Shivkumar Sharma

Pandit Shivkumar Sharma was a pioneering santoor maestro who played a key role in shaping the instrument for Hindustani classical music. Born in Jammu in 1938, he passed away in 2022 in Mumbai. He came from a musically knowledgeable family. His father, Umadutt Sharma, was trained in classical vocals and tabla and began teaching him music when he was five years old. He spent part of his childhood in Srinagar, where he was exposed to a variety of traditional and folk styles from the region. During his early teens, he was introduced to the santoor, a string instrument with deep roots in Kashmiri music traditions. 

With the guidance and a growing passion for the instrument, he began studying it with discipline and a sense of curiosity. He gave his first major performance on the santoor in Mumbai in 1955, presenting Raga Yaman. The positive response from audiences encouraged him to continue developing the instrument for classical performance. This early phase marked the beginning of a remarkable journey that brought the santoor into the world of Hindustani classical music. Collaborations with Zakir Hussain and especially with Hariprasad Chaurasia led to memorable recordings, including the celebrated album Call of the Valley (1967). This work is known for deepening global appreciation of Indian instrumental sound.

He also had an acclaimed career in Hindi cinema as a composer, working with Hariprasad Chaurasia under the name Shiv-Hari. Together, they created well-known soundtracks for films such as Silsila, Faasle, Chandni, and Lamhe, which received wide appreciation. While the santoor remained his primary instrument, he occasionally contributed on tabla as well, including for the popular song "Mo Se Chhal Kiye Jaaye" in the film Guide.

Pandit Shivkumar Sharma was honored with many national awards for his contribution to Indian classical music, including the Sangeet Natak Akademi Award, the Padma Shri, and the Padma Vibhushan.

He lived a life dedicated to music, and his legacy remains deeply rooted in the evolution of the santoor and its place in classical music today.