Tickets: $26 for adults and $21 for students* and seniors

Experience the timeless allure of the sarod, with tabla accompaniment in this unique concert that captures the soul of Indian classical music. Crafted with precision and passion, the sarod captivates the audience with its rich heritage and mesmerizing sound. With origins steeped in centuries of tradition, spanning across Indus Valley cultures, South East Asian, European and South Asian cultures, the sarod embodies numerous histories and eras. Join sarod player, Dwaipayan Ray with tabla and sarod player, Hriday Buddhdev, as they combine tradition, science and artistry to create a refreshing and emotional musical experience. After the performance, participate in a question and answer period and see the instruments up close.

This event is supported by the Bandish Network and the Vancouver Inter-Cultural Orchestra

We acknowledge that very young children can be disruptive to other patrons. We do not recommend bringing children under six years to this event. Children under the age of 14 must be accompanied by an adult.

Learn more about the artists

View the event poster

We asked the artists about their musical journeys, blending tradition with modern influences, and the deeper cultural connections behind their instruments. Here’s what they had to say:

Can you tell us about your journey with the sarod and what first drew you to this instrument? 

Dwaipayan Ray: I hail from Bengal, a region where cultural heritage runs deep. It is a tradition for almost every household there to encourage their children in some form of artistic pursuit, whether in performing or visual arts. My parents, though professors of engineering and mathematics, were no exception to this cultural legacy. Their true passion, however, lay in music, with a particular fondness for the sarod, because of its evocative sound.

When I was six years old, an opportunity arose for me to learn the sarod, and my parents seized it. We met Pt. Buddhadev Das Gupta through his son, who was a student of my father at the time. During our first meeting, Pt Dasgupta (or as I addressed him, “Jethu”) placed a small sarod in front of me and encouraged me to engage with it however I wished. My instinct? To wield it like a cricket bat, and I asked him if I could. He laughed, and turned to my parents and remarked, “I’ll teach him.” And just like that, my musical journey began.

How do you approach blending the rich heritage of Indian classical music with contemporary influences? 

Dwaipayan Ray: I have always been drawn to music in all its forms, particularly genres that involve intricate instrumental sections, such as jazz and progressive rock. My exposure to these styles, along with my collaborations with musicians from diverse backgrounds, has been incredibly enriching. These projects have allowed me to exchange ideas, gain deeper insights into different musical traditions, and expand my creative horizons.

Though my foundation is firmly rooted in Indian classical music, these contemporary influences continue to shape my musical perspective. I find myself learning something new every other day. Rather than consciously fusing styles, I let these elements blend organically, allowing my training and inspirations to interact in a way that is both authentic and evolving.

The sarod has such a deep historical and cultural lineage. Can you share any specific cultural or personal connections you have with its history? 

Dwaipayan Ray: In the realm of Indian Classical Music, the tradition of musical lineages is referred to as gharana. I am a disciple of Pandit Buddhadev Das Gupta of the Senia Shahjahanpur Gharana, a lineage with deep historical and cultural legacy that can be traced back to the Afghan Rabab.

The journey of my gharana began in the 19th century with Gulam Bandegi Khan Bangash, an Afghan soldier and rabab player who brought his Rabab to India and immersed himself in Indian classical music, blending his tradition with the Indian musical idiom. His legacy was passed to his son, Hyder Ali Khan, and grandson, Ghulam Ali Khan, a prominent Gwalior court musician. One of Ghulam Ali Khan’s sons, Murad Ali Khan, moved to Shahjahanpur and adopted Abdullah Khan, who established the Shahjahanpur Gharana. Abdullah Khan’s son, Ustad Md. Ameer Khan, influenced his disciple, Pt. Radhika Mohan Maitra, my teacher’s teacher.

Additionally, Pt. Maitra studied under Ustad Dabir Khan of Rampur, a direct descendant of Mian Tansen, the court musician of Mughal Emperor Akbar and the forefather of the Senia Gharana. This confluence of influences from both the Senia and Shahjahanpur traditions shaped Pt. Maitra’s unique style, which he passed on to my guru, Pt. Buddhadev Das Gupta. As a result, the style of playing that I carry forward is a rich blend of the Rabab music, and Indian classical vocal and dhrupad traditions, creating a distinct musical identity that is rooted in the deep cultural fabric of our gharana.

Could you talk about the connection between tradition, science, and artistry in your music? How do these elements come together in your performance? 

Dwaipayan Ray: Indian classical music is deeply rooted in structured patterns of note progression known as ragas. These ragas form the foundation for traditional compositions known as bandishes, which have been passed down through generations—either through dedicated tutelage or through renditions over time. Each bandish is set within a rhythmic framework known as a tala, and within these parameters, we improvise, ensuring that every performance remains both dynamic and true to tradition.

I owe my analytical thought process to my background in physics, which allows me to approach music with clarity and structure. I often find myself drawing parallels between musical patterns and scientific principles, which helps me break down complex ideas into simpler, more intuitive expressions. Additionally, my experience with mathematics influences the way I craft intricate rhythmic structures, enabling me to experiment with unconventional time signatures.

Ultimately, I strive to merge these elements—tradition, science, and artistic intuition—to create an experience that is both intellectually and emotionally engaging for the listener.

What do you hope the audience takes away from this performance and the opportunity to interact with the instruments afterward? 

Dwaipayan Ray: I would hope that the main takeaway from this program is a deeper understanding of the instruments, their anatomy, and the music they create. The opportunity to engage with the instruments afterward offers a chance to make the experience more personal, creating a lasting impression and encouraging greater appreciation for the artistry and the cultural heritage behind the music.