Santoor maestro Pt. Shivkumar Sharma advocates the promotion of classical music on a bigger scale, and is also working on the therapeutic use of music to cure ailments...

Pandit Shivkumar Sharma is undoubtedly the maestro of santoor and one of the geniuses in the music field. A man of traditions, he still believes that music has to grow and evolve with time, although at the same time traditions also have to be maintained. "Each generation has added something new to the traditional classical music. Remember that Indian classical music is not static, but an ever-changing tradition," he says about this art that he had started learning at the tender age of five from his father. So receptive was he to the strains of music that it merged with his personality and soul.

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A student of old school of discipline, he firmly conforms to the norms of guru-shishya parampara of classical gharana. According to him "this is essential for survival of tradition, because new things given by the next generation of shishya only change to tradition some years later." He adds, "Without this change within the parameters of tradition, classical music will become stale." Which is why he accepts the new ideas and concepts given by his son Rahul with an open mind. Although he agrees that his father was not so open to changes. "He was very short-tempered with his students, but somehow, with me, he was always cool. Maybe because he never had to repeat his teachings to me. I was always a very attentive learner and keen at that one," he says proudly. Naturally, this ingenious talent reflects in his music and has enriched the melody of santoor.

Today Panditji is busy trying to envisage dhuns and ragaas that can help cure chronic ailments. Working in close association with a doctor disciple of his, he is separating various melodies and alaaps for a particular health problem. From where did he get the idea? "I came across a friend of mine who was asked to listen to a CD of my music to get rid of his habit of smoking by a psychiatrist. The same psychiatrist had used this therapy on herself and had succeeded. In another incident, my tabla accompanist was suffering from a major headache. He asked for medicine. He had to wait till my initial alaap during the concert was over before anyone could give him the tablet. But when he was given the medicine after I had finished my alaap, he declined saying that my alaap had cured him. These incidents inspired me to try to use my music therapeutically," he explains. He informed how he had come across an insomnia patient who goes to sleep after listening to a finely tuned tanpoora every night.

Panditji believes that elements of nature react with music and ragaas. "Everything depends on what raaga or melody is used, and if applied correctly, it becomes therapeutic," he says, "Have you ever seen a musician looking older than his age or haggard? They keep such ungodly working hours, still they look young and fresh. Well, one has to acknowledge the fact that music is soothing to nerves. And that is my point. Once you feel happy, half the battle is won."

Talking about today’s generation and their attitude, Panditji feels that they are becoming a little more aware and have started enjoying classical music to a certain extent. But he says it has to be promoted in a better way. "That is the reason I feel that Gemini Studio’s effort to do this ‘Kalaa Viraasat’ campaign is a very good idea and I agreed to open the event. It not only allows the guru-shishya tradition to nurture, it is also makes classical music very interesting by involving two generations and musical dialogue between them," he explains.

But isn’t classical music always same? How can there be novelty in same ragaas and same dialogue? "That is not true. Ragaas may be the same but each time you play it, the mood of the musician and the audience makes it very different. Then, during the opening, we also have a dialogue between ghatak and tabla. These variations and experiments add the extra sparkle. You cannot call classical music stale, not when the gurus are willing to accept change and new dimensions," he argues. Panditji then quotes the example of himself using the double santoor, a concept never tried in classical music before. "Believe me it was a 100 per cent success," he says.
Panditji is busier giving concerts abroad than in India. Name a country, and probably he has performed there. But can the foreigners really appreciate Indian classical music? As per his experience, the foreigners are more of connoisseurs of music than Indians, he says. "Once Rahul and I had opened to a packed hall in France, where 100 percent of the audience was French. There was no way we could even give the mandatory introduction of the piece we were going to play, since our French is limited to monosyllables. We were sceptical, but once the concert was over, we got a standing ovation. And we had to stay back for 45 minutes to sign all those CDs of our music afterwards. If this is not appreciation then what is?" he asks.

However, according to him, Indian masses appreciate more of film music. Why did he stop giving music for films after Darr, which had some very classy music. "There is no other reason but lack of time," he says, "Film music was composed by Pt. Hari Prasad Chaurasia and me as a team. Now both of us are so busy that we can’t co-ordinate the dates." He went on to add that Rahul is giving music independently for Yash Chopra’s next film Mujh Se Dosti Karoge. "He is very good and I admire his music," he says proudly. So does Panditji incorporate his son’s techniques and dhuns in his own music? "Let us say that teaching is also learning. Sometimes you do think of new things when your students are playing," he explains with an indulgent smile.

Does he find any relationship between composing film music and composing a classical raag? "Not really. Both are different," he says, "For a classical concert, one has to train extensively. It is a long process before you can think of stepping on stage to perform, and in the end the satisfaction is much greater. While film music is situational and you use the techniques that are there. It is more of mix and match. You do not need a guru in film music because composition comes naturally. You cannot learn it. So in films it is not so much classical music, as it is imagination and your willingness to adjust." So for Panditji, a film song is static music, while classical music changes everytime due to the difference in inspiration and atmosphere.

His classical concerts are well-planned in foreign lands than in India, and the reason for this, says Panditji, is that overseas, music is treated as a spiritual experience, while Indians treat it as entertainment. He feels that the Indian electronic media does not promote classical music well, hence the lack of awareness. "Frankly, you don’t need technical knowledge to enjoy music," he says, "It is exposure to the medium which is more important to appreciate the art. And that is really lacking in India." He wishes that there is more stress on music appreciation because music is the way to spirituality, and a medium to meditate. He says, "One leads to another and gives the much sought after peace."

—Neelam Gupta