Deborshee Bhattacharjee
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SMT. REENA BHATTACHARJEE

Deborshee's first music teacher was his mother, Smt. Reena Bhattacharjee. She is a very talented vocalist and voice trainer. She has learnt music from Smt. Sipra Bose, Maskoor Ali Khan Saheb and presently she attends special classes by Pt. Ajoy Chakraborty. She is a very competent artist and has done her Masters in Music from Rabindra Bharati University, Kolkata. A vocalist with loads of talent, Smt. Reena Bhattacharjee has handed over the torch to her very worthy son, Deborshee Bhattacharjee. 

PANDIT AJOY CHAKRABORTY

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Deborshee's Guru and ultimate mentor, Pandit Ajoy Chakrabarty is one of India’s most eminent Classical Vocalists. Born in Calcutta in 1952, his parents reminisce that he could sing before he could talk. Despite having fallen on hard times, they spared no pains in fulfilling the great potential the child showed. His father Shri Ajit Chakrabarty walked him through a first musical course, and afterwards oversaw his training under great teachers like the Late Kanaidas Bairagi, Pandit Jnan Prakash Ghosh and the Late Munawar Ali Khan.Genius combined with exceptional talent earned young Ajoy Gold Medals in BA Honours and MA examinations of Rabindra Bharati University, Calcutta. He received the singular distinction to be the first elected Fellow to receive a gold medal from the Sangeet Research Academy, Calcutta, a premier music institution of India devoted to the promotion of classical music in India and abroad, where Ajoy joined as a Scholar but was in a few years assigned the rank of Guru and member of the Expert Committee, in recognition of his extraordinary expertise in the field of music.He has had many more firsts and bests to his credit. He was the first Indian Classical Vocalist who was invited to perform in Pakistan.He was the first recipient of the Kumar Gandharva Award the most prestigious National Award for the best musician of India under forty-five years of age. As his musical genius prompts him to respect and cultivate all kinds of good music he has been proving his unique excellence in various genres of Indian music. Hence he received the President's Award for the best male playback singer in the 37th National Film Festival 1990 and many State Awards of note.Since his twenties, Pandit Chakrabarty has been spanning the cultural gulf between India and the West through his extensive musical tours in Europe and America, attempting to transmute Indian vocal classical music in a universal idiom of feeling. Numerous albums, records and CDs of his classical and light classical songs published in India and abroad endear him even to those listeners who do not know the language of the lyrics. He is the founder of the esteemed musical institution SHRUTINANDAN which is probably the best in the whole of India and was visited by the honourable President, A.P.J.Abdul Kalam.


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Deborshee has been learning in this institution for the past 12 years now and presently is a teacher at SHRUTINANDAN. Deborshee has sung in the album, GEETINANDAN-2, which has been released by this institution. This collection offers quality music produced by the budding artists of SHRUTINANDAN, under the sublime guidance of their guru, PT. AJOY CHAKRABORTY.

 


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HINDUSTANI CLASSICAL MUSIC
Hindustani Classical Music is an Indian classical music tradition that took shape in northern India in 13th and 14th centuries AD from existing religious, folk, and theatrical performance practices. The origins of Hindustani classical music, the classical music of India, can be found from the oldest of scriptures, part of the Hindu tradition, the Vedas. Samaveda, one of the four Vedas, describes music at length.The Indian classical music has its origin as a meditation tool to attain self realization. All the different forms of these melodies (ragas) affect various "chakras" (energy centers, or "moods") in the path of the "Kundalini". There are specific physical, mental, biological and spiritual results associated with activation of these centers. Indian classical music has one of the most complicated and complete musical systems ever developed. It has the same aspects of Western classical music, as the 8 basic notes(Sa Re Ga Ma Pa Dha Ni Sa, in order, replacing Do Re Mi Fa So La Ti Do). As regards Indian classical music in general, there are a huge number of modes (ragas). Musicians will elaborate a single mode in detail, largely through improvisation but also based on compositions and formal demands. In both Hindustani & Carnatic music, songs (or instrumental compositions in Hindustani music) are usually (although not always) preceded by an improvised unmeasured prelude (alap/alaapana) which is sometimes extensive. This is followed by the "composition section" in which a specific rhythmic cycle (tala) is used (ordinarily with percussion accompaniment). Although it is usually based upon a pre-existing composition, there are specific improvisational features to this section as well. This aspect earns Indian classical music comparisons with Western Jazz, with which it shares some demands. Khayal (literally "imagination") is the standard classical vocal form in Hindustani music. Its development is more recent than dhrupad, and it generally eschews the long alaps, but has a larger degree of improvisation (analogous to an instrumental gat) in the metrical singing. It does have its own long history, and has a very wide variety of performance styles (gharanas). Standard accompaniment is the tabla for rhythm, as well as a melodic accompaniment (sarangi, giving way to harmonium).
 
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