive genius of this young, enterprising virtuoso. The word is derived from Persian. It is the oldest known string This instrument was also in vogue in China, Hungary, Rumania, Greece and Iran, although known by different names in these countries.
Jammu-born, Shiv Kumar holds a bachelor's degree in economics. His father, Pandit Uma Dutt Sharma, was not only a noted educationist of his time, but an exponent of the Benaras tradition of vocal music and a veteran percussionist too. He first initiated his son into vocal music and tabla playing and later coaxed him to take the santoor.
Little wonder then that Shiv Kumar's approach to his music marks him out as a complete musician. His treatment of a raga is pure; he takes no liberties with it. In his alapi, he follows the correct traditional dhrupad style of alap, jod and jhala. He has complete command over both sur and laya and maintains a perfect balance between them. His employment of intricate chhand and complex layakari is never at the expense of sur. Nor does he reel off fixed tihayis; he conjures them up on the spur of the moment. Indeed, Shivkumar is one of our few maestros to enjoy global reputation.
Can you say something about the santoor itself?
The word is derived from Persian. It is the oldest known string instrument in India and is played with a pair of curved mallets. In ancient India, it was known as shata-tantri veena. It produces a variety of lively tonal effects reminiscent of a piano or harp and as you probably know, has been used for centuries as an accompaniment to singing in the Kashmir valley.
Is there any difference between our santoor and its counterparts elsewhere?
The difference lies in the frequency of notes, scales and taals. Like our jhinjhoti there is the makaam jhinjhoti, but the scales vary. In Iran, some ragas are played on this instrument, resembling our Bhairavi and Vasant nukhari -- only the names vary.
In Ireland, for example, they use the hammered dulcimer in their folk music. North America has a number of such musicians. I performed with some of them in Chicago. There is also the mountain dulcimer which looks like the guitar and is usually played with the plectrum. The German heckbret is also similar. So, the general impression that santoor was originally a Kashmiri instrument is far from true. As early as the 13th century the Sufi saints used it as an accompaniment to their hymns.
You have done a lot to popularise the santoor .....
Well, after it was introduced in Kashmir the number of strings was increased to 100 to suit the mystic music of the region. My father, Uma Dutt Sharma, was the first to incorporate the santoor in classical music. He developed a method of tuning it for the necessary adaptation.
I made further modifications. To make it more versatile, I fitted my santoor with only 87 strings which are evenly spread over 29 bridges instead of the earlier 25. Each bridge used to have four brass and steel string leading to the repetition of many notes. I removed the brass strings. To ensure tonal quality I matched the komal and tivra swaras in the chromatic scale. I am proud to say that all the santoors made today follow my pattern.
Where does the instrument come from?
It's known by that name in Iran, Iraq and Turkey too. China has something similar called the Yang Chin and Russia and Greece have the santoori.
In Iran, they have 72 strings and their government presented me a Persian version at the Shiraz Festival. But mine is recognised as the best in the world, signifies a perfect balance, is ideal for classical music.
How did you take to this medium?
I have to thank my father for initiating me. I didn't like it in the beginning, thinking it to be a sort of staccato instrument and felt more for the tabla. As our music is based primarily on the meend (the technique involving continuity of notes), I thought the santoor to be a big hurdle. So I altered its staccato form to one which allowed easy manipulation with fingers.
Would you say that you found your metier?
The santoor has maybe helped me stay young inspite of my 48 years. I'm totally devoted to it. Once you get immersed in an art form you can create your own universe and personality. There's no end to it and I would never be satisfied for that would be the death of the artiste in me. And I believe a lot in the audience rapport. It stimulates my creativity and even when I am recording in a studio, I take a few listeners along.
How have you been received generally?
Once I was in Poland for the Jazz festival, and I was the only Indian classical player there. I won a million plaudits. These days the audiences world over have changed and become really appreciative. Music takes one beyond the realms of one's basic needs for survival. Even infants react favourably to lullabies. Our music dates back to the Vedic period. Look at Krishna's flute on Shiva's tandav. They were not merely meant to entertain but something of a higher order.
Are you doing anything for the promotion of music?
I am teaching a few students free of charge. I want my art to go on even after I am no more. I want the santoor to be immortalised. Two of my outstanding students today are Rattan Lal Tikku and Nandu Mule.
Your forays in the film industry…
Pandit Hari Prasad Chaurasia and I got together and composed for Jhanak Jhanak Payal Baje, Mere Mehboob, Bobby, Sargam, Sangam, Silsila and Faasle. We used the santoor in all the films and the music of each was a big hit. We became known as the Shiv-Hari team and our classical record Call of the Valley has been one of the world's top sellers.
What do you think of film music?
It has many purposes. It's partly to create atmosphere, partly to enhance the drama, and most important, to complete the psychological effect. You cannot make rules about what music to write for what scene. You have to go by your intuition about what the scene needs and what to emphasise. Music should enhance a film. Some composers think that music should be illustrative. But I feel it is childish and unnecessary. Obtrusive music is heavy handed and must be avoided.
By S.N. Khosla, Free Press Journal, SundayPress
©COPYRIGHT 1997 Shivkumar Sharma Associates