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 sur 
Joined: November 2006
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 Re: Shivkumar Sharma Master Santoor
According to me, Music is not for
entertainment.
It was my life-long dream to play
such kind of music which will make
the listeners forget to clap;
which will make them silent.
My dream came true, once.
I played one raga,
while the listeners
immersed deep into meditation
and I experienced a state of thoughtlessness.
This silence was so nourishing,
so fulfilling,
there was no need to play anything else.
Shivkumar Sharma --
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#16 03 Jul 2007 00:13
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Sponsor
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: Shivkumar Sharma Master Santoor
Santoor notes that bind: father- son ‘Jugalbandi’ New Delhi: ‘Jugalbandi’ between the musical maestro Pt. Shiv Kumar Sharma and his son Rahul Sharma brought together numerous elements to create what was a classic and vintage musical experience in the capital on 30June. Combining tradition and modernity, the father-son duo turned in an impressive performance where restraint and mastery over the soft and lilting instrument of santoor were the defining hallmark. Notes were completely in sync as the purity of santoor expanded to let classical notes merge with the contemporary sounds of fusion. Aptly mounted as a ‘Jugalbandi’ that makes it legitimate for two varied styles to come together as they seamlessly interweave and create a new form of music, the ‘Unbelong genre of harmonious symphony’ was a tribute to two generations of legendary artists. Pandit Shiv Kumar Sharma, a recipient of one of the highest civilian awards of India, the Padma Vibhushan, is also the face of the santoor, a complex but grand instrument. In true tradition, he has passed on his skill to his son, Rahul who according to critics displays a prodigious knowledge of music. According to Asif Adil, Managing Director, Diageo India Pvt. Ltd, “The Unbelong series is an attempt to promote India’s rich culture and to provide a platform for eminent artists who can through their craft reach out to the younger generation, who may otherwise by remotely connected with the sights and sounds of the great Indian masters.” Musicians like Anoushka Shankar, Amaan Ali Khan and Ayaan Ali Khan have earlier been part of the same platform. ____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#17 03 Jul 2007 23:12
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Music
Moderator
Joined: November 2006
Posts: 3983
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Re: Shivkumar Sharma Master Santoor
Eight Stages Of Love - Shivkumar Sharma IndiaGlitz [Monday, March 20, 2006]
|  Since time immortal, love has probably been the most poetic topic of discussion worldwide. After all love is what that drives the world and makes one look forward to life. Maestros Javed Akhtar and Pt. Shivkumar Sharma take this poetic conversation a step further when they unite to bring to fore the 'Eight Stages Of Love' through eight tracks written and composed respectively by the duo. With Naseeruddin Shah as the album's narrator, it is indeed 'sone pe suhaaga' and when singers like Kavita Krishnamurthy, Babul Supriyo and M.G.Srinivas are roped in for the album, you are sure that this is going to be one classy affair. 1) Jaane Kitni Sadiyon Se [M.G. Srinivas] It is Naseeruddin Shah's narration that marks the beginning of 'Jaane Kitni Sadiyon Se'. He talks about the relevance of all the natural beauty in context to love with the sound of a 'jharna' accompanying his voice. Thereafter M.G. Srinivas arrives on the scene as he sings along this song about love amidst God's gift - Nature! This soft number is sung well by M.G. Srinivas but one does get an impression that the tune is a little laid back when one was expecting a much more melodious tune to mark the beginning of this album. Since there are still 7 more songs to go, one expects better show from the rest of the album. It is Naseer saab's narration again that bridges the transition between one song to another, a trend that you see till the album's end. 2) Zameen Ka Phool Ho [Babul Supriyo, Kavita Krishnamurthy] This time around the theme of the song is appreciation of a female's beauty by comparing her with everything from a flower to a fairy from the sky! A soothing number with an old world charm about it, it boasts of some high quality lyrics, melodious music and some very good singing by Babul Supriyo who does come quite close to Kumar Sanu in his rendition style and overall depth in voice. Kavita Krishnamurthy primarily gives some background vocals and is effective in her part. The song may not zoom to the top of the charts in 10 days flat but makes for a nice peaceful hearing at the least! 