Snippets of informationPersonalities - Hindustani Music
* 17 Jul 2022
Pandit Pannalal Ghosh singlehandedly elevated the status of the bansuri
to that of an instrument capable of expressing the sublime and wondrous
nature of the classical vocal style. Pannalal Ghosh's innovations
in the development of the bansuri included the creation of a larger
instrument of more than thirty inches in length, (thus giving the
bansuri its characteristic somber-yet-sweet tone and register, so
suitable for Hindustani classical music), and the addition of the
seventh finger hole (which extends the range of the instrument, while
also allowing for the more accurate rendition of many ragas) and the
development of the bass bansuri. Perhaps Pannalal Ghosh's greatest
contribution however was his insightful adaptation of the classical
vocal style and its presentation on the bansuri. A consummate artist
who's virtuosity was equaled by the depth of his understanding,
* 13 May 2022
Pandit Uma Dutt Sharma (April 1900 - 1973) was introduced very early
into music during his visits to Maharaja Hari Singh's "darbar" palace
along with his father. He got the opportunity to enjoy the music
of great stalwarts who performed in the royal court of Maharaja Hari
Pandit Uma Dutt received his training in tabla and pakhawaj from his
Guru Sardar Harnam Singh and then trained under Guru Bade Ram Das Ji at
Banaras for 10 years, after which he returned to his home town Jammu,
where he trained several students in vocal and instruments.
He served as music supervisor in Radio Kashmir Jammu and Srinagar. Here
he was introduced to Santoor and practised hard on the musical
instrument. His son Pandit Shiv Kumar Sharma received training on palying the santoor who gives all credit to his father and guru Pandit Uma Dutt Sharma for modifying
the folk instrument Santoor to make it more suitable for classical
Every Year Nirvana Academy Cultural Club and Nirvana Entertainers Jammu
honour Pandit Uma Dutt Sharma by organising a music festival in his name
Pandit Uma Dutt Sharma Sangeet Mahotsav.
* 12 May 2022
Pt Shivkumar Sharma (13 January 1938 - 10 May 2022) born in Jammu is believed to be the
first musician to have played Indian classical music on the santoor.
Sharma gave santoor, once a little known instrument from Jammu and
Kashmir, a classical status and elevated it to the level of other more
traditional and famous instruments like sitar and sarod. Till then, Shata-Tantri Veena, as Santoor was known in earlier days, was used only to accompany Sufiana Mausiqi, a Sufi ensemble.
Shivkumar Sharma was born in Jammu in 1938, in a musical family. His
father Pandit Uma Dutta Sharma, a disciple of Pandit Bade Ramdasji of
Banaras Gharana, was a vocalist and renowned player of Santoor. His
mother too was a classical music vocalist. Sharma was introduced
to Tabla by his father at the age of five and later he was given
training in Santoor.
Sharma modified the folk instrument to make it more suitable for
classical music. He increased its range to a full three octaves and also
created a technique for smoother gliding between music notes in order
to imitate human voice quality. Sharma also created a new way of playing
it so that the notes and sound continuity could be maintained for a
His experimental albums ‘Feelings’ and ‘Music of the Mountains’ stand
testimonials to this. Sharma also collaborated with numerous musicians,
including Zakir Hussain and Hariprasad Chaurasia. Shiv-Hari, the
musical pairing he had with Chaurasia contributed to some of the best
Bollywood soundtracks such as Silsila, Darr, and Lamhe to name a few.
Sharma also collaborated occasionally with his son, Rahul Sharma, who is
also a santoor player.
Shivkumar Sharma was honored with many prestigious awards, including the
Padmashree (1991), the Padma Vibhushan (2001), the Sangeet Natak
Academy Award, an honorary doctorate from the University of Jammu, the
Ustad Hafiz Ali Khan Award, the Maharashtra Gaurav Puraskar to name a
few. His autobiography, Journey with a Hundred Strings: My Life in Music
was published in the year 2002.
Source: narthaki.com, indiaartreview.com