A Musical Ecstasy
First Indian artist who has performed at the historical Chamber Music Hall at Leipzig Music University in Germany.
sitar and surbahar
DHRUBAJYOTI CHAKRABORTY
DHRUBAJYOTI CHAKRABORTY
A Spirit of Ccreativity
An exponent of Rampur Senia Gharana and an artful master of both Sitar and Surbahar.
sitar and surbahar
DHRUBAJYOTI CHAKRABORTY
A Rhapsodical Musical Spell
Believed to have mysteriously commenced much waited rain by playing Raga Mian Ki Malhar on an occasion.
sitar and surbahar
DHRUBAJYOTI CHAKRABORTY
A Splendour of Versatility
A sitarist, an anthropologist, a poet and an essayist
sitar and surbahar
The Telegraph
6th June, 2015
“Jalshaghar, to celebrate its 50th anniversary, presented a compact programme, Smritipat, in memory of the maestros, Ustad Ali Akbar Khan and Pandit Ravi Shankar. To begin with, the sitar player, Dhruvajyoti Chakraborty, enchanted listeners with a careful rendition of the raga Tilak Shyam and distinctively expressed its features. He also tried his best to capture the beauty of the raga Pancham Se Gara in a short span of time. He was accompanied by Pandit Pundalik Krishna Bhagwat on the tabla.”
The Times Of India
18th May, 2015
“Ramkrishna Mission Institute of Culture, Golpark, recently organized a sitar recital by Dhrubajyoti Chakraborty to celebrate the birth anniversary of Adi Shankaracharya. Chakraborty was groomed on the sitar by Sunil Dev Burman. Later, he was also guided by legends such as Pandit Nikhil Banerjee and Ustad Ali Akbar Khan. He first played an alaap, jod, jhala and two compositions on raag Shyam Kalyan. Later, he also played a composition on raag Shivranjani. He concluded his concert with a devotional Ramprasadi song and a ragamala. Ujjal Bharati accompanied on tabla.”
The Statesman
8th May, 2015
“The birthdays of two legendary beacons of the Senia Maihar gharana fall in the month of April. Pandit Ravi Shankar was born on the 7th and Ustad Ali Akbar Khan on the 14th. Jalsaghar, under the able guidance of Robin Paul, carved a colourful “Smriti–pata” to offers tribute to both the maestros on 16 April at the Satyajit Ray Auditorium of ICCR. This also coincided with this renowned organisation’s pre-golden jubilee year. The poetic compeering by Debashis Basu strung the three-layered evening superbly. The highlight was a nostalgic “Kathay-Kathay”, made immensely interesting by the word-pictures etched by none else than journalist-author Shankarlal Bhattacharya who transcribed the autobiography of Panditji and, in the process, remained close to him-enough to know the man behind the greatest star of the world of Indian classical music. Professor Goutam Ghosh, on the other hand, focused on the artistes’ exemplary involvement with their art. Rabindrasangeet exponent Deepak Rudra ventured to compare the maestros’ creative genius with that of Rabindranath Tagore by quoting the latter.
The vast arena of the path-breaking musician-duo’s “perceptible contribution in the aesthetics of Indian classical music” was explored by yours truly. This was followed by “Maihar Tarang”, presented by Indian Blue. Fashioned in the style of the Maihar Band, formed and directed by Baba Alauddin Khan, this band presented an instrument ensemble based on compositions of Ustad Ali Akbar Khan. Led by Siraj Ali Khan (sarod) and Dishari Chakraborty (santoor), this young group had Arindam Bhattacharya (vocal), Rupak Mukherjee (flute), Arijit Thakur (tabla/pakhwaj), Kaustubh Biswas (bass guitar), Anindya Basu (acoustic guitar) and Anindya Hazra (percussions); and all jammed with gay abandon, racing the raga-routes of Jhinjhoti, Mishra Kafi, Mand, etc. Earlier, the evening began with the sitar recital of Dr Dhruvajyoti Chakraborty. Brilliantly aided by Pandit Pundalik Krishna Bhagwat on the tabla, he tried to unravel the mystery of Tilak Shyam, a complex raga invented by Pandit Ravi Shankar. He concluded with a dhun in Pancham se Gara.”
Purbasha Ekhon (quarterly Bengali literary magazine, published from Norway)
10th September, 2014 | A Reportage.
