A unique musical personality, and the ability to think out of the frame coupled with technical brilliance, has cemented Debojyoti Mishra’s reputation as a proponent of Indian post modern music in the global arena.
Flaunting a nose for the unusual, Debojyoti Mishra has traversed the mainstream and commercial arena with his pleasurably discordant symphonic expressions.
Born in Kolkata in the year 1960, Mishra was blessed with a musically oriented family and a prominent cultural bearing. For the son of a violin teacher Jahnabi Ranjan Mishra, the four-stringed instrument could have been a natural inheritance. But Mishra’s initiation to institutional music at a delicate age of 5 was through yet another classical instrument of strings – the Sarod. He was weaned on a rich musical heritage of Indian classical music under the tutelage of maestro Ustad Ali Akbar Khan, though it was for a short while.
Violin adapted his musical consciousness at the age of 9 to build camaraderie right through childhood, past adolescence into adulthood. He learnt to play western classical on violin under the guidance of professor Stanley Gomes .
If the classical renderings of maestros like Ustad Abdul Karim Khan, Ustad Faiz Khan, Ustad Aamir Khan, Pundit Ravishankar fashioned his musical perception, the flowing orchestral wonders of Beethoven, Mozart, Brahms, Bach, Stravinsky, Tchaikovsky opened up for Mishra, a broad spectrum of musical styles and approaches.
Musical discipline was ingrained in him under the strict tutelage of his father while the passion was kindled at the nightlong soirees of ‘Kirtan’ where Mishra as a young boy would accompany his grandmother to watch how melody overwhelmed emotions. But this irresistible pull towards the octaves was substantiated by a mind enriched by literature. At a very young age Mishra turned into a voracious reader influenced by his mother to lap up works across all genres by the literary stalwarts. This habit gradually culminated into a natural flair for writing and poetry for Mishra.