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Pandit Ajoy Chakrabarty's sublime style of rendition has won him legions of disciples and ardent fans around the globe. Perfect diction, clarity in sur (musical notes) and gayaki (creative musical progression), command over all aspects of laya and rhythm, and an unmistakable interplay between notes and words to evoke the desired mood and emotions have created the hallmark of Pandit Chakrabarty's music.
The Pandit, on surmandal, began with a rendition set on a profound, melodious raga -- Yaman. The meditative khayal was on vilambit ektaal. An intimate bond between the devotee and the Divine was the essence of his bandish: “Sumaran Tora Tu Karim Tu Rahim Rab Tu Rahman”. The artiste called for the blessings of the Almighty through his rendition.
Pandit Ajoy Chakrabarty fashioned an illusion of notes and taan while presenting aang of various gharanas (schools of classical music) including Jaipur, Agra and Kirana. A bit of sawal-jawab with tabla artiste Indranil Bhaduri and harmonium artiste Rupashree Bhattacharya, followed.
The lyrical melancholy mingled with the romantic melody of Bhairabi when Pandit Chakrabarty performed a thumri on Kaharba. The words “Kaa Karu Sajani Aye Na Balam” generated a plea. The style of rendition was rather poetic. Through immaculate meend, the way the Pandit demonstrated different harmonisations, showed his musical prowess. Wah! Kya Baat! were the instant responses form the audience.
Raising his voice to the highest Sa, the maestro effortlessly moved back and forth, touching all the three Sa on different scales. Rounds of applause were like waves of the ocean inside the hall.
In his innate humility, Pandit Chakrabarty delivered the line “Mo Ko Kaha Dhundo Rey Bandey” -- a Bhajan of Kabir. Based on Raga Bhairabi, the composition terrifically captured the hearts of the listeners as an awestruck silence prevailed in the auditorium.
The artiste performed several ragas based Bangla melodies. He first presented “Ghum Aashe Na”, set on a South Indian Raga, Kirwani. He also showcased different rendition styles, including North Indian, Western and Jazz. His repertoire included a Nazrul Sangeet, “Ami Chirotorey Durey Chole Jabo”; “Priya Bholo Abhiman”; “Dagor Nayoney”; “Bhorer Shishir Hoye”; “Kotona Bakoul” and “Ami Sur-e Sur-e Ogo Tomaye Chhuye Jai”.
Brajeswar Mukherjee accompanied Pandit Ajoy Chakrabarty during the entire event.
For the practice and promotion of classical music in Bangladesh, Bengal Foundation organized an evening of classical music performance 'Mayar Madhuri' on 29th April 2012 at the main auditorium of the National Museum at Shahbagh, Dhaka.
Vocal support - Brajeswar Mukherjee
Tabla - Indrani Bhattacharya
Harmonium - Rupashree Bhattacharya
Tanpura -Bijan Chandra Mistry and Hassan Mahmud
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