“On 6th and 8th September, 2014, Dhrubajyoti Chakraborty has presented two consecutive solo Sitar concerts in Oslo, Norway being invited by International Centre for Culture, Music, Literature and Productions (Offices at Oslo & London) and has been highly appreciated by both the indigenous Europeans and the Asian – Indian audiences. Dhrubajyoti rendered Raga Piloo and Zilha Kafi in Vilumbit and Drut Teental Gats followed by speedy Jhala. He was highly applauded and felecitated by Dr. Kimo Monzer Karkash, who hails from Royal family of Egypt.
Dr. Kimo is well known for his contributions in socialwork. He organises and looks after a number of rehabilitation centres throughout Europe for the depressed, drug addicts and different types of mentally retarded patients of all ages. Practically speaking, he has brought about almost a revolution against these
enemies of life.
Dr. Kimo and Dr. Dhrubajyoti Chakraborty, both have taken a decision to work together in the same field in which Dhrubajyoti’s expertise in Music Therapy could be coined as the most valuable contribution. Being an Anthropologist and Ethnomusicologist, Dhrubajyoti is well experienced about the researches and upcoming developments in this particular area. Both Dr. Kimo and Dhrubajyoti admitted the necessity of interdisciplinary network in this regard with the involvement of medical professionals, psychotherapists etc. However, both of them are enthusiastic about the successful implementation of music therapy as an essential healing approach.”
Ananda Bazar Patrika
29th December, 2014
“In the year 1934, Rabindranath Tagore inaugurated the first musical programme of All Bengal Music Conference at the Senet Hall of Calcutta University. After that in course of time, many legendary musicians were found to participate in its different sessions. Despite a break for a certain period in the past this musical event has again started and is being continued since the last few years. This time the conference will be commenced on and from 2nd January, 2015. There are notable artists like Pandit Ajay Chakraborty and also others presented by ITC Sangeet Research Academy during the first three days. On the 5th i.e. the final day, Dhrubajyoti Chakraborty will render his Sitar performance, Parthasarathi will be on Sarod and Pandit Ulhas Kashalkar will deliver his vocal recital, respectively.”
Ananda Bazar Patrika
25th January, 2014
“Trance of Enthrallment: Pandit Manilal Nag was felecitated with chorus songs and dance in a programme named ‘Aaloker Ei Jharnadharay’ (In this fountain of light) arranged by Anuprerana at Mohit Manch. Dhrubajyoti Chakraborty showed him honour by rendering Raga Hemant in Sitar. After Aalap and Jod in Vilumbit Jhanptaal and Drut Teental Gat portions very skillfully he played Vistar, intricate Layakari, high speed Taans and varieties of Tehaiys respectively. Jhala was mind-blowing also. Tabla accompaniment by Soumen Sarkar was praiseworthy.”
Ananda Bazar Patrika
23rd January, 2014
“Recntly ‘Katha O Anuprerana’ organised Dhrubajyoti Chakraborty’s solo Sitar programme at Satyajit Ray Auditorium in ICCR. Dhrubajyoti’s performance was considerably noteworthy in regard to aesthetic perfection in his delineation of Raga Rageshri. He played Aalap, Jod, Jhamptal Vilumbit and Drut Teental Gats respectively ended with Jhala. The specialities of his rendering were characterised with the applications of difficult Meends and very fast spontaneous Taans throughout three octaves particularly during both Jod and Gat portions. Prashanta De Sarkar’s Tabla assistance gave a trusted support in respect of intricate Layakari of Sitar as well as maintaining the melodic harmony throughout the performance.”
The Statesman
25th May, 2013
“Moments of Enjoyment: A captivating musical evening was presented by Naba Dishari Cultural Association at Indumati Auditorium… Then the last artist Dhrubajyoti Chakraborty delivered Raga Marubehag in Sitar. Applications of tuneful Meends in Aalap and skilful ornamentation on Kharaj Pancham strings by the artist in Jod portion, had established a beautiful picturesque of the Raga structure. In Vilumbit Gat set to Rupak Taal, Contemplative Vistar and Layakari were marked with sweetness and high speed Taans with varieties of colourful Tehaiys created many enjoyable moments. Drut Teental and high speed Jhala held a towering esteem of entertainment. The artist ended his recital by playing a brief Dhun in Mishra Khambaj. From beginning till end, the euphonious Tabla accompaniment specified with intellect by Samar Saha left a deep impression in mind.”