3) Koi Ajnabee Mila [Kavita Krishnamurthy] After a really long time, one gets to hear Kavita Krishnamurthy singing in the same manner as she has been known to for all these years. The graph of the album continues to go upward with 'Koi Ajnabee Mila', which has a soft haunting tune that shows the class of Pt. Shivkumar Sharma. Musical arrangements are quite easy on ears and keep you engaged in the proceedings, but it is Kavita's voice that completely mesmerizes you. One wonders why is she not heard more often? 4) Tum Aaye To (Fizayein) [Babul Supriyo, Kavita Krishnamurthy] As Nasser saab continues to do his transition job quite effectively, it is the sound of 'santoor' that gives him company this time around. For the first time in the album comes a duet that has a filmy feel to it, though done in a classy manner. Effectively sung by Babul and Kavita, 'Tum Aaye To' is a song where the two love hearts actually meet after no more being an 'ajnabee' to each other. This very well conveys the transition from one stage [Koi Ajnabee Mila] to another [Tum Aaye To], hence conveying the mood of 'Eight Stages Of Love'. The song has an element of rhythm too but it it is high dose of melody that makes 'Tum Aaye To' the best song in the album so far. This is THE number for which a music video should be out soon!  5) Tumse Hui Dooriyan [Kavita Krishnamurthy] After 'milna' [coming together], there is 'bichudna' [going away] in numerous love stories and this is what that happens in 'Tumse Hui Dooriyan'. A song about a broken heart lamenting the moments when one has to separate from the one you love most, it is a sad number by Kavita Krishnamurthy. The song does well in conveying the depressing mood of the protagonist but as an audio listener, one does feel that it was more fun to hear songs like 'Koi Ajnabee Mila' and 'Tum Aaye To' as they came with a feel good factor. Nevertheless, for a situation in the album, it successfully manages to depict yet another 'stage of love' and fits in well. 6) Gham Bhi Na Ho [Babul Supriyo] The story moves forward as its time for Babul Supriyo to bring alive the situation by generating positive vibes through 'Gham Bhi Na Ho'. A peppy number that brightens the surroundings by promising that one day the lovers will meet; it enlivens the proceedings to get you back in a good mood. A positive song all the way with an all around contribution through Javed saab's lyrics, Pt. Shiv Kumar Sharma's tune and above all Babul's spirited rendition that reminds of Kishore Kumar of the early 80s. 7) Dil Ki Yeh Dastaan [Babul Supriyo, Kavita Krishnamurthy] Love conquers all the way - this is the message conveyed by Naseer saab through his narration at the very beginning of 'Dil Ki Yeh Dastaan'. It’s the time for reunion of lovers with 'Dil Ki Yeh Dastaan' that surprisingly falls a little short of the good expectations that one had after 'Gham Bhi Na Ho'. The song is fine but nothing that makes you sit up and hear it on repeatedly. Just like other songs in the album, this one too has a soft feel to it but overall lacks the zing to make it one of the most sought after in the album. An average duet by Babul Supriyo and Kavita Krishnamurthy when one was looking for something much more exciting at this interesting stage of love! 8) Phoolon Se Bhari Vaadi [M.G. Srinivas] Just the way M.G. Srinivas had marked the beginning of 'Eight Stages Of Love', he resurfaces towards the album's end to croon 'Phoolon Se Bhari Vaadi'. He concludes the album by conveying the message about the union of two hearts in the valley of flowers that was surrounded by love all around. Just like 'Jaane Kitni Sadiyon Se', even 'Phoolon Se Bhari Vaadi' is slow paced and has an exactly similar style as the former in terms of style and feel. A song with a touch of Indian classical music, it's again for a selected set of audience. 'Eight Stages Of Love' is a mixed bag with some of the 'stages' being exciting enough and some (sadly) not! One had mammoth expectations from this Javed Akhtar-Pt. Shivkumar Sharma album but surprisingly the net result is good, but not excellent. Nevertheless, the experiment of conveying various stages of love comes across nicely and is quite comprehendible even to an average listener. Some good tracks like 'Gham Bhi Na Ho', 'Tum Aaye To' , 'Koi Ajnabee Mila', and 'Zameen Ka Phool Ho' make it worth a hear! |
