It was indifferent to attend the 13-day 45th Saptak festival in Ahmedabad after a gap of a few years. Everyone remembered the founder Manju Mehta, who died in 2024. However, Vineet manners and hot hospitality remained the same. The artists performing in the octave are like the family, even if this is their first appearance on the stage.

Some things never change in the octave – a simple platform in a school premises, despite the excellent sound system being both indoors and outside despite this event, and strict adherence for time.

Today, Sapak, founded by Nandan and Manju Mehta, has become the longest of India.Classical music and dance ceremonies are held every year from 1 to 13 January. Sandeep Joshi, one of the son -in -law and organizers of the founders, said the festival increased from one day to three, one week and the current for 13 days. Nandan Mehta is a disciple of PT Kishan Maharaj, who used to come on the festival on 31 December and lived till January 15.

Initially, the program was conducted informally-the artists lived in Nandan Mehta’s house, and other similar-ideologies music lovers. Gradually, an award for honoring artistic excellence was established. It was also unique in the artist who performed, he was called to honor. The recipients of the award include PT Jasraj, PT. Shiv Kumar Sharma, Vidushi Kishori Amonkar, Ustad Ali Akbar Khan and PT. Samata Prasad.

Even this ceremony used to be personal. The archival recording of the artist will be released, and Kishan Maharaj usually wrote a poem on the artists. Apparently, he will take a pinch – “If you want a copy of my copy, you have to come to Banara on the festival in memory of my father. Only then I will present a poem to you, duly ready! ,

Saptak has memorable concerts. 1N 1997, in his first presence in Saptak, PT. Birju Maharaj said ‘Nad’, Pt. Rishi Upadhyay played the roles of Pakhwaz and PT. Kishan Maharaj Tabla. A two -hour tabla single of PT. Samata Prasad is another rare gem.

Shubendra Rao again woke up the memories of his Guru, Pt. Ravi Shankar

This year too, there were some very special concerts. Shubendra Rao, senior disciple of PT. Manju Mehta’s Ravi Shankar and Guru Bhai again woke up their guru’s memories in their heartfelt concerts (this year’s festival was dedicated to Manju Mehta and Ustad Zakir Hussain). He composed Raga Jogeshwari by his guru, combining Rags Rageshwari and Jog. Seemless Alap Jor gave way to an unusual jhala before going to the middle lea composition in Jhapatal. The second composition was in the actal, and unusually, Shuhendra concluded her concert clinging to the actal – usually, it is difficult to maintain Lae in ATI Dhrut Jhala. Subsequently, Shubendra played the role of Rag Mishra Gara, demonstrating his command on rare pieces of music. The composition was an old, with ‘Bolkari’, and a frightening feast. The tabla was the highest lyrical tanmoy Bose from Kolkata.

Another satisfactory concert was by PT. Ulhas Kashalakar, who expertly prepared the hero Kanhara, a raga was considered in a piece of full-length. Completely establishing the kanhara material, Mestro created a web of note linkage, using the singer’s Agra style to decorate it. His goal mex and emotional singing were deeply satisfactory – he sang three compositions. The next raga was paraze. Unusually, Yogesh was on the tabla with Yogesh Samasi and Sudhir Nayak on the harmonium. The synergy between the two was clear, in the past music freedom was taken fearlessly. Sudhir shared that he often performed together in the past. Vadodara-based Bhavik Mankad was given vocal support.

PT. Ulhas Kashalkar expertly prepared raga hero Kanhara

Pawan Siddam, a disciple of PT Nayan Ghosh, and the winner of the annual Saptak collision competition, were influenced by his confidence and the list of comprehensive performances. Ustad Shujaat Khan was in his element, as well as to tabla with Amit Choubey and Sapan Anjaria, and as usual to the audience. The elected raga was Karnataka Vachaspati, and the style was unmatched.

Ustad Shujaat Khan tolerated himself for the audience as usual.

Saptak is also efficient with collection. All concert recording has been manually digitized and available to students to listen. An artist can search for a raga or a rhythm, which can make it very useful for research.

Saptak formally opened its collection wing in 2004, and also started collecting recording from private collectors. Today, there are more than 15,000 hours of music, and 1,500 videos with more in the pipeline.

It also has private collections of many rasikas and patrons, including composer Rohit Desai, Deepak Raja, Kishore Business, Sugato Roy Chaudhary and Rani of Sanand. Institutions such as Rukavipa Foundation, Samvad Foundation, Music Center and Advaita Archives have donated their rare music to the archives.

All concert recording is manifestly digitized and available to hear.

Rare recording includes a private concert of teenager ammonkar in the 1990s, when he sang at Mehta’s residence, and allowed to record herself unusually. Amid rare recording, Thumris is provided by Banaras’s 28 Tawifs, some dating back in the 1900s.

The octave team ensures that rare music is available only to hear, and cannot be copied. Pods listening. So far, the archives are available only offline, although the octave curator and tabla artist Sapan Anjaria shared that in the future, members could be delivered online.