Promotion of MUSIC & ARTS

One of the primary functions of the trust is to promote Indian classical music, as well as other art forms that Vishmadev Chattopadhyay was passionate about. This can include organizing concerts, recitals, workshops, and cultural events to showcase and preserve traditional music and arts.

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Scholarship PROGRAMS

The trust supports talented students in music and performing arts with scholarship programs, fostering the growth of the next generation of musicians and artists through education and training opportunities.

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Cultural Outreach PROGRAMS

The trust facilitates cultural exchange programs nationally and internationally, fostering cross-cultural understanding and collaboration in music and the arts to promote global harmony and appreciation.

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Promotion of Music and Arts

Organizing concerts, workshops, and events to preserve and showcase traditional music and arts.

Educational Initiatives

Offering music workshops, masterclasses, and seminars to foster appreciation and knowledge of Indian classical music.

Humanitarian Efforts

Supporting causes aligned with Vishmadev Chattopadhyay's values, such as education and healthcare.

Cultural Exchange Programs

Facilitating cross-cultural understanding and collaboration through international music and arts exchange initiatives.

Ustad Vishmadev Chattopadhyay

Vishmadev Chattopadhyay (Bengali: ভীষ্মদেব চট্টোপাধ্যায়; 8 November 1909 – 8 August 1977) was an eminent vocal artist in Indian Classical Music, a revered Guru (আচার্য্য or Ustad) in the Delhi Gharana of the vocal classical genre, and a music director in Bengali Film Industry in its early era.

Vishmadev was born on 8 November 1909 at Sarai village near Pandua station of Hooghly district in West Bengal of Ashutosh Chattopadhyay and Prabhabati Devi. His family was known to have spiritual inclinations, being descendants of Sadhak Gangananda Swami, and had relations with the family of Shri Ramakrishna (born Gadadhar Chattopadhyay).

The name of Vishmadev Chattopadhyay, sparkles in the history of Indian Classical music as an extra ordinary genius singer who ‘appeared like sunrays in the musical horizon.’ Though he used to sing basically khyal, yet versatile as he was ,he could wander around the different fields of music with ease and at times surpassed even the top rankers in their respective fields by adroit excellence and wonderful artistic acumen.Here lies his versatility. He imprinted the impression of his creativity in almost every field of music and became a legendary figure in his lifetime.

Pandit Jayanta Chattopadhyay

Pandit Jayanta Chattopadhyay, the son of the legendary Indian singer Vishmadev Chattopadhyay, was born into a family deeply rooted in the rich tapestry of Indian classical music. Born on the 7th of September, 1975, in Kolkata, West Bengal, Jayanta inherited not only his father's illustrious name but also his musical talents and passion.

From a young age, Jayanta was immersed in the world of music, surrounded by the melodic strains that filled his home. Under the guidance of his father, he embarked on a musical journey that would see him emerge as one of the leading vocalists of his generation.

Music and Nature

Ragas have been associated with seasons since time immemorial. Each raga arouses a certain kind of sentiment, working in connection with different elements of nature. The number of times nature shows up in classical music is astounding.

Jayanta Chattatopadhyay, being the torch bearer of Sangeetacharya Vishmadev Chattopadhyaya, loves nature, alike his father did. His passion for bird watching enabled him to trace birds of varied species and in this course he realized that quite a good number of species are in verge of extinction. That led him to campaign for maintaining the Ecological Balance of Nature.

Pandit Chattopadhyay had observed ‘Earth Day’, one at Suiri, Birbhum District and another in Lake Town, Kolkata. On 18th and 19th, on the occasion of Ram Nabami, a programme was conducted at Suiri, where tribal and non tribal villagers performed. The aim of this programme was to arouse Asmita- ‘Self Respect’ among the villagers. A full session was dedicated to deliver the message of Earth Day and to create environmental awareness. He also elaborated on how cutting trees adversely affect natural calamities. Shri Chattopadhyay, in his speech, urged to avoid cutting trees unless no other alternative is available. He emphasized that no one has right to cut a tree if he has not planted at least five saplings. This message was well accepted by the tribal people, the ladies committed that they would plant trees and men confirmed they would not allow anybody to cut trees unless at least five trees are not planted.

For last few years he has taken initiative for Tree Plantation Programme in villages of Sundarban. A five day long Photography exhibition titled ‘Sundarban Tumi Bhalo nei’ at Bengal Art Gallery of IICR housed photographs clicked by him to aware people on the state of despair of this beautiful delta. Besides that, he is conducting a research on Sundarban as well.

Pandit Chattopadhyay believes it is his responsibility as a ‘Guru’ to try to save the nature for the future generations to come and he also has the opportunity to create awareness among his disciples and motivate them to put a step forward towards a sustainable future.

CHARACTER

Vishmadev was of religious temparament from his boyhood days. After his Upanayan he maintained gairik attire for 11 years as ordered by his father . He used to attend school and college classes with this dress. Though in his service life he did not put on that gairik dress he had that spiritual mentality which this dress code signifies. It became evident when in 1940 he left his fame, money and family during the peak time to stay at Sri Aurobindo Ashram at Pondicherry. He came once from the Ashram during Durgapuja in the year 1941. Again he revisited there for the second time and spent seven long years at a stretch . He finally returned home in 1948 with the broken health.

