The Flow Of Time
Shivkumar Sharma & Zakir Hussain
01 Raga Marwa - Alap 08:51   
02 Raga Marwa - Jor 09:47   
03 Raga Marwa - Jhala 05:03   
04 Raga Hameer - Gat In Teentaal 05:08   
05 Raga Kamod - Gat In Jhaptaal 05:36   
06 Raga Kedar - Gat In Ektaal 05:07   
07 Raga Kaushik Dhwani - Alap 12:15   
08 Raga Kaushik Dhwani - Gat In M 11:04   
09 Raga Kaushik Dhwani - Gat In T 10:45 

Pandit Shivkumar Sharma - santoor (santur)
Ustad Zakir Hussain - tabla
Nandu Muley - tamboura

Scintillating santoor mastery from Shivkumar Sharma and assured reliable rhythm accompaniment from tabla maestro Zakir Hussain. Highly informative liner notes help the listener to comprehend the selection of these pieces and their performers. The package is therefore an excellent introduction to this partnership of instruments, the santoor itself and Indian music generally.

The notes tell us that the "SANTOOR is essentially a folk instrument widely used as an accompaniment to singing in the Kashmir valley. Originally this was known as "Shata Tantri Veena" (100 stringed Lute). The Persians named it Santoor and the name became popular and has endured. Instruments of this family are known as Yang Chin in China, Zymbalon in Hungary and Rumania and Santoori in Greece. Despite its one hundred strings mounted on 25 frets, the Santoor inherently has only a limited range for the articulation of classical melodies. But Shivkumar Sharma after relentless experimentation, has modified the instrument by adding four more frets and 16 more strings to make minor adjustments in the arrangement of the strings on the various frets. Because of this modification the Santoor has gained a wider range of expressiveness and has now made the grade as a solo instrument on the concert platform."

The five different Ragas are collected together unusually for their being played on santoor, and also according to their most appropriate time of the day, giving a passage through evening and night.

"Indian classical music is based on the concept of ragas; a melodic scale based system, and within which with groups of ragas based on same parent scales form the thaats. The various ascending and descending scales derived from the music notes create ragas, which evoke a mood, or emotion related to different times of the day and in some cases different seasons of the year. Underlying these ragas, there is a concept of rasas that represent the emotions evoked by the raga. So we have ragas played in a time cycle from dawn through the late night. There is a relationship between the time of the day represented in the raga and the emotion attached to it. The music on this album captures the flow of time as manifest in the splendid selection of ragas, with Marwa performed at sunset time followed here by a selection of ragas played in the night. Within that range there is a shift from serious mood to more romantic connotation as the evening merges into the night phase."