____________ Music forms a part of me again It gives Shape to my faceless Expressions...To my Thoughts. {Alochana}
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#18 17 Jul 2008 00:58
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: Shivkumar Sharma Master Santoor
W ords cannot capture the magic that Pandit Shiv Kumar Sharma creates through his music. Recently, a documentary on the santoor maestro, titled Antardhwani, has been made by Dr Jabbar Patel and the Films Division. A documentary is made on your journey as a musician. What do you have to say? Antardwani is about my musical voyage. The documentary highlights my years of struggle in making santoor a phenomenal classical instrument. People today don’t even know that the Sufi musicians of Kashmir used santoor exhaustively In this docu . mentary, we took shots of those musicians who played the instruments and also certain sections are dedicated to the learners. You’ve composed for Hindi films. What’s your take on Bollywood music? I don’t know how the term Bollywood is applicable. I prefer calling it Indian film music. It depends a lot on the director’s selection of subject matter, characters, the location and, above all, his taste for music. Directors like Bimalda (Bimal Roy), Guru Dutt, Vijay Anand, Mehboob Khan, Raj Kapoor and Yash Chopra had a different approach for songs altogether. The music in their movies had a classic appeal. Today, when I sit down to watch the recent videos, it seems as if the visuals and the sounds are some MTV clippings. Of course, what else can they be? The songs are just a reflection of the stuff the movie is all about. Do you like remixes? I somehow do not have any liking for the mixing of original songs. If you take an original melody and distort it with some strange sounds and call it your music, it’s called copying. Any self-respecting person, who loves music and respects it, will never do it. I prefer to be mediocre but original because originality will not be mediocre. If you were to make a reality show, what would it be like? I wish somebody would do a classical music-based reality show. There is so much of talent in India. People have a mental block about classical music as they feel it’s boring. Why can’t they see that Indian classical music is so interesting? The excitement and speed that Indian instruments create is phenomenal. Why don’t channels at least air 15 minutes of such concerts? What do you think is missing in the music scene? Our music has inspired many a great international artist, so why can’t our own countrymen take an initiative? Electronic giants and the business houses should take the step of producing shows that highlight India’s rich culture, but no one seems to be bothered. Himadree.C@hindustantimes.com W ords cannot capture the magic that Pan- dit Shiv Kumar Sharma creates through his music. Recently, a docu- mentary on the santoor maestro, titled Antard- hwani, has been made by Dr Jabbar Patel and the Films Division. A documentary is made on your journey as a musician. What do you have to say? Antardwani is about my musical voyage. The docu- mentary highlights my years of struggle in mak- ing santoor a phenomenal classical instrument. Peo- ple today don’t even know that the Sufi musicians of Kashmir used santoor ex- haustively In this docu- . mentary, we took shots of those musicians who played the instruments and also certain sections are dedicated to the learners. You’ve composed for Hindi films. What’s your take on Bollywood music? I don’t know how the term Bollywood is applicable. I prefer calling it Indian film music. It depends a lot on the director’s selection of subject matter, characters, the location and, above all, his taste for music. Direc- tors like Bimalda (Bimal Roy), Guru Dutt, Vijay Anand, Mehboob Khan, Raj Kapoor and Yash Chopra had a different approach for songs altogether. The music in their movies had a classic appeal. Today, when I sit down to watch the recent videos, it seems as if the visuals and the sounds are some MTV clip- pings. Of course, what else can they be? The songs are just a reflection of the stuff the movie is all about. Do you like remixes? I somehow do not have any liking for the mixing of original songs. If you take an original melody and dis- tort it with some strange sounds and call it your mu- sic, it’s called copying. Any self-respecting person, who loves music and respects it, will never do it. I prefer to be mediocre but original because originality will not be mediocre. If you were to make a reality