During post Pondicherry period at Kolkata his vocal recital on Khyal,Thumri and Bengali songs were again published by Megaphone Record co. Again he started singing in the functions . But he did not agree to work in the film industry any longer though he was requested time and again. He preferred to live like a domestic sage.

Pandit Jayanta Chattopadhyay

Born on 8th November 1909 at Sarai village near Pandua station of Hooghly district. he manifested his fascination for music as well as musical talent at his very five years of age age and became famous as child prodigy. His parents were Ashutosh Chattopadhyay and Prabhabati Devi ,the descendant of Sadhak Gangananda Swami of that Chattopadhyay family of Hooghly district to other branch of which Thakur Ramkrishna belonged. His is the family of spiritual background. Vishmadev was the first one in the family who had taken up music as his life style. He was brought to Kolkata when he was one year old. For schooling he was admitted to Sanskrit Collegiate School and appeared at Probeshika examination from Calcutta Training Academy. Thereafter he was admitted to Vidyasagar College .

Vishmadev had taken his initial talim on Classical music from Shri Nagendranath Datta. Later on Khalifa Badal Khan of Delhi gharana had given him talim for fourteen years.At the age of twelve his first record was published from HMV under prestige label with two tappas of Nidhubabu. He stood first in all the three categories Kheyal,Tappa and Thumri in an inter college music competition and was awarded BESTMAN prize. The marks that he secured enabled the college also to achieve the first rank.

Pandit Jayanta Chattopadhyay

Kaji Nazrul Islam was an admirer of Vishmadev. At his will Vishmadev joined Megaphone Record Company in the year 1933 as a Music Director cum Trainer. During this year Megaphone published his record on Khyal based on Malkaush and Aasha raaga. His name fanned out beyond the border of Bengal. He started receiving invitations from Allahabad, Kanpur, Lucknow, Benaras, Delhi, Mathura even from the distant Sikarpur near Karachi of the then undivided India. With this his performance was regularly live-broadcasted from All India Radio. Megaphone Company had released many of his records on Khyal and Thumri based on different raagas.The melody of his voice reigned supreme with captivating tonic variations, the jetspeed taan ,the artistic set of sargams, boltaan and gayaki. He flowered Raagpradhan Bengali songs in an innovative way. His Bhajan and Harmonium playing records were also published at this time. In addition, he used to tune in various songs for other singers and even published records on the orchestra music. Records of many palas (drama on disc) were published from Megaphone Company .

Vishmadev joined Film Corporation as a Film Music Director in the year 1937. Here the ace artist had tuned in twelve films. The film named Rikta made a great stir in the music world for in this film he mingled the tune of east & west for the first time which was ,in fact, first such attempt in any film in India. Shri Sachin Dev Burman was his assistant in four films.

Pandit Jayanta Chattopadhyay

As a teacher Vishmadev also earned a good reputation. The students who took talim from him made a mark in life. Rajkumar Shyamanand Singh of Banaili Estate,Sachin Mukherjee, S.D Burman (Music Director), Suresh Chakraborty, Begum Akhtar,Uma Bose,Juthika Roy,Prakash Kali Ghoshal,Protima Bandyopadhyay,Bhabani Das,Himansu Roy,Saila Devi,Chinmoy Chattopadhyay Jayanta Chattopadhya,Chairman,Vishmadev Memorial Trust took talim from him. Film personalities like Kanon Devi,Chhaya Devi, Lily Chakraborty were his disciples

CONTRIBUTION TO INDIAN MUSIC

Introduced new type of Sargam in Khyal and Thumri.

Introduced new genre of Bengali Raagpradhan song.

Introduced new style of singing and formed a different Gayaki.

Founded new style of Harmonium playing.

Introduced mingling of the tune of eastern and western music in film.

HONOUR /REWARDS/AWARDS

Honored with prestigious awards for excellence and innovation across diverse business ventures. Recognized for outstanding contributions in entrepreneurship and customer satisfaction.

D.Lit.

Rabindra Bharati University (1972)
UNESCO

Recorded four songs as Indian music samples
Documentary

West Bengal Government
Sangeet Nayak

Prachin Kalakendra (1976)
Calendar

West Bengal Pustak Parshad
TV Film

Kolkata TV Center (1991)
Medals

Gold and silver for performances
Manpatras

Honors from various organizations

COMMENTS OF CELEBRATED PERSONALITIES

To comment on him means to worship mother Ganges with her own water,rather I can show light to Sun with the match stick but to tell something about him is impossible!!

Dhananjay Bhattacharya

Nobody like him will ever be born in Bengal. No one will be able to sing Thumri as he used to. He was the creator of Bengalee Raagpradhan Song. Listening to his music made me singing.

