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Shiv Kumar Sharma, who reshaped the character and id of santoor elevating the instrument’s profile and stature throughout the globe, and who composed a bunch of dulcet melodies in tandem with famend flautist Hariprasad Chaurasia in Yash Chopra romances and thrillers, handed away following a coronary heart assault in Mumbai on Tuesday morning. He was 84.
“He was on common dialysis however was nonetheless lively. He was to carry out in Bhopal subsequent week,” a household supply advised PTI. Together with his arresting options — the shock of hair being his signature — the santoor maestro regaled music lovers in hundreds of concert events over many years; his jugalbandis with Chaurasia and tabla virtuoso Zakir Hussain a deal with to the ear and the soul. However the accolade and the glory got here after an extended wrestle to achieve respect for the instrument he performed.
“My story is totally different from different classical musicians. Whereas they needed to show their mettle, their expertise, their calibre, I needed to show the value of my instrument. I needed to combat for it,” Sharma advised The Occasions of India in 2002. cynicism, he made an obscure staccato instrument able to a convincing presence in classical music. His ascension to the Hindustani Music Corridor of Fame is much more vital as a result of it coincided with the period dominated by forVilayat Khan, Pt Ravi Shankar, and Ustad Ali Akbar Khan,” musicologist Deepak Raja stated.
Jammu-born Sharma was ushered into music when simply 5 by his vocalist father Uma Dutt Sharma of Benaras gharana and confirmed promise in each vocals and tabla. However the notes modified when he was 13 after his father introduced a present from Srinagar. “I tore on the wrapping paper eagerly, anticipating a sport or one thing else as thrilling. However the field held a strange-looking musical instrument which I hadn’t seen earlier than! And that’s how I used to be launched to the santoor,” he advised TOI in 2001. The Dogri musician’s father-guru wished him to play this instrument. “At the moment, the santoor was used solely in Sufiana music in a small pocket in Kashmir. No different a part of India had ever seen it. However dad wished it to be developed for nationwide use in Indian classical music — and he entrusted the job to me,” he stated.
In 1955, Sharma got here to Bombay for a live performance full of the galacticos of Indian classical music: Bade Ghulam Ali Khan, Ali Akbar Khan, Ravi Shankar, amongst others. He was simply 17. However he made an influence. The identical yr Sharma additionally composed a background piece in V Shantaram’s movie, ‘Jhanak Jhanak Payal Baaje’ (1955) for music director Vasant Desai.
However many critics have been removed from satisfied about santoor’s vary. “… connoisseurs rejected it as a whole instrument since I couldn’t play alaap. Santoor is basically a percussion instrument performed by strikers. It will probably’t maintain the vibrations and so, there was no scope for meend (glide from one observe to a different)…I modified the instrument and created a definite character,” he as soon as advised TOI. A lot towards his father’s needs, Sharma got here to Bombay in 1960, hoping to construct a profession as a contract musician. Through the years, his companies have been utilised by prime Hindi movie composers, together with Hemant Kumar (‘Bees Saal Baad’), Jaidev (‘Hum Dono’), SD Burman (‘Information’) and RD Burman.
‘Name of the Valley’ was launched in 1967. The long-playing report, put collectively by the trio of Sharma, flautist Hariprasad Chaurasia and guitarist Brij Bhushan Kabra, musically expanded on a day within the lifetime of a shepherd by way of a bouquet of ragas. The album steadily entered the music cabinets of the culturally-inclined and have become a milestone of their careers.
When director Yash Chopra launched Sharma and Chaurasia as a composer duo in ‘Silsila’ (1981), the movie trade was shocked. Silsila was a multi-starrer and roping in two classical musicians, Shiv-Hari as they have been christened, was deemed a industrial threat. Ultimately, the music turned out to be one in all Silisila’s few highlights. Shiv-Hari turned regulars for Chopra (‘Faasle’, ‘Vijay’). Within the Eighties, when melody had largely taken a backseat in mainstream industrial ventures, they offered ear-pleasing but chartbusting scores, most notably in ‘Chandni’ (1989). That the 2 had internalised the idiom of Hindi movie music was most evident in ‘Darr’ (1993), the place they delivered a rating that fused seamlessly with the calls for of a thriller.
