Soumya was born into a family of music lovers. His mother received some early training in the Sitar and vocal music. However, both his parents were avid music listeners and had a large collection of LPs and other recordings of classical music at home. His siblings and cousins were all learning Indian Classical music of some form by the time Soumya was a little boy and with lessons on the tabla, so began Soumya’s initiation into Indian classical music. He turned to playing the Sarod when he was eleven under the tutelage of the highly respected Pt. Samarendranath Sikdar, a senior disciple of the late Pt. Radhika Mohan Maitra of the Shahjahanpur Gharana. For nearly thirty years he has received extensive training under his guru in a multitude of north Indian Ragas, some of which are very rare and unique to his Gharana.
His solid technique and thorough grounding in the roots of his own music notwithstanding, his interests also lie in exploring the commonalities of North Indian Classical music with other music styles.
His playing style has been greatly influenced by the likes of his guru and other masters of his Gharana. It highlights a perfect blend between the Rababiya and Gayaki styles that is unique to the Shahjahanpur Gharana. He is both a purist, who likes to maintain the authentic forms of the Ragas as passed down the generations of Ustads (maestros), and at the same time, he likes to experiment with other forms of Indian as well as world music, to find common strands of melodic expression.
Soumya blossomed as a young artist on All India Radio Calcutta between 1990 and 1995. During a brief stint in Australia for a couple of years in the nineties while pursuing his MBA, he truly established himself as a mature instrumentalist, and also began to collaborate with other forms of world music. He performed live with a Flamenco dancer in a production that combined the gypsy roots of the dance with Latin American percussion, Middle Eastern vocals and Indian Classical instrumental music. He returned to Australia in 2000 and 2011, giving concerts, lecture demonstrations and workshops.
For more than a decade, Soumya has been performing throughout the US and neighboring countries. His focus remains on traditional Hindusthani instrumental music, and apart from solo recitals, he has also collaborated with a number of instrumentalist and vocalists. In addition to pure Hindustani he continues to work with other music genres such Classical Carnatic (south Indian), compositions of Rabindranath and Nazrul, flamenco, jazz and latin American percussion. Soumya is a risk management director for a well known bank but his real love for music brings him back to the stage often in musical concerts.
Recent concerts of note include the performance for the American Folklife Society at the Library of Congress, a Hindustani-Carnatic Jugalbandi entitled Rhythm of Freedom at the Embassy of India in Washington DC. He continues to perform throughout the United States, India, and neighboring countries such as Mexico. His recent performances in major cities such as Cleveland Ohio, Princeton New Jersey, Seattle Washington, and Richmond Virginia, have drawn packed audiences and have earned rave reviews.
Soumya was recently invited to perform in front of a select audience at the prestigious American Folklife Center of the U.S. Library of Congress. Playing before a packed audience, he enthralled listeners with a beautiful medley of morning and daytime Ragas. Below is an excerpt of his concert. Accompanying him on the Tabla is Debu Nayak.
Concert showcasing collaboration between two classical music genres of India. Hindusthani music is largely prevalent in northern India while the Carnatic music genre finds its roots in the south. Soumya is seen performing with Sandhya Srinath on the violin, Srinath Bala on the mridangam, and Debu Nayak on the Tabla. Raga is Bhoopali/Mohanam.