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Pandit Ajoy Chakrabarty is a masterful Indian vocalist whose daughter, the prodigious Kaushiki Chakrabarty Desikan, I had heard quite by chance a few years ago.

He was joined tonight by Indranil Bhaduri on tabla, Brajeshwar Mukherjee on vocal support and harmonium, Deborshi Bhattacharjee on vocal support and tambura and Sanchita Pal on tambura support. As red and blue lights bathed the stage, the musicians took their places for what would be a master class in heart-felt vocal performance.

The recital began with a slow and light Druphad in thirteen beats which was unfolded delicately and with confidence. This tradition of Druphad vocal music meant there was little room for ornamentation which did in turn give for a calming and dignified performance full of poise and feelings of lightness.

Famed for his quality of expression and knowledge of vocal music, Pandit Ajoy Chakrabarty next began to develop a slow Khayal in Raga Hamir which was set to five beat cycles and was both bold and playful. The quality of his vocal delivery was astounding, intervals were at times louder than the notes themselves which were subsequently pieced together beautifully to create contours in the air which you could clearly feel and enjoy.

To close the first half, Brajeshwar Mukherjee joined in to sing with Deborshi Bhattacharjee in a short South Indian composition which sparkled with imagination. Pandit Ajoy Chakrabarty sang along for key phrases and smiled with enjoyment as the piece came to a vibrant close.

After a short interval came a delightful Thumri in Raga Kirwani. Pandit Ajoy Chakrabarty voiced notes from outside the raga with such skill and imagination as to contort and expand my mind in most directions; something which I found particularly delightful and affecting.

After this came a raga based Bengali song, at the prior request of a friend in attendance, with yet more expertly selected atonal embellishments which was accompanied by some fantastic tabla playing. Pandit Ajoy Chakrabarty’s playful explorations created nods of approval and shakes of the head in disbelief - often at the same time. By this point in the programme he was so relaxed that he played a few short harmonium ‘solos’ within the piece, which were extremely cheeky in their execution and raised more than a few smiles in the room! The song proceeded to unfold smoothly and beautifully, warmly arresting and more than a little sublime.

He closed the program with a compassionate devotional piece of Sanskrit verses which built upwards and outwards and fill the church, stirring in me a sense of awe. Feelings of yearning, joy, sorrow and hope lingered in the air as he closed the recital to a standing ovation and smiles.