BENGALURU : India has seen very few artistes who are synonymous with an instrument. Pt Shivkumar Sharma and the santoor were made for each other. In many ways, he defined the instrument and the instrument defined him. Losing Pt Shivkumarji has left a huge void in the world of classical music and beyond.
Panditji’s live concert I attended at the Indian Institute of Management, Bangalore, will always remain a fond memory. Panditji performed at Yamini, an all-night music festival. I was a student back then, and an organiser of the event. I remember I could hear them tune the instrument and I quickly became curious about how such a subtle and feeble-sounding instrument would be carried to the audience.
Santoor is an instrument that doesn’t have the continuity of notes, a key to Indian classical music. The notes are discrete like it is in the piano. So, it naturally doesn’t lend itself to the ‘gamakas’. But Panditji overcame the natural limitations of the instrument, not just with his skills, but with his vision of music. Despite being separate, you could hear the continuity in the notes when he played it.
I was fascinated with how he was able to mesmerise the audience — just him, his santoor, and the tabla artiste, yet he managed to enthral thousands of people. His distinct visual identity with his unruly, curly mop of hair added to his personality. Santoor was predominantly in the folk genre, and did not have a place in the classical music arena. It was elevated to a respected and loved instrument because of his genius. This contribution will remain long after he is gone.
The range of formats in which his genius mind worked will always stand out. Panditji has done memorable jugalbandis with prominent Hindustani artistes. He shared a long collaboration with artistes across the spectrum — Pandit Hari Prasad Chaurasia, Amjad Ali Khan and Lalgudi Jayaraman.
Pt Shivkumarji’s seminal album, Call of the Valley, with Hari Prasad ji and Brij Bhushan Kabra defined the sound of Indian music in the west. It was an introduction to the intricacies in classical music. His contribution to the films is of immense value. Tracks from the movies like Silsila, Lamhe, Faasle will remain in the annals of history. His range of expression was really astounding.
Pandit Shivkumarji personified the liveliness of music, he added effervescence to it. His musical presence instantly brought joy to one’s heart. I will always remember his gentle smile. He will always remain an inspiration because of his courage and the vision to chart and adhere to uncharted courses. His music was about having the vision to see something nobody saw — the potential of santoor as an Indian classical musical instrument.
Silent night
The last time I heard Shivji live was from the backstage at the Music Academy in Chennai a couple of years ago. It was a tribute to another legend, Mandolin U Shrinivas. I always found Shivji to have a towering presence. And the same limpid, translucent quality would transcend to the keys of the santoor. “Same principles as the piano — hammer to the strings,” he had once said. The void is big. The intensity and passion that Shiv ji expressed through his music leaves a silence that is as keenly felt as it resonates with the echoes of his santoor.
— Anil Srinivasan, award-winning pianist
Manasi Prasad is a classical musician and director, Indian Music Experience Museum (IME)
(As told to Ishrath Mubeen)