15 August 2025, Malda, West Bengal
The annual Yaad-e-Yunus festival, organised by Sabrang Sangeet Vidyalaya in Malda from 13 to 15 August 2025, is held in memory of Ustad Md. Yunus Khan, a respected stalwart of Hindustani classical music. Conceived as both a commemoration and a living musical forum, the festival brings together artists across generations and stylistic backgrounds. This year, harmonium exponent Sadakat Aman Khan emerged as a central presence, contributing across all three days in performances that highlighted accompaniment, collaboration and solo expression.
Raag and responsiveness (13 August)
On the opening evening, Sadakat Aman Khan performed with Samrat Bhattacharjee, a PhD scholar of Indian Classical Music from Agartala, Tripura. Their programme featured Raag Shyam Kalyan, followed by a thumri, offering a traditional structure within which attentive interaction could unfold.
Khan’s approach was marked by restraint and sensitivity. Rather than asserting the harmonium as an equal melodic voice, he shaped his accompaniment closely around the vocalist’s phrasing. His bellows control allowed phrases to unfold in long, unbroken lines, reinforcing the calm and reflective nature of Shyam Kalyan. In the thumri, his playing became sparer still, favouring gentle harmonic suggestions and well-timed responses. The result was a performance rooted in listening, where the harmonium supported emotional nuance without drawing attention away from the vocal line.
Samrat Bhattacharjee, Sadakat Aman Khan (Harmonium) and Dhrubajyoti Chakraborty (Tabla) (Photo By- Sujit Bose)
Fusion as dialogue (14 August)
The second evening introduced a contrasting context through a jugalbandi between Sadakat Aman Khan and Maestro Aniruddha Roy, the renowned composer and music producer. The first half of the performance was centred on Raag Mishra Sarang, approached with deliberation and clarity.
Khan initiated the raga with a measured exposition, allowing its bright yet fluid tonal character to settle gradually. Ornamentation was kept minimal, with emphasis placed on continuity and melodic direction. Roy responded by introducing subtle harmonic and rhythmic textures, carefully positioned so as not to disturb the raga’s classical framework. Rather than imposing a Western structure, his interventions functioned as points of dialogue, creating space for improvisation while maintaining coherence.
As the jugalbandi progressed, rhythmic exchanges became more pronounced, yet the raga remained firmly anchored. The fusion here was understated and thoughtful, demonstrating how Mishra Sarang could accommodate contemporary sensibilities without compromising its emotional clarity.
Maestro Aniruddha Roy, Ustad Sahadat Rana Khan and Sadakat Aman Khan (Photo By- Sujit Bose)
Only after this cohesive exploration did Roy invite Maestro Ustad Sahadat Rana Khan to join the performance. With his entry, the concert moved into Raag Kirwani, incorporating elements of dadra and the composition “Deewana Kiye Shyam, Kya Jaadu Dara.” The shift marked a clear second phase of the evening. Sadakat Aman Khan played a pivotal role in anchoring the transition, ensuring continuity as the performance moved from raga-based dialogue into a broader fusion of Indian and Western idioms.
Maestro Aniruddha Roy, Samrat Bhattacharjee and Sadakat Aman Khan (Photo By- Sujit Bose)
Solo voice in an intimate setting (15 August)
The final day concluded with a baithak-style harmonium solo by Sadakat Aman Khan, accompanied by Dhrubajyoti Chakraborty on tabla. Presented in a mehfil setting, the recital prioritised nuance over projection.
Khan opened with Raag Kirwani, unfolding the alaap slowly and with restraint. His focus on tone and pacing allowed the raga’s introspective quality to emerge naturally. Chakraborty’s tabla accompaniment was attentive and understated, responding closely to shifts in tempo and intensity. Together, they created a conversational dynamic rather than a display-driven one.
The recital concluded with a thumri in Raag Pahadi, where Khan’s touch softened further. Phrasing took precedence over structure, and the harmonium’s voice adapted to the form’s lyrical immediacy. The intimacy of the setting heightened the impact, drawing attention to subtle variations in tone and breath-like control.
Continuity through listening
Across the three days of Yaad-e-Yunus, Sadakat Aman Khan’s performances reflected a consistent musical philosophy grounded in listening, balance and contextual awareness. Whether accompanying a vocalist, engaging in cross-genre collaboration or presenting a solo recital, his playing served the music rather than personal display. In doing so, his contributions aligned closely with the spirit of the festival, suggesting that the most meaningful ways of honouring tradition lie not in reinvention, but in attentive and thoughtful continuation.
The event stood as a significant cultural moment, underscoring Sadakat Aman Khan’s growing prominence and commitment to classical musical heritage.
