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Latha Venkatraman

Mumbai , May 22

SANTOOR, the musical instrument, immediately brings to mind images of water cascading down gentle undulating slopes.

The instrument, which has its origins in folk music, has been able to find a space in the heart of hardcore classical music connoisseurs thanks to the efforts of musicians such as Pandit Shiv Kumar Sharma.

Santoor has its origins in the West Asian region. Musicials agree that santoor, a stringed instrument, does have its limitations as a classical instrument. It largely produces staccato sound and not possible to execute continuity of sound.

However, Indian classical performers of the santoor have carried out changes in the instrument in order to overcome some of its limitations.

Nevertheless, there are a number of well-known musicians promoting and performing the santoor.

Recently, Mumbai was witness to the performance of two such artistes - Pandit Tarun Bhattacharya and Pandit Ulhas Bapat. Both their styles were completely different.

Pandit Bhattacharya, who was initiated into music by his father Robi Bhattacharya and later trained under Dulal Roy and Pandit Ravi Shankar, performed Yaman as the main piece followed by Bhatiali, a folk tune of Bengal.

His rendition of Yaman was quite dramatic considering the classical limitation of santoor.

Pandit Ulhas Bapat, on the other hand, lent a classical touch to his main raga of the evening, Chandranandan, a melody composed by sarod maestro Ustad Ali Akbar Khan.

Ulhas Bapat is a disciple of sarod maestro Zarin Sharma, Pandit K.G Ginde and Pandit Wamanrao Sadolikar.

According to music critics and connoisseurs, he has redesigned the santoor in such a way allowing him to play any melody without having to tune it each, as is the case with santoor.

He is also able to execute a certain classical sound, not possible in santoor otherwise.

Hindi film music director Khayyam, who was present at the santoor concert - organised by Khayal - also pointed to the fact that santoor has its origins in Iran.

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