Close to 60 years ago, he set out on what looked like an impossible mission — put the rather obscure instrument called santoor on the global map. Today, Pandit Shivkumar Sharma, the legendary maestro has not just taken the instrument global but has also made it an integral part of mainstream music.
City Express caught up with the 76-year-old musician just hours before his concert Banyan Tree Event’s Barkha Ritu at The Music Academy for a tete-a-tete on his music, his love for South Indian food and his relationship with his musician son Rahul.
Abhi chalte hai, he says assuring the staff that he is not late for the show, as he walks into the Royal Vega restaurant at the swanky ITC Grand Chola with an air of familiarity. Chennai is a place I like coming back to, he begins the conversation asserting his acquaintance with the place and its love for all genres of music. “It has a discerning audience for Hindustani music. They are quite receptive. When I come here, I quite miss my disciple Visweswaran, who was making the santoor tradition popular in this part of the world,” he adds.
He quickly moves to the other interesting aspect of the Southern city, possibly reminded by the ambience, as he says, “The other thing I love coming back to is the food here. You know the Dakshin restaurant in Park Sheraton. Amazing food.” His voice trails and he rounds up his eternal fondness for Chennai saying,“I have played here at the IIT music festival and Krishna Gana Sabha. This is possibly the only city that encourages new talent offering them a platform during one of the biggest music festivals. It is music season all through the year here.”
With his son Rahul Sharma who has followed in his footsteps, Pandit Sharma, however, observes there has been a shift in music when compared to the time, he started out. “When I played, it was Hindustani music. His is world music. In his collaboration with Richard Clayderman, it was the first time a foreign musician adapted and played a Hindustani composition. Rahul’s other collaboration with Kenny G is also popular. He has taken collaborations to the next level and in the process has brought in many younger audiences for the instrument,” he says.
But what seems more heartening for the maestro is that his son has been able to adeptly alternate between the genres when required. “Experiments are welcome and they should be done. But, when he plays Hindustani music he doesn’t have any traces of other influences,” he adds.
Unlike his father, Rahul began learning the instrument much later. “I started to learn music when I was five. When Rahul was initiated into music, our bond as father and son had already been established. His generation is such that they question their parents and tend to ask, “why can’t I play it the other way”. I have been very particular when it comes to music. I have told him, “During music lessons, I am not your papa.””
So, how much has the santoor been accepted in mainstream music today, when he traces the instrument’s journey from the time he was cautioned about choosing the wrong instrument? He says with a touch of humour, “I have heard that there is a restaurant called santoor in Paris and a soap manufactured in the South by the same name. It looks like it has really gone global.”