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. In this studio recording the rendering of each of the raga is not a full-scale performance. While the Marwa performance is consistent with the reflective mood of twilight, only portrayed in Alap, Jor and Jhala movements (devoid of percussion accompaniment), Kaushik Dhwani is given a complete performance. Between these two performances, three ragas are demonstrated to bring out their commonality - being of the same parent scale, known in this case, as the Kalyan Thaat. A short Gat (rhythmic composition) in each of the three ragas, Hameer, Kamod and Kedar portrays the uniqueness of each (further reinforced by different rhythmic cycles for each) while also bringing out the common parent scale character of these ragas.

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.