Ananda Bazar Patrika
26th March, 2011
“Dhrubajyoti’s Sitar recital has been arranged by ’ANUBHABANDAM organization’ in an inaugural ceremony to publish both of his books of poems in Bengali viz. ’Jugalbandi’ and its English version i.e. ’The Duet’ at Aiktan Auditorium of Eastern Zonal Cultural Center, Salt Lake, Kolkata. Sitar recital was at the first part followed by inauguration of books of poems by the eminent literary personality and poet Sri Amitabha Chowdhury, in the presence of many well known dignitaries both from the fields of literature and music.”
Ananda Bazaar Patrika
3rd December, 2011
“A Melodic Performance: A unique research oriented programme ‘Raangiye Diye Jaao’ (Give colours make colourful), consisting of Tagore Songs, Sitar recital and Dance was organised by Anubhab Anandam to observe the great poet Rabindranath Tagore’s 150th year’s birth anniversary at Bharatiya Bhasa Parisad auditorium, Kolkata. The theme had been conceptualised and directed by Dr. Dhrubajyoti Chakraborty. The script was written by Dhrubajyoti who performed Sitar in the programme also. Ten Tagore songs viz. Raangiye Diye Jaao, Aaji Bijan Ghare, Shaon Gagone etc. based on different Ragas both in solo and chorus
styles were nicely sung by Manjusha Chakraborty, Tania Paul, Jaydeep Roy and Biswarup Goswami respectively. Charming melodc renderings in Dhrubajyoti’s Sitar traversed a way with delineation of the Ragas viz. Kafi, Yaman Kalyan, Bihag, Chhayanat etc. alongwith pleasant Tabla accompaniment by Parimal Chakrabarty. Dance performances by Upasana Ballet Troupe with each song were extremely enjoyable. Debashis Bose and Paromita Samaddar in anchoring, perfectly maintained their responsibilities.”
Ananda Bazaar Patrika
8th September, 2007
“Raga Durga was depicted in the Sitar by Dhrubajyoti Chakraborty, who was the last artist of the session. After the brief Alaap and Jod there were two Gats set to Rupak and Teental, respectively. The total performance was characterized with full
of charming sweetness of tune. The expertise of the artist was introduced by his spontaneity in Taankari, Tehai and Jhala at the end. There was a lively brightness in the Tabla assistance of Ujjwal Bharati.”
Ananda Bazaar Patrika
8th September, 2007.
“Picturesque of Feelings: Dhrubajyoti’s Sitar recital was arranged by Anubhab Anandam organisation in the beginning part of his books of Bengali poems ‘Jugalbandi’ alongwith its English translation ‘The Duet’s inauguration ceremony at Aikatan Auditorium of Eastern Zonal Cultural Centre, Salt Lake, Kolkata. Inauguration was done by the eminent poet and literary personality Amitabha Chowdhury in presence of many well known dignitaries from literary and all sects
of cultural fields. Dhrubajyoti has presented Raga Mian Malhar. His Aalap and Jod portions were brief but tuneful as well as rhythmic. The application’s of Meend, Gamak and Layakari in Vilumbit Vilumbit Jhanptaal and Drut Teental were well planned. Varieties of Tehaiys enhanced the aesthetic grace of Taans. Jhala part was little lengthy. Arkendu Mitra’s bold but lyrical sound in Tabla has perfectly assisted Sitar that mainntaind an ideal accompanist’s responsibility.”
Ananda Bazaar Patrika
24th December, 2005
“Barrackpur Music Conference; The next Sitar item brought about a pleasant experience for listeners. Gavti with well constructed Aalap and Jod, was pictured by Dhrubajyoti Chakraborty. The specialities of Jhamptal and Teental Gats were featured with tonal sweetness, variations in Laya and rhythm, speedy Ekhara Taans, clarity of Jhala and arrival before starting point of Gats after finishing of Tehaiys by following different stylistic ways respectively. The Khambaj Dhun was like a mind blowing gift consisting of poetic mood. Controlled as well as charming Tabla accompaniment by Soumen Sarkar is very much appreciable.”
Ananda Bazaar Patrika
21st August, 2004
“Raga Puriya Kalyan was executed by the Sitar of Dhrubajyoti. The artist was amply skillful to complete meticulously the session of Alaap, Jod, Meend in Kharaj-Pancham and the Meend of designed variations. The charm of entertainment came with the Vistar in Tritaal gat, Layakari and the varieties of speedy Taan. Drut Tritaal gat and rapid Jhala carried the bright example of artist’s Rewaj. Debendrakanti Chakraborty’s Tabla assistance expressed a fine assemblage of knowledge and beauty.”