show, what would it be like? I wish somebody would do a classical music-based re- ality show. There is so much of talent in India. People have a mental block about classical music as they feel it’s boring. Why can’t they see that In- dian classical music is so interesting? The excite- ment and speed that Indian instruments create is phe- nomenal. Why don’t chan- nels at least air 15 minutes of such concerts? What do you think is missing in the music scene? Our music has inspired many a great international artist, so why can’t our own countrymen take an initia- tive? Electronic giants and the business houses should take the step of producing shows that highlight India’s rich culture, but no one seems to be bothered. < language="Java" type="text/java">Himadree [dot] C [at] hindustantimes [dot] com ____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#19 28 Aug 2008 00:16
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: Shivkumar Sharma Master Santoor
Indian Express Subtle serenade Pooja Pillai Posted: Oct 23, 2008 Pandit Shivkumar Sharma on an ideal audience Few people know that Pandit Shivkumar Sharma is a trained tabla artiste and vocalist. The maestro is better known for bringing the santoor —a Kashmiri instrument traditionally used in Sufi music of the region and renowned for the subtlety of its music— on to the sanctified platform of Indian classical music. Ask Panditji about it and he enthusiastically launches into the history behind his association with the instrument. “My father had originally thought of introducing it into classical music. I took on the mantle after him and modified the santoor to fit the tonal range required for classical music,” he says. The renowned musician will be playing at the upcoming Raga Rasa Rang concert at the NCPA on Friday, October 26. What does the theme of the concert, Raga and Rasa, have to do with music? “In Indian classical music theory, each raga is accompanied by a certain mood, or rasa. When the raga changes, the mood changes. In fact, many people don’t know it, but melody and rhythm work together to create a certain mood, so the tala is important too.” In a country with a long and rich tradition of classical music, the audience for this genre is shockingly limited. The Padmashri winner admits that classical music does have only a niche audience. “But,” he says, “The number of fans is growing, not just in big cities like Mumbai, but also in smaller towns like Dehradun and Kota.” He adds that he loves performing for an audience which is receptive and attentive. “Many people think that to understand classical music, you need special training. That’s not true. If you’re a regular and disciplined listener, you understand the music very easily.” Another interesting and little-known fact about the musician is that he partnered with celebrated flautist Pandit Hariprasad Chaurasia to create music for five major movies - Silsila, Chandni, Lamhe, Parampara and Darr. How is creating music for a movie different from doing so for a live audience? “Very different,” he says, “In a live performance, you get an instant reaction and you’re in total control of the music. In a film, the music has to be situational and you have to keep in mind the concept, the script, the location, the characters and other factors. It requires a different kind of mindset.”
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#20 08 Nov 2008 02:01
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: Shivkumar Sharma Master Santoor
GOLDEN HERITAGEby Pandit Shivkumar Sharma
Remarks by Pandit Shivkumar Sharma
on the occasion of the release of the 'Golden Heritage'-
live recording of concert in Toronto, Canada27th April 1997
In my mind, post-independence era of India has witnessed a virtual renaissance with regard to Indian classical music. In days of yore, this genre of music was mainly confined to the courts and palaces of the Maharajas and Nawabs alone - the fate of a musician depended on whether the Raja or Nawab liked his music enough to support him and offer him patronage. Under these prevailing conditions, many a talented musician remained u known, unable to present his music merely because he was not fortunate enough to gain royal patronage.
It was in 1947, in that hallowed midnight hour when we kept our "tryst with destiny" that Indian classical music found its voice and liberation. All India Radio and budding recording companies reached the towering maestro's voices to Indian homes in every nook and cranny across the country. Finally our voices could be heard by all who cared to listen.
