An impromptu sitting of Debasmita Bhattacharya is accompanied by two of India's finest percussionist, Patri Satish Kumar and Ghatam Udupa. In their first sitting together, Debasmita performs Raag Jog from the Kafi thaat which is usually performed between 9pm and 12 midnight.
Debasmita Bhattacharya is one of India’s finest young sarod players, representing the rich musical tradition of her native Kolkata. Her style blends the expansive mindset of modern musicians with an old-school patience. She began learning with her sarodi father Debashish Bhattacharya, then entered the tutelage of the late maestro Buddhadev Das Gupta. She made an acclaimed UK debut in 2017, and continues to demonstrate that gender should be no barrier to instrumental mastery. “[The sarod] is considered as a male dominated instrument…I accepted the challenge and every morning I try to prove myself by improving my playing...music has no boundaries...it is only for the human.”
Musicians
Debasmita Bhattacharya (Sarod)
Patri Satish Kumar (Mridangam)
Ghatam Udupa (Ghatam)
This is the second piece from Purbayan Chatterjee’s performance at the Darbar Festival 2011. He introduces Darbari Kanada with a comprehensive alap, traversing both the lower and upper octaves. The composition is a legendary tarana in ektaal (12 beats) immortalised by the late Ustad Amir Khan of ...
Purbayan Chatterjee plays the much loved, Raag Maru Bihag as the opening melody of his performance at the Darbar Festival 2011. He opens the recital with an alap, jor and jhala and then plays two compositions. He is accompanied by Anubrata Chatterjee on the tabla who gives commendable support, ma...
He plays two beautiful compositions, the first one is a dhun in Mishra Piloo set to a serene, madhyalay 7-beat cycle in Rupak taal and the second, a famous drut gat in Raag Piloo spread over a 16-beat cycle.
Khan forays amply into the interiors of this hybrid raga with expansive vistaar and tau...
