Sangeet Piyasi's endeavour to promote Indian classical music in the past 25 years was celebrated in Rabindra Sadan through a four-day music festival in which instrument-makers along with renowned artists were felicitated. The performance session was inaugurated by Madhumita Saha's vocal recital. She sang the vilambit and drut kheyals in Raga Puriya Kalyan. Saha followed a regular style of rendition and also presented a Tulsidasi bhajan to conclude her performance. She was accompanied by Samar Saha on the tabla and Anirban Chakraborty on harmonium. Amaan Ali Khan's sarod strings in Raga Shree filled up the evening. In alaap, he showed his expertise in standing on the notes and in his usage of mirs, followed by a gat in Rupak, which perfectly captured the calm and reserved mood of the raga. After an aochar, Amaan played Rageshree as well. He made the adachowtaal gat interesting with some unique taans and tihais. It would have been more arresting had he avoided the rush at the finishing line of drut teentaal. With his brief Shiv Kalyan he quenched the thirst for more. Tanmoy Bose accompanied him on the tabla. The tabla solo of Akram Khan was wonderful. He showed some exquisite kaydas of the Ajrara gharana.

The vilambit and drut kheyals in Raga Shree by Omkar Dadarkar unfolded in a predictable manner. But the presentation of Raga Tilang was quite fascinating. Surakha Deshpandey on the tabla and Pradip Palit on harmonium accompanied the artist. Anupama Bhagwat's sitar with the tabla accompaniment of Arup Chatterjee earned appreciation from the audience for an original and extensive rendition. Anupama played alaap and jod in Shyam Kalyan, followed by two gats in teentaal. She touched the hearts of the listeners with careful and exceptional touches of the key notes. She concluded her part with piloo dhun. The vocalist, Ruchira Ponda, chose Raga Dhuriya Malhaar, which is difficult to expand. Moreover, experts have different opinions on the application of gandhars in this raga. The artist presented the raga using komal gandhar. The drut kheyal was enjoyable. Bibhas Sanghai was on the tabla and Anirban Chakraborty played the harmonium. The tabla solo of Shubh Maharaj was based on teentaal and was enjoyable too.

The compact ensemble presented by the artists of ITC Sangeet Research Academy was based on Raga Madhuvanti. The artists included Abir Hussain (sarod), Sarwar Hussain (sarengi), Ratan Bharati (guitar), Ayan Sengupta (sitar), Paramananda Roy (flute), Indranil Bhadhuri and Bibhas Sanghai (tabla). The duet vocal recital of Sanjukta Biswas and Sabina Islaam Rahman, with the tabla accompaniment of Ujjwal Bharti and harmonium assistance from Rupashree Bhattacharya, in Bhimpalasree was unable to make a mark due to a lack of variation. Sabina, however, tried her best. Violin brothers Dev Shankar and Jyoti Shankar played alaap and jor in Saraswati Kalyan followed by two gats along with the tabla of Parimal Chakraborty. The performance was alluring and delightful, the westernized touch notwithstanding. They also played a folk dhun. The voice of Prashanta Samaddar and the flute of Debopriya Chatterjee created an agreeable atmosphere with Raga Multani. Shubhankar Banerjee's tabla proved to be an able accompaniment. Even though the vilambit and madhyalaya rendition sounded a little scattered, the tarana set the mood. After an aochar in Raga Desh, Debashish Bhattacharya and Sugato Nag played vilambit, madhyalaya and drut gats on slide guitar and sitar. The guitar-sitar combination followed a linear path with the tabla of Subhashish Bhattacharya and ended with "Vande Mataram". The duet-evening also witnessed the performance of S. Shekhar on mridangam and Bickram Ghosh on the tabla.

Ahmed Abbas Khan brought out the essence of Madhuvanti on shehnai. His performance was original and featured unusual movements of the key notes. The vistaars and taans showed his spontaneity and fluidity. He also played a kajri and was well accompanied by Rupak Mitra on the tabla. Partho Sarathi's sarod recital with the tabla accompaniment of Ashoke Mukherjee commenced with alaap, jod and jhala in Miyan ki Malhar, followed by teentaal gat in Desh. Although he started well, he could not persist with the melody. Kaushiki Chakraborty's vocal recital of Raga Megh was charming because of her beautiful voice and the nuanced vistaars and taans. But it suffered from monotony as she went on with vilambit, madhyalaya and drut kheyals with a raga that is of short span. She also sang a sweet kajri. Sandip Ghosh and Rupashree Bhattacharya accompanied her on the tabla and harmonium.

Sandipan Samajpati started with a spark, rendering vilambit kheyal in Patdeep, but he had a continuity problem in spite of his rich voice. He was accompanied by Soumitrajit Chattopadhay on the tabla and Hiranmoy Mitra on harmonium. Vishal Krishna enthralled the audience with his Kathak performance. His expression and footwork were praiseworthy. Shubhankar Banerjee's tabla lahara added a new dimension to the festival. His captivating peshkar, kayda, rela, paran and the presentation of jati, khanda jati, kabutar ki gali and other intricacies presented a wholesome picture of the instrument called tabla.