Strings of eternity: Abhay Rustum Sopori’s journey of music, mysticism, and legacy

At 45, Abhay Rustum Sopori—a virtuoso of the Santoor and the inheritor of a 300-year-old legacy— continues to mesmerise audiences worldwide with the instrument’s timeless melodies and profound spirituality. As the son of the legendary Pandit Bhajan Sopori, he is not just a performer but a custodian of a rich musical tradition rooted in the Sufiana Gharana of Kashmir. His journey reflects the deep connection between the Santoor’s unique sounds and his family’s dedication to music, mysticism, and spirituality.

The Santoor: A family legacy

For Abhay, the Santoor is not merely an instrument—it’s a way of life. “I belong to a family deeply rooted in music, mysticism, and spirituality, with a legacy spanning over 300 years and more than 10 generations,” he shares. “The Santoor is the gift my family has given to the country. It was natural that I was born into the sound of the 100 strings of the Santoor.”

“As a child, I would often hear my father, Pandit Bhajan Sopori ji, practising late into the night. Even as I slept, the magical sound of the Santoor surrounded me, its vibrations weaving into my subconscious,” he told Patriot in an interview. This constant immersion became his earliest training, long before formal lessons began under his grandfather Pandit Shamboo Nath Sopori and his father.

“The Santoor became my instrument of choice, a continuation of my family’s timeless legacy,” he adds.

Learning the Santoor was not without its challenges, but Abhay viewed them as stepping stones. “My father always believed there is nothing inherently ‘wrong’ in music,” he explains. “If something didn’t work out, he encouraged me to keep practising.” This lesson shaped his artistic growth, teaching him to embrace mistakes as opportunities for innovation.

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The unique soul of the Santoor

The Santoor, with its 100 strings and profound spiritual resonance, stands apart among stringed instruments. Abhay explains its unique status: “The Santoor is not just an instrument but a ‘Yantra’, deeply connected to the Shree Yantra and rooted in Shaivism. Its trapezoidal shape, designed by ancient sages, carries a profound spiritual dimension.”

He elaborates on its therapeutic value: “The Santoor’s soothing vibrations calm the nervous system, promoting relaxation and inner peace.” Its universal appeal has endured over centuries, with Hazrat Sufi Inayat Khan aptly stating, “Sound is the force of creation, the true whole. Music then, is not only the ladder to the divine but the means of awakening the soul.”

The Santoor’s versatility has expanded significantly. “My father elevated it to the stature of a complete solo instrument,” Abhay says. Today, it bridges genres— from classical to fusion to film scores—gaining admiration worldwide. He notes its growing popularity across countries like China, the US, Japan, and Europe, crediting young artists and social media for bringing it to newer audiences.

A personal connection with Delhi

Though born in Kashmir, Abhay’s artistic and personal life is deeply tied to Delhi. “I am, in every sense, a Delhiite. We shifted here in 1990 during the turmoil in the Valley. Months of uncertainty turned into years, and Delhi became our home,” he recalls.

“I studied at Modern School, Barakhamba Road, graduated in Management from Delhi University, and began my professional journey here. Delhi’s vibrant spirit shaped me. It’s where my roots grew stronger, where my art flourished.

I proudly call myself a Pukka Dilli Wala,” he says.

For Abhay, Kamani Auditorium holds a special place in his heart. Over the past two decades, it has hosted the prestigious SaMaPa Festival, founded by him and his father. “Kamani feels like a second home, where countless memories and milestones have been created,” he shares.

Samapa Acadmey: A legacy of music and service

The SaMaPa Academy, established in 2005, reflects Abhay’s commitment to music as a means of service. “Our vision was to bring music to disturbed areas like Kashmir and make it accessible to everyone,” he explains.

“Kashmir has seen much turmoil, and we felt music could offer a spiritual solution. Through SaMaPa, we uplift emerging artists, provide platforms for performance, and bring classical music to those who need its healing touch. Music, especially in troubled times, is a balm for the soul.”

Preserving Delhi’s cultural legacy

Delhi’s rich musical heritage inspires Abhay’s efforts to contribute to its legacy. “Delhi has embraced various gharanas and traditions. Performing here is always an honour,” he says.

“I am deeply grateful to the city’s music lovers who attend my concerts. Recently, I performed multiple times across Delhi and the NCR, and I recognised familiar faces at every event,” he says, acknowledging the city’s discerning audience.

He cherishes the deep bond he shares with Delhi’s music connoisseurs. “Many listeners include my music in their meditation or use it to find peace. Their connection with my art goes beyond entertainment. It’s this trust and love that draws me back to perform here.”

He describes Delhi’s audience as uniquely cultured: “They have experienced global performances, traditional concerts, and historic milestones, shaping a refined, appreciative crowd. Their enthusiasm inspires me to give my best.”

Abhay captures this relationship with Ghalib’s lines: “Dil hi to hai na sang-o-khisht, dard se bhar na aaye kyun. Royenge hum hazaar baar, koi humein sataye kyun.” (The heart is not made of stone or brick; why shouldn’t it fill with pain? We’ll cry a thousand times, why should we not, if we’re hurt?)

A deep personal loss

In 2022, Abhay faced the profound loss of his father, Pandit Bhajan Sopori. “It was the greatest loss of my life,” he says, grappling with the emotional void. “Time doesn’t heal, but you learn to live with reality,” he shares.

This loss deepened his commitment to his family’s musical legacy. “I feel an immense responsibility to uphold the tradition and guide the many disciples of our family,” he adds.

The future of Indian classical music in Delhi

Abhay sees Delhi as pivotal to the future of Indian classical music. “Delhi is a vibrant cultural hub that has embraced diverse traditions. From the Delhi Gharana to the Sopori Sufiana Gharana, the city nurtures them all,” he observes.

“What sets Delhi apart is its inclusivity. It provides space for different traditions to thrive while maintaining their uniqueness. Performing here fills me with pride and responsibility,” he says.

“I represent my tradition, my lineage, and my city. Through my music, I contribute to Delhi’s cultural legacy, ensuring its rich heritage continues to inspire future generations,” he says, quoting Harivansh Rai Bachchan: “Manzil Milegi Bhatak Kar He Sahi, Gumrah To Wo Hai Jo Ghar Se Nikle He Nahi.” (The destination will be reached, even if one has to wander; the truly lost are those who never leave their home.)

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Future projects

Abhay is working on a mainstream Hindi film featuring songs in Kashmiri, bringing regional languages to popular media. He is also involved in documentaries promoting Indian classical music globally.

“Music is not just an art form but a philosophy,” he concludes. “My aim is to innovate while staying rooted in tradition, ensuring the legacy I carry forward resonates with future generations.”