Recorded for Darbar in 2015, Guptipara, West Bengal
- Debasmita Bhattacharya (sarod)

Raag Bhimpalasi; Thaat: Kafi; Samay: Afternoon

Debasmita Bhattacharya is a sarodia from the new generation. Her rendition of the afternoon Raag Bhimpalasi is romantic yet sombre, demonstrating both patience and passion.

Learn more about the music:
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.”

Debasmita on Indian classical’s global audience: “I ended up my tour with Darbar Festival. It was really interesting to observe the Western audience...what really amazed me is that Western audiences respond to Indian music the same way we do. They are very attentive and particular. They value silence and space between notes.”

Bhimpalasi is an afternoon raga, said to evoke sringara [attraction, romantic love]. It uses the notes of Kafi thaat, with an aroha [ascent] of nSgmPnS and an avroh [descent] of SnDPmgRS. Characteristically, Dha and Re only appear in the descending line, and tend to be approached from the notes immediately above. Ma is the vadi [king note]. It is similar in shape to the Western Dorian mode, and the closest Carnatic raga is Abheri.