Given this fillip, we never looked back. Instead we set ourselves the daunting task of projecting the cause of Indian classical music the world over. It was a difficult proposition indeed - to match the best and try maybe to better it!
But, I do feel that we have met the challenge and emerged stronger in the bargain. Indian musicians have never had it so good. Our classical music is appreciated all over the world and created a large following of its own.
Especially encouraging to me is the trend of young people coming to classical music concerts. Time and again, I have been told that the Santoor is greatly responsible for this initiation of the younger generation, particularly the Indian youth. If that is true, I feel my lifelong endeavour towards reaching the Santoor to the common man has been worthwhile.
An ancient instrument that was originally known as "Shatatantri Veena", the Santoor was initially used as an accompaniment to Vedic hymns and later by Sufi singers, in Kashmir. The credit of introducing the Santoor as a classical musical instrument goes to my respected Guru and father, Pandit Uma Dutt Sharma. It was his conviction and foresight, reached at after years of research, that the Santoor actually found its present day identity.
Under his able guidance, I was able to perfect the tonal quality of the instrument, establish a sound tuning system and bring about the correct technique of playing the Santoor.
The journey of the Santoor as you see it today is also a 50 year old saga. It is therefore fitting that in this particular recording, my son, Rahul, is playing with me.
I have always believed in encouraging newer talents and have indeed been training select students from different parts of the world, keeping this in mind.
Rahul is my son and youngest disciple, who has been learning from me for twelve years now. He gave his debut performance during a tour of Scandinavian countries in 1996. In 1997, he accompanied me and performed in the USA and Canada.
I hope Rahul carries on the legacy with sincerity and dedication to the next century and beyond.
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#21 24 Jan 2009 03:17
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: Shivkumar Sharma Master Santoor
BIRTH OF A NEW MUSICAL TEAM April, 1980
BOMBAY : April 9, 1980 will go down as a red-letter day in the lives of the two talented men of music--Shivkumar Sharma and Hariprasad Chaurasia. It will be remembered as the day they became a musical team and recorded the first song for Yash Chopra's new film "Silsila". Khayyam and Lakshmikant and a number of classical musicians greeted the duo. And so did Lata Mangeshkar and Kishore Kumar. Another song, again in the voices of Lata and Kishore and then Shiv and Hari left on a long concert tour of Europe and America- something they have been doing regularly.
Yash was more than happy for having chosen the two for his film. " It (his film) is an out and out romantic story and the music, naturally, has to be very strong. I have been observing Shiv and Hari for a number of years and found in them streaks of genius. I decided to give them a break and here we are in the recording studios", Yash said.
It was an atmosphere charged with superlatives on both the days. The acclaim was unanimous. They were 'superb', 'fantastic' and what not. The best tribute came from Jimmy Narula, a senior H.M.V. officer. Said Jimmy: " I have been in the line of music for fifteen years. I have heard the best of music by the best of men, but by God what Shiv and Hari have done in these two songs, the kind of music they have created , I have yet to come across".
For lovers of music, ShivKumar Sharma and Hariprasad Chaurasia are household names. For years they have been haunting lovers of good music with their music. Shiv is a master of the santoor and Hari the flute. More than three famous music directors have told me that they have still to find anyone like them- humble men and great musicians. One more duo is here then. The more the merrier and better. So welcome Shiv and Hari, welcome to the new world, a world of new challenges.