Ananda Bazaar Patrika
8th May, 2004
“Marubehag was enunciated in Dhrubajyoti Chakraborty’s Sitar; Aalap, Jod and at the end Vilumbit and Drut Teental Gat. The speciality of the classicity was clearly expressed in the variations of the artistic designs in the Veen Ang. After delineating an authentic image of the Raga in Aalap, Dhrubajyoti smoothly entered into the Gat. The middle part of the Jod was extended to a superb extent with the beauty of coordination of the Bandish of Gat with rhythmial patterns. Dhrubajyoti’s perfection of the tonal purity, brightness and speed of Taankari and rhythm, clarity of Jhala, calculative Layakari as well as the sweet Tabla accompaniment with him by Subhankar Bandopaddhy really enhanced the limit of the entertaining value.”
Times Of India, Calcutta
1st March, 2004
“Getting Romantic With Sitar: The Bhawanipore Sursagar Society held its 29th Annual Programme of Classical Music in memory of Ustad Chand Khan on last Sunday at Gyan Manch. Sitarist Dhrubajyoti Chakraborty captivated the audience with a rendition of the Raga Marubihag. Chakraborty’s yearning bistars, his sensitive execution of the meends and gamak brought out the romantic beauty of the Raga. The sequence of Aalap, Jod and Jhala concluded with a series of interesting Tihayis. Subhankar Bandopaddhy provided accompaniment on the Tabla.”
Ananda Bazaar Patrika
8th February, 2003
“Raga Mian Malhar was manifested in Sitar by Dhrubajyoti Chakraborty. The tuneful Aalap with skillful Meend in Kharaj-Pancham, controlled applications of the other notes which gave rise to neatness in the Vistar, expressed the exact and authentic picturesque of the very Raga. The Jod became bright with thoughtful use of Gamak and different artiststic designes applied in the rhythm and speed. Next presentation was Raga Jaijayanti framed in Jhanptaal. The ariations in Vistar, Taan and Tehai being added with the beauty of rhythm and speed, provided the Gat with a scintillating effect. Bablu Paul assisted the artist in Tabla. His lively and disciplined accomplishment scoped the Sitarist to stay relaxed minded in one hand and on the other to stay effortful for imparting uninterrupted entertainment to the audience.”
The Wochenspiegel (German), Woche-25, Mittwoch
9th June, 2002
“Well known Sitarist Dhrubajyoti was invited in the inauguration ceremony of the 700th years, celebration of the city of Euskrichen, Germany. He was welcomed by the Burgermeister i.e the honorable Mayor of the city Dr. Uwe Friedl. Dhrubajyoti with his unparallel music moved the hearts of the audience. He has been specially interviewed by WDR and both his interviews and performances were recorded and telecasted through DW(the German natinal channels of TV and radio). He has been felicitated by Deutsche-Indische-Gesellscheft in an overwhelmed manner. He also rendered his enchanting performances in the other famous and prestigious organizations at diffrent places like Berlin, Frankfurt, Aachen, Hamburg, etc.”
The Times Of India, New Delhi / Chandigar
30th May, 2002
“Dhrubajyoti Chakraborty is not a few face for city music lovers; he had earlier performed for one of the Baithak programmes at Prachhen Kala Kendra… The later part of the evening witnessed Sitar recital by Dhrubajyoti. He commenced by playing Raga Maru Behag, an evening Raga of melancholy mood. The artist presented all aspects of Alaap, Jod and Jhala in the Raga.”
Ananda Bazaar Patrika
15th September, 2001
“Dhrubajyoti Chakraborty delineated the Raga Paraj-Vasant in Sitar; disciplined Alaap, rhythmical Jod and then Vilambit Teental Gat. Samples of subtle and intricate Bol and rhythm were there. The main speciality of Drut Teental was the presentation of Tan-Tehai. At the finishing there was the superb mind blowing Jhala. Confident Tabla accompaniment of Sandip Bandopaddhayay increased the level of enjoyment.”
