When he plays, the world listens
RENUKA VIJAY KUMAR
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Pandit Shivkumar Sharma on the association of the santoor with Sufi music and son Rahul's place in music today.
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There is no such thing as sufi music. There is only sufi poetry
PHOTO: MOHAMMED YOUSUF
STRINGS OF HARMONY Pandit Shivkumar Sharma continues the `guru-shishya' tradition.
Pandit Shivkumar Sharma hardly needs an introduction. He has introduced the world to an instrument that was only used in the Valley and then went on to hone his skills to perfection. Though Panditji or Shivji as he is fondly called, was introduced to the santoor by his father Pandit Uma Dutt Sharma, the way the instrument is played today, with reference to classical music, was laid down by him.
His santoor is known as one of the most perfect instruments in the world. Forever looking to improvise, he keeps changing the configuration of the strings on his santoor. The last improvisation made his instrument a 87-stringed one. "Now my santoor has 91 strings, " he says. Originally, the santoor was, and is still used to accompany Sufi poetry. "There is no such thing as Sufi music. There is only Sufi poetry. The term `Sufi music' has been termed along the way and is misused. It's wrong. People put in a few phrases or lines by Bulleh Shah and call it Sufi music."
After an exhausting and exhilarating one and a half hour performance, Shivji looks tired and sober and is very quiet. An unmistakable contrast to the energetic persona he is on-stage. Initially, he insists on speaking only about music, but when he's on a roll, there's no stopping him!
Teaming up with Hari Prasad Chaurasia as part of the famous Shiv-Hari duo, he has created music for many movie like Silsila, Vijay, Chandni and Lamhe.
But lately, he seems to be off the commercial charts. "I love doing movies," he says. "Doing movies is a challenge but also requires a lot of time and right now I don't have the time. A lot of other prior commitments and concerts take up my time."
Commitments that include him continuing with the guru-shishya method of teaching. He imparts his musical genius free of any charges and eager students who want to learn the santoor come from all over the world. "I have students from Germany, the U.S.A, Japan, Australia... from all over," he explains. "I teach them whenever I'm in Mumbai." Of course there are restrictions for prospective students. "They have to have the talent. The skill for music and the want to be good at it. Exceptions are made for those who are not talented but are ready to work hard. But it's not the same."
Talking about shisyas, perhaps his most famous and critically assessed one is his son and musician, Rahul who carries forward the Benaras Gharana tradition. "Rahul is doing things his own way and is doing well too. He has done some good work. Does he feel his son is talented? "Yes, and he is still learning. The learning never stops. He has done very well in his collaborations and his albums White Noise, where he has used the santoor differently is good work."
His unrehearsed performances are a class apart, so much so that he is often asked to teach western musicians the art of improvising. Of one of his fulfilling lessons he says is teaching musicians in Norway. "I taught these jazz musicians how to improvise and to play impromptu."
Would he ever like to add to his growing list of modifications and play the santoor to accompany a recital of Sufi poetry? He raises and eyebrow and says gently, yet firmly. I've never thought about it, but I am after all, a classical musician."
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