Santoor

Hindustani Percussion Santoor

4 minute read

The Santoor is a trapezoidal, hammered dulcimer-like instrument, known for its bright, cascading tones and intricate melodic patterns. Played with a pair of wooden mallets called mezrab, it produces a shimmering, ethereal sound that is both rhythmic and melodic. Originally a folk instrument from the Kashmir Valley, the Santoor has been adapted into Indian classical music, gaining recognition for its unique tonal richness and versatility.

Historically, the Santoor traces its roots back to ancient Persia, where similar instruments like the Santur were used. In India, it was traditionally played in Sufi and Kashmiri folk music before being introduced to Hindustani classical music by the legendary Pandit Shivkumar Sharma. His innovations in technique and playing style transformed the Santoor into a concert-stage instrument, elevating it to global recognition. His performance at the Darbar Festival in April 2010 remains one of the most memorable showcases of the instrument’s expressive capabilities.

Today, the Santoor continues to flourish through a new generation of musicians. Young artists such as Eeshar Singh, who performed at the Darbar Festival in October 2022 accompanied by Yashwant Vaishnav, and the talented sisters Sanskrati and Prakrati Wahane, who also played at the same festival, are carrying forward the Santoor’s legacy. Their performances highlight the instrument’s timeless beauty, ensuring its continued evolution in the world of Indian classical music.

Pandit Shivkumar Sharma performs Raag Jog on the santoor, accompanied by Pandit Anindo Chatterjee (tabla) at Darbar Festival 2010.

Prakrati Wahane performing the santoor in Raag Puriya Dhanashree alongside her sister, Sanskrati Wahane (sitar), and Yashwant Vaishnav (tabla) at Darbar Festival 2022.

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Recorded at Darbar Festival 2009, on 3rd April, at the Purcell Room of the Queen Elizabeth Hall, at London's Southbank Centre. Musicians: - Rahul Sharma (santoor) - Pandit Subhankar Banerjee (tabla) Music Pieces: - Raag Bhoopal Todi, Thaat: Bhairavi, Samay: Morning - Raag Mishra Bhairavi; Thaat: Bhairavi; Samay: Morning Rahul Sharma acquired the fundamentals of Hindustani classical ragas first on a harmonium. It was only after he turned 13 that he was allowed to switch to the 100-stringed santoor (Indian hammered dulcimer). He imbibed the best from his father and built upon it to create his own style. Today, he performs to acclaim all over the world, bringing fresh perspectives to his instrument through collaborations and his own creativity and imagination. As his father, Pandit Shiv Kumar Sharma, puts it affectionately, “Rahul was bitten by the composer’s bug a long time ago” – a happenstance that lent him the impetus to become a successful composer apart from a fine classical performer. In this concert from 2009, he is accompanied by Pandit Subhankar Banerjee (1966-2021), a tabla phenomenon whom the world lost too soon to COVID. A musician of expansive imagination, Pandit Banerjee lends a thoughtful and exciting support to this recital. Connecting with Sharma’s music at all levels, he enriches the presentation with a varied palette of sounds with his thekas (beats) emerging in tender intensity, imposing permutations and combinations, fluttery and airborne crispness and a few virtuous solos in between. Sharma performs three movements in Raag Bhoopal Todi, a morning melody. He introduces the raga with an alap (rhythmless introduction), builds momentum with the jod (melodic expansion with a slight, linear pulse) and raises the energies with a jhalla (crescendo performed with rapid, striking in a fast tempo in linear pulse). He rounds up this part with three compositions – the first one is set to a medium tempo (madhyalay) in Matta Taal, a 9-beat cycle. This is followed by another composition in Adhya – a 16-beat variant of Teental that progresses with a distinctive lilt. The third and concluding composition of this part is set to Teental in a very fast tempo (ati drut). He brings his recital to an end with an enticing miniature – a light ‘dhun’ in Mishra Bhairavi. Sharma follows a high-spirited, methodical approach, creating an uplifting melodic realm teeming with harmonies. He taps into the inner potential of his instrument by combining eloquence and expressiveness with fine technique to achieve rich interpretations. With a cracking delivery of the rhythm-centric segments, he consummately stitches euphony with virtuosity, laying bare the enduring magic of the santoor. The chimes emanate a gentle glow and flow on a gossamer weave of microtones where the sentimental, soft tonal textures interlace with energetic moments to unfurl the ragas in evocative narratives. Pandit Banerjee’s mighty and entrancing solos are woven in complex and intricate patterns. Combining maturity with wit, he also elevates the soft strains of the santoor with flawless coordination.