Pt. Shantanu Bhattacharyya’s music is an extension of his conviction that in life and art, the journey is as important as the destination. Having imbibed from Pt. Prasun Bannerjee and Pt. Ajoy Chakrabarty, the essence of the Patiala gharana as exemplified by Ustad Bade Ghulam Ali Khan, the artiste touched upon the importance of inspirational associations.
“Valuable musical associations play a major role in moulding an artiste’s outlook, personality and approach. How one walks, talks, interacts, observes a certain etiquette – all these reflect a culture derived from music; not just the grammar of the raag. It enables a musician to develop both indwelling and external qualities. Just as a kindled lamp from which other lamps can be lit, it propagates an aura that others can partake of and benefit from.
Growing up in a small town in Nadia district, West Bengal, I did well in studies and was passionate about games. In order to fulfil my mother, Ira Bhattacharya’s dream of making me a classical musician, our family moved to Kolkata. Pt. Sukhendu Goswami was one of my early gurus. While I enjoyed learning music, I was lukewarm about riyaz, viewing it as homework to be submitted to my master.
The turning point
The turning point came in 1983. When on a particular day, I was adamant about watching a stage show telecast but mother forcibly took me to the music class. On reaching there, I discovered that my teacher was no more. It took the death of my guru to drive home the value of his presence in my life, the enormity of the sacrifices that my hard-working mother was making and the urgent need for me to make music my raison d’etre. I began practising in earnest, chalking up about 10 hours of riyaz daily.
After briefly continuing under my guru’s son, Pt. Gautam Goswami, I came under the tutelage of Pt. Prasun Bannerjee, famed for his taleem and riyaz. For the first time, I began reflecting on my approach to learning. Prasun babu’s generosity in sharing his wisdom that infused my world, as did the formidable vidwat of his wife, Mira Bannerjee, my guruma.
After my graduation, despite getting admission to a master’s course, I opted for music, full time. I also began researching and writing. Orient Longman published my book History and Development of Thumri in Bengal .
Inheriting a tradition is not merely about learning and reproducing. To evolve from being a singer to an artiste, it is essential to imbibe the sentiments and emotions that have shaped the greatness of one’s gharana. Once this understanding dawns through the lived experience, you also discern the greatness of other gharanas, which enhances your creativity. Prasun babu referred me to the Sangeet Research Academy (SRA) for further training under Pt. Ajoy Chakrabarty. Both Prasun babu and Ajoy babu were disciples of Pt. Jnan Prakash Ghosh and thus inheritors of Ustad Bade Ghulam Ai Khan’s iconic style.
At the SRA, my exposure to performance dynamics increased manyfold. We would attend recitals of fellow students and maestros. Each in-house student concert would be recorded, replayed and assessed by senior musicians. I benefited immensely from such sessions.
I am indebted to these stalwarts for my artistic evolution.
A key aspect I focus on at my music school, Aalor Pathe Raga Dhwani, is person-to-person interaction.”
Pt. Shantanu Bhattacharyya is a well-known Hindustani vocalist