The Afternoon, Mumbai
2nd August, 2001
“Classical Compositions Sets The Monsoon Mood: Dhrubajyoti Chakraborty, a sitar player from Kolkata was featured by Samarpan in an evening concert at the Dadar-Matunga Cultural Cenetr. He has chosen the Raga Mian Ki Mallhar for full-length treatment. His Alaaps as well as the Gats were well proportioned. The Tans had a certain fluency about them. Aditya Narayan Banerjee, pupil of the famous Pandit Swapan Choudhury gave support on the Tabla.”
Amar Ujala (Chandigar)
11th July, 2001
“Dhrubajyoti Chakraborty Mesmerised By His Sitar Playing”: In the evening of the special session of Pracheen Kala Kendra at Sector-35, today Dhrubajyoti Chakraborty’s Sitar recital has flooded the audience with emotions. He started with the Raga of the rainy season Mian Ki Malhar, the best among the Malhars, created by Mian Tansen. His presentation of Aalap and Jod and then the Gats in Vilumbit and Drut Teental followed by Jhala gave immense pleasure to the audience. After that Dhrubajyoti had mesmerised the audience with a Thumri in Mishra Pahari of Sugam Sangeet group.”
Dainik Jagaran (Jalandhar)
11th July, 2001 | A Reportage
“Tune of Sitar is the only essence of life – Dhrubajyoti Chakraborty was addressed as the master of tune and was described as a keen follower of the old legendary musical stalwarts like Surdas, Swami Haridas etc. Dhrubajyoti Chakraborty’s musical credentials were discussed.”
The Chandigar Newsline
11th July, 2001
“Chakraborty Leaves Audience Spellbound”: The performance of well-known Sitarist Dhrubajyoti Chakraborty, was characterised by the depths and the creativity that the Senia Gharana is famous for. The sustained and pervasive melodies he produced with his Sitar, and enthralled a large audiences gathered at the Bhaskar Rao Indoor Auditorium. Even the critics were awe-stuck by his sense of aesthetics and grace and the unmatched sweetness and clarity of his music. Chakraborty is considered to be one of foremost musicians and sitarists of young generation of India. He belongs to the Senia Gharana, which represents an uninterrupted line of sitarists spreading eight generations since Tansen.”
The Chandigar Dainik Tribune
11th July, 2001
“Dhrubajyoti Chakraborty, a Sitar artist from Kolkata presented his unique performance in Bhaskar Rao Sabhagar of Pracheen Kala Kendra. Not only he had shown his musical wizardry throughout his extraordinary performance but he with his enriched knowledge of Indian Music, had also provided the students who are learning Sitar with the intricate techniques of the very instrument. He started with the monsoon Raga Malhar featured with Aalap and Jod and his Jhala had enchanted the audiences very much.”
The Chandigar Bhaskar
10th July, 2001
“Starting of Raga Malhar Initiates Rain: It is heard that the great musician Tansen used to bring about rain and clouds from the nature by singing Raga Megha Malhar. Here, in the musical session of Pracheen Kala Kendra at Bhaskar Rao Auditorium, Sitarist Dhrubajyoti Chakraborty was requested to play Raga Malhar since Chandigarh was devoid of adequate rain though monsoon had already commenced on. Being requested Dhrubajyoti Chakraborty had chosen Raga Mian Ki Malhar to begin with his recital. Astonishingly, no sooner had he initiated playing Mian Ki Malhar than rain was started falling in drops. Dhrubajyoti Chakraborty presented tuneful Aalap, Jod, Jhala and Vilumbit and Drut Gats respectively with a duration of almost 45 minutes. Then he played a short term Mishra Pahari Dhun and the audience was overwhelmed with the charm of his fingers.”
The Hindustan Times, Chandigar
10th July, 2001 | A Reportage
“Sitarist Waves Melodies of Rain: Dhrubajyoti Chakraborty’s recital at Pracheen Kala Kendra, here this evening reflected the season at the very outset with Raga Mian Ki Malhar…, considered as the ‘king of the Malhars’. Demonstrating a well organised conventional Aalap and Jod followed by Vilumbit and Drut in Teental. The Gat composition was brightly presented. Moving on to Raga Mishra Pahari Thumri, he impressed with his ability to amalgamate notes from ifferent languages and styles including folk. He was accompanied on Tabla by Debasish Bhattacharjee, student of Pt. Swapan Chowdhuri. Ruchika Thakur ably accompanied them on Tanpura. Dhrubajyoti has been playing Sitar since he was seven under the tutelage of Prof. Sunil Deb Burman of the Senia Gharana. Later on he studied under renowned Guru Prof. Santosh Kumar Banerjee, a doyen of Rampur Senia Gharana. Dhrubajyoti is a multifaceted man who has made name for himself as a composer, music director and lyricist. At the program at Pracheen Kala Kendra, he aptly demonstrated why he is considered on of the rising of his Gharana’s new generation and left the audience wishing for more.”
