The fifth day of the Saptak Annual Music Festival 2026 in Ahmedabad became a profound testament to the enduring legacy of Hindustani classical music. The evening wove together a heartfelt tribute to a departed maestro and a scholarly yet soulful presentation by a leading vocalist, captivating the audience with music's timeless power.
A Son's Tribute: Sabir Khan Carries the Sarangi Legacy Forward
The stage was set for an emotional journey as Sabir Khan took up his sarangi. His performance was more than a recital; it was a poignant homage to his father, the legendary Ustad Sultan Khan. The notes from Sabir's instrument seemed to linger in the air, creating a bridge to the genius of his father, who was a colossal figure at Saptak for decades.
Audiences fondly remember Sultan Khan's performances, where his presence would pack venues as tightly as keys fitted on a harmonium. In a memorable moment from the 2011 edition of Saptak, the mighty ustad had sung "Mharo pranaam, Baanke Bihari," a devotional ode to Lord Krishna. Unbeknownst to the listeners, that prayer would later serve as a requiem, as Sultan Khan passed away in November 2011.
However, the 2026 edition celebrated music's immortality. Sabir Khan, with reverence and skill, upheld his family's illustrious sarangi tradition. He was accompanying the esteemed tabla stalwart Yogesh Samsi, whose mastery further cemented his star status in the Hindustani music galaxy. Together, the duo built their performance to a finale marked by the speed and grace of hope ascending during a sacred ritual.
Ashwini Bhide-Deshpande: The Scholarly Approach to Sublime Beauty
The final baithak of the night featured the doyenne of the Jaipur-Atrauli Gharana, Ashwini Bhide-Deshpande. Known for its methodical and note-perfect construction, the gharana's style is a product of scholarly thoroughness. Yet, as Bhide-Deshpande demonstrated, its core is a lithe and practical presentation of sheer beauty on stage.
Her rendition of Tilak Kamod was a perfect example of beauty fulfilling its promise. She began with a bandish set to a slow tempo, "Sakala Dukha Harana Sadanand," which translates to 'the remover of all unhappiness.' Her delivery was precise, adhering strictly to her gharana's tenets. More importantly, the sound had a tangible, physical effect on the audience, moving with the nimbleness of a yoga instructor and gently guiding listeners' minds into a state of meditation.
Invoking the Formless: The Power of Nirguni Bhakti
Explaining her choice, Bhide-Deshpande noted that the bandish does not invoke a particular deity but speaks to the Nirguni tradition—the worship of a formless divinity. Here, 'Sadanand' represents eternal bliss. Through her nuanced and powerful rendition, Bhide-Deshpande transformed this abstract concept of bliss into a solid, palpable sensation felt by everyone present.
This ability to transmute a philosophical concept into the thrill of a physical experience is the signature power of the Jaipur-Atrauli Gharana. Day 5 of Saptak 2026, therefore, stood as a powerful dual narrative: one of legacy lovingly preserved by Sabir Khan, and another of sublime artistry delivered by Ashwini Bhide-Deshpande, together affirming the immortal spirit of Indian classical music.
