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Straight to the point: Indian classical music is, and will always be, the most complete music in the world. There is Indian classical music that suits all seasons, all times of day, all moods, and all emotions.
Holmlia, on the southern side of Oslo, is honored to host one of the most skilled performers of Indian classical music in Europe: Sudeshna Bhattacharya. Sudeshna began learning the art of playing the sarod from her father, Sri Krishna Mohan Bhattacharya, who himself was a student of Pandit Radhika Mohan Maitra. She grew up in a home where Indian classical music was deeply rooted, and at the age of four, she started playing. Her grandfather had studied with Ustad Ameer Khan Sarodia from the Senia Vinkaar Gharana, a name and lineage that left a strong imprint on her musical heritage.
At the age of eight, Sudeshna began formal training under the renowned master Ustad Amjad Ali Khan. In 2003, she was invited by the French Ministry of Culture to France, where she spent a decade giving concerts both domestically and internationally, conducting courses and workshops, recording music, and participating in cultural celebrations and events. In 2013, Sudeshna moved to Norway, where she has lectured master’s students at the Norwegian Academy of Music and continued her life’s work as a performer, composer, teacher, and recording artist.
She plays the sarod. The finest instrument there is?! The sarod, which together with the sitar stands as one of the most revered and well-known carriers of sound in Hindustani tonality, has a unique essence. Unlike the sitar, whose frets guide notes with strict discipline, the sarod embodies naked freedom – a fretless form requiring masterful handling with the left hand. When playing the sarod, the strings are struck with a plectrum made of coconut shell, a touch of nature's own design. Notes are created as the player presses their nails against a cold, gleaming steel fingerboard with remarkable precision. In this humble interplay between hand, nail, and string lies a profound breath, a tone reflecting the eternal itself.
Joining her on this album is Mosin Kawa. He was born in Jaipur, Rajasthan, India, on May 3, 1992. At the age of three, he began learning tabla under the guidance of his father, Ustad Shabbir Ahmed. While continuing to learn from his father, Mosin also sought inspiration and new compositions from great masters such as Ustad Munshi Ahmed, Ustad Hidayat Khan, and Ustad Yusuf Khan. At the age of eight, Mosin performed at the Saptak Festival in Ahmedabad with a qawwali group. From then on, he began performing as a tabla soloist across different parts of India. At 18, Mosin travelled to Paris, France, with his older brother Shahid Hussain Kawa, an accomplished santoor player. Together, they performed music across several European countries, including Spain, the Netherlands, Germany, Switzerland, Belgium, and Italy, spreading the musical heritage of Rajasthan to wider circles.
About the title: As Sudeshna says: Mohini is the feminine version of Krishna and symbolizes feminine strength – not in war, but in peace, love, and harmony. This goddess could definitely step forward a bit more in the times ahead, thank you very much! Or, she is already present; one just needs to read a book or two or watch an informational film to realize that there’s much to learn from her and the various gods worshipped around the world. They are often on to something, and there’s no reason not to emulate them! Isn’t it strange that (at least in the Western world), it’s entirely acceptable to “look up to” athletes, actors, and capitalists, while many feel embarrassed to acknowledge a spiritually sound character or two?
But yes, Indian music is and will remain the best. Indian classical music, this ancient source of resonant wisdom and spiritual beauty, has two branches that each, in their own way, embrace the mystical in the human spirit: Hindustani and Carnatic music. Sudeshna, this art’s faithful steward, enters the Hindustani tradition with a spirit so profound and an interpretation so masterful that it feels as if the music itself speaks through her as its vessel.
Hindustani music is an art form that aims to reach the heart's roots, a painting of the nine primary emotions – the states of being that shape our lives: the burning fire of erotic love, the radiant joy of undisturbed happiness, the depth of empathy that brings solace to another, the power that rises like a spring flood of energy, heroism breaking through like a star in the night, fear rushing through one’s core, disgust pulling one away from what repels, awe lifting the soul towards the divine, and harmony, the gentle sense of everything in its rightful place. Each of these resonant tones acts as a medicine for the body and mind, reflecting the cosmos itself in every note and interval.
In Hindustani music, notes belong to their proper time slots. Each piece, each raga, is tied to a certain time of day or a season. Like the morning light reflecting in the dew or the autumn wind sweeping over leaf-heavy hills, music must follow nature's rhythms to be whole. Before the mighty strikes of percussion enter, each raga opens with a long and exploratory alap, where the notes search outward like roots seeking water – a journey into the soul’s deepest darkness and brightest clarity.
And even more beautiful, even deeper, is the play of the 22 microtones – the small, airy rising and falling tones that reveal a world beyond the West’s familiar scales, a wholeness that opens the door to a different, eternal tonal universe. Hindustani music is not just a listening experience; it is a revelation – a humble prayer, a step toward the heavens, and a resonance between earth and eternity. May more open their eyes and ears to this wondrous, deepening art!
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Catalog Number: MOT27LP
Release Date: March 14 2025TRACKLIST
A1 Raga Bhimpalasi (20:17)
B1 Raga Hamsadhvani (09:55)
B2 Raga Mishra Bhairavi with Ragamala (08:31)
Sudeshna Bhattacharya – sarod, tanpura
Mosin Khan Kawa – tablaCompositions by Sudeshna Bhattacharya
Recorded and mixed by Per Christian Berg at Audioskop Studio
Mastered by Christian Obermayer
Produced by Hans P. KjorstadThe cover image is a 12th-century sculpture of Mohini, exhibited at the National Museum in New Delhi, India.