Ponero Din (fortnightly Bengali magazine)
June, 2001
“Recently Taan Music Festival -a programme of Indian Classical Music was held in Jnan Mancha. The main attraction obviously was the Sitar concert by Dhrubajyoti Chakraborty. He presented Raga Paraj Vasant. The Raga is not very commonly being heard nowadays, may be due to the narrowness of its span. The joyous waves of the Spring reflected in the Aalap-Vistar of this seasonal Raga, moved the hearts of the audience in that tail end of the Bengali New Year eve. After nicely
presented traditional Aalap-Jod-Jhala, the excellent and bright performance of Vilumbit Trital Gat was constituted of intricate but brilliant Layakari, speedy Taan, Vistar and varieties of Tehais with applications of beautiful Bol-Vani. The artist ended his recital by playing the Drut Teental Gat and a charming Jhala. Biplab Bhattacharya was extremely good as a Tabla accompanist with the artist.”
Sarega (monthly music magazine)
June, 2001
“Santosh Bandopaddhyay’s student Dhrubajyoti Chakraborty, played Raga Paraj Vasant in Sitar -at first Aalap and Jod, then Vilumbit and Drut Teental Gats
respectively. The beauty of the Raga has been realised nicely in the Aalap phase. Tabla assistance of Sandip Banerjee made the total recital more attractive.”
The Daily Punjab Kesari (Chandigar)
5th June, 2001
A Reportage titled as “Movements of Dhrubajyoti Chakraborty’s fingers on Sitar” -depicts the musical and academic qualifications, achievements, awards and laurels etc. of Dhrubajyoti Chakraborty.
Ananda Bazaar Patrika
9th June, 2001
“Artist of the second phase was Dhrubajyoti Chakraborty, who delineated Raga Hemant in Sitar. Structuring of Vistar in a consolidated form and spontaneous application of Meend and Krintan, Gamak and Bol each part bears the indication of his matured musical thought. He exhibited his expertise in the renderings of delicate and difficult rhythms and Layakari. Vigorous Tabla accompaniment by Somen Sarkar created many amusing spells.”
Ajokal (Bengali)
26th May, 2001 | A Reportage of Ajokal
“Bengali Artist honoured at abroad: Recently Sitar artist Dhrubajyoti Chakraborty alongwith his Tabla accompanist Debasish Bhattacharjee, exhibited marvellous and skilful artistic performances throughout different cities in Germany. Apart from those performances, he had also given lecture demonstrations in a few seminars regarding music and anthropology. Innumerable German music lovers as well as non-resident Indians had listened to his Sitar in the historical Dalhem Museum Hall at Berlin and in different places like Bonn, Cologne, Ruhr, Dusseldorf etc. Audiences from all these places beame moved with Dhrubajyoti’s musical talent. The Instrumental solo and lecture demonstration about music therapy by Dhrubajyoti in the historical chamber music hall at Leipzig University’s Music department which bears the memories of the performances of the legendary music maestroes like Bach, Beethoven, Mozart and the other great artists should be specially referred in this connection. It is worth mentioning that Dhrubajyoti is the first Indian musician who has brought forth the immense and unparallele treasures of Indian music there. “
The Statesman
29th October, 1999
“Dhrubajyoti Chakraborty, the inaugural artist of the second season, came with a tuneful, vibrant Sitar to delineate Shyamkalyan. The Raga was invested with grace right from Aalap till the concluding Gat in Teental. The classicist note combinations and dexterity of Meed productions on Kharaj coupled with felicity of Layakari skipping from one rhythmic pattern to another left no room for doubt about the artist’s sound techniques and correct ideas.”
Desh (fortnightly Bengali magazine)
19th September, 1999
“Sitarist Dhrubajyoti Chakraborty presented Raga Rageshri. There was an influence of Nikhil Banerjee in his rendition of Aalap which was fairly well. In Jod phase the artist played a number of Gamak Taans. He had delivered a number of very good quality Taans with Meends and Taans with Ladlapet Ang. The essence of Vilumbit Teental Gatkari alongwith Aat Gun Taan Tora was superb. He played an extremely good Jhala.”
