Photo of Pandit Tarun Bhattacharya - Santoor

Pandit Tarun Bhattacharya

In order to be able to play the meends (gliding tunes) in a better way, Pandit Tarun Bhattacharya equipped his instrument with thicker strings. This modification meant one further step on the way towards the Shatatantri Veena, described in classical texts as the "hundred-stringed Veena".

Over and above, he developed a technique to tune the almost one hundred strings of his instrument in a quick and uncomplicated procedure.

Having received his first lessons at the age of four from his father, Pandit Robi Bhattacharya, in 1982 no one less than luminary Pandit Ravi Shankar took on him. His demanding education has been honoured with awards and performances in radio and television throughout the world.

Photo of Pandit Ronu Majumdar - Bansuri

Pandit Ronu Majumdar

The bamboo flute (Bansuri) is said to be the primordial instrument because it comes closest to the human singing voice. The richness of subtle and subtlest pitch nuances is accomplished through a refined blowing technique and gradual covering of the 7 grip holes, which, however, requires decades of practice. Pandit Ronu Majumdar inspires his listeners in all parts of the world since the 1980s, when he was on a tour with his master Pt. Ravi Shankar. Today he is one of the leading authorities on the bamboo flute.

Photo of Kushal Das - Sitar & Surbahar

Kushal Das

"Classical Indian music with Kushal Das on the Sitar ... Without big bang effects but traditional Indian music effective in its modesty."
- Szene Hamburg, November 2000

Photo of Biswajit Roy Chowdhury

Biswajit Roy Chowdhury

Biswajit learned Sarode with Amjad Ali Khan, which affected his technique. The mode of his Raga interpretation, however, has been strongly moulded by his instruction through the vocal legendary Mallikarjoun Mansur.

Photo of Anindya Banerjee - Sarode

Anindya Banerjee

Anindya Banerjee is one of the leading Sarod players of the new generation. His style has been shaped by the Senia Maihar Gharana, the large school of Indian Classical Music, which already generated masters like Ustad Ali Akbar Khan and Pandit Nikhil Banerjee.

Anindya Banerjee manages to successfully implement elements of Indian Classical Music on the Sarod that were normally only possible to be played on instruments like the Veena and the Sursringar. This allows him to play on the Sarod Ragas that are rare today and are normally reserved for vocal performance.

Photo of Prattyush Banerjee - Sarode

Prattyush Banerjee

The claim that the instrument with the largest sound range, the Sarod, can be also played with a lot of sensitiveness was proven by the exceptional musician Prattyush Banerjee in his first tour through Germany in April and May 2006. After more than 25 years of intensive instruction by Sarod maestro Buddhadev Das Gupta, today Prattyush Bannerjee, through his unconditional devotion to Raga music, is a continual guest on great music festivals of his country.

Photo of Ranajit Sengupta - Sarode

Ranajit Sengupta

As one of the best Musicians, Ranajit Sengupta completed his education with a master diploma at Calcutta's Rabindra Bharati University. Upon that he taught at several universities in India. In 1992 he was honoured by HMV, the largest record producers of the country, as the "best talent of the year".

Since 1994 Ranajit Sengupta has given regular concerts in many European countries, including Germany, Denmark, France, Switzerland, and the Netherlands.

Photo of Kala Ramnath - Violin

Kala Ramnath

"To write about one's daughter and disciple is a very difficult proposition. All I can say is that I'm thankful to the Almighty that he has given me Kala, who with her immense talent and musical abilities is all set to carry forward my tradition and legacy - the torch bearer of the Mewati Gharana in the true sense of the word. 'Kala' means art and that too related to fine arts. She stands true to her name in every way. God bless her. Jaiho!"
- Pandit Jasraj

"It was under him [Pandit Jasraj] that my violin started 'to sing'."
- Kala Ramnath

Photo of Sandip Chatterjee - Santoor

Sandip Chatterjee

The Vedic name of the Santoor is "Shatatantri Veena" (100-stringed Veena). It consists of a trapezoid body made of wood with 25-29 bridges. Each of these bridges is the starting-point of four strings. The strings are hit and picked by two swung sledges, whereby lovely bell-like sounds are generated.

Sandip Chatterjee discovered his love for indian classical music at the age of eight. Since then he is being trained by masters such as Pandit Tarun Bhattacharya and Pandit Ajoy Chakraborty.

In India he is upheld today as one of the great emerging talents on the Santoor.

Photo of Snehasish Mozumder - Mandolin

Snehasish Mozumder

Since Snehasish Mozumder received his first lessons from his father at the age of four, he never missed any possibility of perfecting his skills; the list of his teachers reads like the "who´s who" of indian classical music. Today he is among the few professional musicians who mastered this instrument, which is rare in raga music.

"The best 30 minutes 'Raga Desh' captures the duplicitous emotions that surround Indian monsoon season. Mozumder´s mandolin creates a melancholy mood perfect for introspection or meditation"
- Insite, USA January 1997.

Photo of Pandit Abhijit Banerjee - Tabla

Pandit Abhijit Banerjee

"With everything that is hand, with fingers, tips, heels, [Abhijit Banerjee] swirled over the drums, caressed or hit them, dynamically and soft, sometimes on the edge, sometimes in the middle, elicited from them cascades of artistic rhythmical figures, ignited a vortex of breathtaking sounds. Every centimeter of his fingers seems to elicit a new sound from the Tabla."
- Elbe-Jeetzel-Zeitung, 13 December 1999

Photo of Tanmoy Bose - Tabla

Tanmoy Bose

"In the world of tabla players of his generation, Tanmoy Bose stands out prominently, I especially appreciate the romanticism and the sense of proportion in his playing."
- Pandit Ravi Shankar

Photo of Gudrun Märtins - Odissi - Temple Dance from Indien

Gudrun Märtins

"The Odissi, to which Gudrun Märtens has committed herself, is one of seven classical Indian dance styles. ...
In the year of 1995 Gudrun Märtens went to India, to the state of Orissa, in order to study Indian dance at the school of Sangeeta Dash, one of the best dancers of the country. At that time she was only 23 years of age. … After 5 years of hard training, which she combined with travels to the most beautiful places of India, Gudrun Märtins returned to Germany. ...
As one of only 5 women in all of Europe she mastered the Indian temple dance called Odissi. In colourful costumes, with headdress and foot bells, she puts her feet down, sways her body back and forth to the foreign sounds of Indian music, performs complicated, precisely prescribed steps - an exotic play, the fascination of which hardly anyone can withstand."
- Die Welt, 06 November 2002