AkhilBandhu Ghosh

Bhishmadev was an artist of modern temperament. He composed a unique tune by mingling the western tune with the Indian one. That was the first time when western music was put into Indian film. The song was set for a Bengalee film named Rikta.

Premendra Mitra

He is an exemplary figure.I had many chances to accompany him but everytime I felt that he was different,extra-ordinary. He had a wonderful command on laya.The skill he had on harmonium playing is also a rare illustration

Hirendrakumar Gangopadhyay

It is since many years that such a genius singer appeared like sunrays in the musical horizon. He used to enchant everybody within a few moments by his song. Intoxication of Bandish, melody of the tune and TAASIR of the voice are all present in his khyal song. I observed that while singing he used to become so much absorbed in the music,and it appeared as if he was singing for the listening to the God himself

Pt. Siaram Tewari

The consummate artistry exhibited by him in the matter of application of ‘swaras’ was beyond the wildest imagination of the best among artists. He had indeed become an idea personified,a legend in his lifetime and remains so to this day.

Rajyeswar Mitra

Bhishmadev belongs to the epoch-making artist of this class who has easily entered into the depth of delightful world through peaceful and meditative trance where the rules of Sastra are inactive or different techniques of music have been ceased to exist..In his divine music lyric, laya, tune,rhythm have forsaken their individual existence in the midst of unearthly romantic union

Radhika Mohan Moitra

He is a person of very sober,gentle and absolute artistic mood.The style of his singing is very attractive.His songs always comes to my memory with special joy and liking. His songs will remain ever fresh to the music lovers.

Ratanjanker S.N.

I have seen him as a saint, as a learner,as a complete artist –as an apathetic, non-materialistic. I cannot remember anyone who is entirely engrossed with tune,taan,rhythm like him. Kalo da ( Bhishmadev’s pet name) was gifted with the blessings of Goddess Saraswati.

Ramkumar Chattopadhyay

I was not fortunate enough to listen to the songs of Bhishmadev for many a time. But what I heard was enough to made me inspire as well as perspire as he used to play with the tune in such a way that was beyond one’s imagination and belief.

V.Balsara

MISSION, VISION & GOALS

MISSION

Preserve, promote, and perpetuate Vishmadev Chattopadhyay's musical legacy, advancing Indian classical music and cultural causes.

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VISION

Create an inclusive cultural community, enriching lives through music, fostering appreciation, understanding, and harmony.

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GOALS

Preserve Indian classical music, support emerging artists, foster cultural exchange, engage in humanitarian efforts, and promote research.

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‘আমার গান শোনো, তোমার গান গাও’

আত্মভোলা সুরসাধক ভীষ্মদেব চট্টোপাধ্যায়। ঐশ্বরিক এক ক্ষমতায় তিনি শ্রোতাদের মন জয় করতেন। তাঁর সমৃদ্ধ গায়কিতে তানবিস্তার এমন দুর্বার গতিতে চলত যে, প্রতি মুহূর্তেই থাকত অপ্রত্যাশিত চমক। লিখছেন বিভূতিসুন্দর ভট্টাচার্যআত্মভোলা সুরসাধক ভীষ্মদেব চট্টোপাধ্যায়। ঐশ্বরিক এক ক্ষমতায় তিনি শ্রোতাদের মন জয় করতেন। তাঁর সমৃদ্ধ গায়কিতে তানবিস্তার এমন দুর্বার গতিতে চলত যে, প্রতি মুহূর্তেই থাকত অপ্রত্যাশিত চমক।

মঞ্চে তখন চলছে ‘সীতাহরণ’ পালা। ভিড়ে ঠাসা দর্শকের মধ্যে পাঁচ বছরের এক বালক একমনে বিভোর হয়ে পালার গানগুলি শুনছিল। পরদিন সকালে বাড়ির পাঁচিলে বসে খেলা করতে করতে সে যখন পালার গানগুলি অবিকল গেয়ে চলেছে, তখন পরিবারের সকলেই হতবাক! যে ছেলে কোনও দিনও গান শেখেনি, সে কী করে এক বার শুনেই পালার ওই সব গান গাইছে! সে দিন পরিবারের সদস্যরা বুঝতে পেরেছিলেন, বালকটির সহজাত সঙ্গীতপ্রতিভার কথা। পরবর্তী কালে মাত্র বারো বছর বয়সে যখন সেই কিশোরের গাওয়া টপ্পার রেকর্ড প্রকাশিত হয়, তখন কারও বুঝতে বাকি ছিল না যে, সঙ্গীত জগতের এক নক্ষত্র হয়ে বিরাজ করবে সে।

আত্মভোলা সেই সুরসাধক ভীষ্মদেব চট্টোপাধ্যায়। এক ঐশ্বরিক ক্ষমতায় তিনি শ্রোতাদের মন জয় করতে পারতেন। অনেকেই বলতেন ভীষ্মদেব শ্রোতাদের নাড়ি ধরতে জানতেন। তিনিই সম্ভবত একমাত্র বাঙালি শিল্পী, যাঁকে সকলে ‘উস্তাদ’ বলে সম্বোধন করতেন।