With prudence and hard work, Sivakumar composed music with accompanying instruments and did the trick of removing the defect of the Santoor vocals.
Although the instrument is suitable for many musical styles, it retains its Indianness.
The sharp nose, the serenity of self-absorption on the face, the long, beautiful white hair that adorns the beautiful personality, the elegant attire of a very classy color scheme, the gold chain hanging from the necklace and the wooden box in hand. . Beautiful ivory on it .. Sivakumar Sharma coming to the concert was very royal. An artist who has elevated the Santoor instrument to the heights of classical music, he has enriched the lives of millions of music lovers in India and around the world. Shivaji’s great work in this musical life of seven decades is due to his creation. Hence the prestige of this instrument which is new to all. Santoor is a folk instrument with group music in the Kashmir Valley. The ability of a device to produce music rather than a companion should be extensive. He started talking to the artist, which gives him many opportunities to make music. He used his ingenuity to develop the ability to play the melody independently on that instrument and made many improvements in it. There is science behind the making of devices. In a way, this is the beauty of science. Instrument instrument. For this the intellect and talent of the musician is important. Is at Sivakumar. That’s why he was able to think of the myriad possibilities of making music from this instrument. Along with this instrument ‘born’ after the independence of India, Sivakumar Sharma has created a symbol of authentic Indianness not only in India but in the world for the last seven decades.
Even if the instrument is created, the method and style of playing it must be developed. String players like Sarangi, Veena, Satar and Sarod, who are already famous in Indian music, have created their own style. The violin also earned its place. After all this, Santoor came. Sivakumar’s attempt to bring diversity in the musical tradition of Alapi, Gut, Jod and Jhala is unique. That is why classical music has acquired this instrument. In Sanskrit literature, it is referred to as Shatantri Veena (Hundred Strings Veena). But over time this lute played in folk music. Why did Sivakumar want to give her rebirth and recognition as Indianness? His father Pandit Uma Dutt was a singer and tabla player. He is also the Head of Music at All India Radio, Jammu and Srinagar. Hence, Sivakumar got the tabla while learning to sing at a very young age. How well he mastered the instrument along with the tabla in the many singing and playing programs aired on All India Radio. At the age of thirteen, his father presented him with the Santoor instrument, promising that it would give him a new identity. Shivaji made the instrument so popular that in two-three years he started playing it in a children’s program on All India Radio. At the age of eighteen, his first performance at the Hardas concert in Mumbai left a mixed impression on the audience. Everyone listened and watched this instrument for the first time. Some thought it was too much, but many commented that this instrument was not suitable for classical music. V. Santaram was invited to play a song from his movie ‘Jhanak Jhanak Payal Baaje’. While Western music is beginning to have an impact on Hindi film music, Santoor’s entry has been a delight to all musicians. No instruments were available for the expression of fluid and soulful music until Santoor arrived. The latter history is important and reveals the distinctive identity of Shivaji. Santaram was given the opportunity to provide music for the film. Sivakumar, however, decided to go back to Jammu. In later times he played the santu in many film songs and composed film songs with Hariprasadji under the name Shiva-Hari which became popular among the fans. Songs from films like ‘Silsila’, ‘Fasley’, ‘Chandini’ and ‘Lamheen’ are a testament to that popularity.
Due to the immense potential of musical instruments the range of Indian instrumental music extends beyond singing. Artists may have to search for instruments because music is formed in the mind and brain and the throat is too small to express it. The contribution of science to this is as valuable as the contribution of science to it. Speaking of instrument, this art is difficult. Shivaji did not fall anywhere in it. The biggest challenge is to get acquainted with this device. It is important to get invitations to play independently. It was during this period of the artist’s artistic involvement that his self-absorption came in handy. He has the ability to constantly think about innovation, while constantly calling out his talent. In the last three or four decades, not a single concert has taken place in India without the popularity of Sivakumar’s accompaniment. He did not miss it though. Constantly exploring our creativity and playing with the realization that every event is a test of our very existence.
The exuberance of the melody is known only by the witness of the audience. He is trying to convey to the audience the immense joy he has achieved as an artist. His concern was how to reach the audience sitting opposite. He succeeded in doing so, but at the height of his popularity, not forgetting previous hardships, was his motto.
Despite being a musical instrument that suited many genres of music in the world, Sivakumar continued his Indianness in it. His album ‘Call of the Valley’, published in 1967, was so popular that he and his flutist Pt. Hariprasad Chaurasia and guitarist Pt. Brijbhushan Kabra drew a new voice. Each instrument is played separately in the santur. The independence of each vowel is easily detected even in a group of more vowels at the same time. Of all the other tools, the mind can be easily dragged from one note to another. Shivaji also came up with an amazing solution and perfected this ‘coatnotes’ device. This amazing miracle of music was achieved through his creation and began to imitate naturally.
The concept of family is very important in Indian music. It is not in his name, but in the style of performance that preserves the uniqueness of the musical invention. While talented families like Ksenia, Etawa, Imdadkhani continue their prestige in the field of satar or sarod instruments, Sivakumar Sharma is a classic who created his family in playing the santoor. The Lok Satta family honored him.