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#22 24 Jan 2009 03:21
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: Shivkumar Sharma Master Santoor
 A musical performance by Santoor maestro Pandit ShivKumar Sharma and his son Rahul Sharma at Ficci Frames 2009 ____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#23 13 Apr 2009 19:09
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: Shivkumar Sharma Master Santoor
A musical performance by Santoor maestro Pandit ShivKumar Sharma and his son Rahul Sharma at Ficci Frames 2009
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#24 10 Jun 2009 22:06
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sur
Joined: November 2006
Posts: 10620
Location: Virginia
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Re: Shivkumar Sharma Master Santoor
| Ripples of melody | | Samhita Barooah, |
On his recent visit to Bangalore during the Gitanjali Utsav held at Palace Grounds, santoor maestro Pandit Shivkumar Sharma took some time off to talk about his passion for music and his journey through life. |
 Shivji was born in Jammu and began his journey through the world of music at the age of five when he learnt vocals and tabla from his father Pandit Umadutt Sharma of the Benaras Gharana.
Shivji spoke very highly about his mentor and father, “He was vocalist but could also play the tabla and harmonium. Santoor was then played in the genre of Sufiyana Mousiqui in Kashmir. My father thought it could also be used to play Hindustani classical music .” And thus began Santoor’s journey to immortality.
Pandit Shivkumar Sharma further established santoor as an abiding presence in Indian classical music. His initial struggle was full of challenges. He said, “when I started playing in a national concert in 1955, it was after a long journey during which I had brought in a lot of character to the instrument and had incorporated a lot of modifications in the playing technique.”
From a scratch
When he started playing the santoor there was no reference point. Nobody had played it before on such a big platform. He had to establish its presence from the scratch. But by the middle of the 1960s, santoor had got recognition worldwide.
Pandit Sharma did not choose to play santoor but was chosen to play it by his father. If he had a choice he would have played the tabla. He said passionately, “I was learning both vocals and tabla but tabla really fascinated me.
In the 50s, I played the tabla with a lot of artists like Pandit Ravi Shankar and Begum Akhtar. At one point of time, I played both tabla and santoor. But later I had to choose one of them and, I took to santoor.”
Shivji listens to all genres of music from folk, classical to qawali and said humbly, “A musician is always learning. Even while teaching my students, I am learning. While listening to a different genre of music, one is learning. A musician should be open to any form of music which has melody and rhythm and emotions.”
Shivji is also very fastidious about the right combination for a jugalbandi performance. He said, “Santoor and flute make for the perfect combination. So many factors are responsible for the right harmony between two instruments including the professional and personal understanding between the musicians.”
He also recalled having played with great joy, along with percussionists from the Carnatic classical music genre. According to him, fusion is perfect combination of two different genres and not confusion.
Pandit Shivkumar Sharma explained its history in the context of India and said, “It started in India more than 60 years ago in the hindi film industry. Many songs were based on classical raagas but the melody and the orchestration were like the symphony orchestra. There were cellos, violins, sarangi, tabla, dholak, sitar, pianos.. so many instruments which ushered in the beginning of fusion in the world, not only in India.
There are music directors like SD Burman who brought folk from Bengal and Assam, OP Nayyar, Jayadevji who brought folk music from Punjab, Madan Mohan composed raaga based songs with western orchestra. Now when two instruments come together we say it is fusion but I think it started, a long time back.”
He continued, “Just as any combination between two different colours will bring out some new colour, in fusion music also two genres of music combined together must have feelings, melody and rhythm. Only then, that fusion is welcome. Otherwise, it will just become confusion.”
The biggest challenge, says Panditji, “was to establish santoor. A musician is never satisfied.The hunger for perfection is always very important.”
Shivji considers riyaaz as a form of meditation and consistently pursues it even while flying or sitting with friends. He said, “No matter wherever you are, music is going on in your head. You might be in the flight, with friends but if a good tune plays in your mind, you get engrossed in it and forget about your friends also. Total involvement is what real riyaaz is all about.”
Finally the maestro expressed his love for the greenery in Bangalore and its receptive audience which has fascinated him for the last 35 years. He concluded, “I look forward to perform here again. Bangalore is a great city.”
____________ "I am a dreamer,I collect all the smiles from My yesterday,
Neatly pack them into words and hide them in my heart,
I call them "MEMORIES" Music has no boundary.
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#25 07 Nov 2010 00:42
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