“He was on common dialysis however was nonetheless lively. He was to carry out in Bhopal subsequent week,” a household supply advised PTI. Together with his arresting options — the shock of hair being his signature — the santoor maestro regaled music lovers in hundreds of concert events over many years; his jugalbandis with Chaurasia and tabla virtuoso Zakir Hussain a deal with to the ear and the soul. However the accolade and the glory got here after an extended wrestle to achieve respect for the instrument he performed.
“My story is totally different from different classical musicians. Whereas they needed to show their mettle, their expertise, their calibre, I needed to show the value of my instrument. I needed to combat for it,” Sharma advised The Occasions of India in 2002. cynicism, he made an obscure staccato instrument able to a convincing presence in classical music. His ascension to the Hindustani Music Corridor of Fame is much more vital as a result of it coincided with the period dominated by forVilayat Khan, Pt Ravi Shankar, and Ustad Ali Akbar Khan,” musicologist Deepak Raja stated.
Jammu-born Sharma was ushered into music when simply 5 by his vocalist father Uma Dutt Sharma of Benaras gharana and confirmed promise in each vocals and tabla. However the notes modified when he was 13 after his father introduced a present from Srinagar. “I tore on the wrapping paper eagerly, anticipating a sport or one thing else as thrilling. However the field held a strange-looking musical instrument which I hadn’t seen earlier than! And that’s how I used to be launched to the santoor,” he advised TOI in 2001. The Dogri musician’s father-guru wished him to play this instrument. “At the moment, the santoor was used solely in Sufiana music in a small pocket in Kashmir. No different a part of India had ever seen it. However dad wished it to be developed for nationwide use in Indian classical music — and he entrusted the job to me,” he stated.
In 1955, Sharma got here to Bombay for a live performance full of the galacticos of Indian classical music: Bade Ghulam Ali Khan, Ali Akbar Khan, Ravi Shankar, amongst others. He was simply 17. However he made an influence. The identical yr Sharma additionally composed a background piece in V Shantaram’s movie, ‘Jhanak Jhanak Payal Baaje’ (1955) for music director Vasant Desai.
However many critics have been removed from satisfied about santoor’s vary. “… connoisseurs rejected it as a whole instrument since I couldn’t play alaap. Santoor is basically a percussion instrument performed by strikers. It will probably’t maintain the vibrations and so, there was no scope for meend (glide from one observe to a different)…I modified the instrument and created a definite character,” he as soon as advised TOI. A lot towards his father’s needs, Sharma got here to Bombay in 1960, hoping to construct a profession as a contract musician. Through the years, his companies have been utilised by prime Hindi movie composers, together with Hemant Kumar (‘Bees Saal Baad’), Jaidev (‘Hum Dono’), SD Burman (‘Information’) and RD Burman.
‘Name of the Valley’ was launched in 1967. The long-playing report, put collectively by the trio of Sharma, flautist Hariprasad Chaurasia and guitarist Brij Bhushan Kabra, musically expanded on a day within the lifetime of a shepherd by way of a bouquet of ragas. The album steadily entered the music cabinets of the culturally-inclined and have become a milestone of their careers.
When director Yash Chopra launched Sharma and Chaurasia as a composer duo in ‘Silsila’ (1981), the movie trade was shocked. Silsila was a multi-starrer and roping in two classical musicians, Shiv-Hari as they have been christened, was deemed a industrial threat. Ultimately, the music turned out to be one in all Silisila’s few highlights. Shiv-Hari turned regulars for Chopra (‘Faasle’, ‘Vijay’). Within the Eighties, when melody had largely taken a backseat in mainstream industrial ventures, they offered ear-pleasing but chartbusting scores, most notably in ‘Chandni’ (1989). That the 2 had internalised the idiom of Hindi movie music was most evident in ‘Darr’ (1993), the place they delivered a rating that fused seamlessly with the calls for of a thriller.
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