Ananda Bazaar Patrika
14th November, 1998
“Presentation of Raga Behag in Sitar was rendered with Aalap, Jod, Jhala and Vilumbit and Drut Tritaal Gat by Dhrubajyoti Chakraborty. The clarity of note and rhythm compositions of Aalap and Jod in Veen Ang rightly expressed beauty of the Raga.”
The Statesman
23rd October, 1998
“Dhrubajyoti Chakraborty, in Sitar, went through the usual phases of Aalap, Jod and two subsequent Gats in Vilambit and Drut Teeltal. The Veena Ang Aalap was adequate for identifying the contours of the Raga Behag.”
Ananda Bazaar Patrika
15th August, 1998
“Sitar artist Dhrubajyoti Chakraborty presented Aalap, Jod, Jhala and a Trital Gat in the Raga Rageshri. At the end of his recital, the audience realised that an immense pleasure of his artistic magic potion had been gradually drenched in drops which were ultimately collected in their minds. Pandit Samar Saha’s Tabla assistance was unique.”
Ananda Bazaar Patrika
22nd March, 1997
“Dhrubajyoti Chakraborty rendered Raga Hemant in Sitar accompanied by Ustad Sabir Khan in Tabla. Though the Aalap portion was presented for a limited duration, the artist’s effort to ornament the Raga was perfect and beautiful.”
Sambad Pratidin
17th January, 1997
“‘Rupak’ Organisation arranged Sitar recital of Dhrubajyoti Chakraborty. He presented Raga Vasant Mukhari which consisted of conventional display of nicely delivered Aalap, Gat and Jhala. His Aalap rendition was marked with super perfection and in the Gat and Jhala compositions, the sound production was brightly and beautifully represented. He delighted the audience by presenting Vistar, Bol-Vani and Layakari, keeping parity with the style of his Gharana.”
Ananda Bazaar Patrika
28th July, 1996
“Dhrubajyoti Chakraborty rendered Raga Yaman Kalyan in Sitar. His expertise of perfect arrangement of the notes gave rise to a psychedelic representation of Alaap.”
Bartaman
14th June, 1996
“Raga Yaman Kalyan in Sitar was delineated by Dhrubajyoti Chakraborty. The Raga became colourful with a subtle beauty for the style of his application of notes particularly in Aalap portion.”
Prabasi Ananda Bazaar Patrika (overseas edition)
30th July, 1994
“Synonymous with versatility Dhrubajyoti Chakraborty, the talented young man has achieved expertise and success both in Sitar performances and Anthropological researches at his age of thirty, overcoming his physical challenges. He is a Polio victim with his paralytic right leg. But his mental strength empowered him to fight against all the adversities. His Sitar recitals have
enchanted thousands of audiences and occupied a prominent place in the hearts of the music lovers. Being a 1st Class M.Sc and Ph.D. in Anthropological Science from Calcutta University, Dhrubajyoti has received many academic as well as musical awards from all over India and abroad.”
Saptahik Bartaman (weekly Bengali literary magazine)
23rd April, 1994
“The audience was moved with the Sitar recital by the last artist Professor Dhrubajyoti Chakraborty who created a delightful ambiance.”
The Sunday Mail (Weekly)
18th March, 1992
“Dhrubajyoti Chakraborty who was trained under Guru Samtosh Banerjee, gave a fairly good account of himself on the start, in the Raga Puriya Kalyan.”
The Statesman
18th September, 1991
“Dhrubajyoti Chakraborty presented Raga Hemant, a Raga of Ustad Alauddin Khan’s creation. His Gat Portion was well rendered.”
Ajokal (Bengali)
20th February, 1987
“Dhrubajyoti Chakraborty, at first, presented Raga Rageshree in Sitar. Fresher Dhrubajyoti is promising but he should concentrate more on ‘speed portion’. His Alaap and Jod parts seemed to be more attractive. The Tabla assistance of Subhen Chatterjee was appreciable. His applications of Bol & Vaani were undoubtly skillful.”
Parivartan (fortnightly Bengali magazine)
8th January, 1986
“Dhrubajyoti Chakraborty presented Regeshree in Sitar where he performed at first brief Alaap, Jod and Jhala and Gat compositions respectively in the Raga Rageshri. The concluding part was bright and enchanting. He was accompanied with Tabla by Subhen Chatterjee.”