Posted on 3 June 2026:

Morning Baithaki: A Prayer in Sound and Tradition

Held on May 31, 2026, at Jayhind Apartment, Bansdroni, Kolkata, Kusumito Lahari’s Morning Baithaki blossomed as a meditation in melody—where dawn’s first light unfolded as a serene celebration of tradition and learning. 

Renowned Pandit Dishari Chakraborty’s Shatatantari Veena found luminous companionship in the sensitive and imaginative Tabla of Shri Koushik Banerjee, while the dedicated students of Vidushi Anjana Nath’s Gurukul participated with remarkable enthusiasm, curiosity and musical sensitivity. Their thoughtful  and eagerness to explore not only the practical aspects of performance but also the historical and cultural roots of the instrument made the interaction deeply rewarding.

Pandit Dishari Chakraborty reflected with heartfelt reverence:

“After an enriching and deeply fulfilling musical morning, I had the privilege of presenting a 90-minute solo recital on the Shatatantri Veena, accompanied by my esteemed tabla accompanist, Sri Koushik Banerjee. The session was hosted for the dedicated students of the Gurukul of renowned Hindustani vocalist Vidushi Anjana Nath, whose commitment to the traditional Guru-Shishya Parampara made the experience especially meaningful.”

The recital seamlessly transitioned into an interactive discussion, illuminating the historical journey of the Shatatantri Veena and its gradual transformation into the Santoor. Pandit Chakraborty’s words carried the weight of lineage and artistry:

“We explored the instrument’s rich heritage, its ancient references, structural evolution, and the stylistic traditions that emerged over time. The session also touched upon different approaches to playing the instrument, highlighting how technique, repertoire, aesthetics, and gharana influences have shaped distinct styles of performance across generations.”

Pandit Dishari Chakraborty reflected with warmth:

“It was heartening to witness such sincere interest in preserving and understanding the deeper roots of our musical heritage.”

Musically, the morning blossomed through the contemplative dignity of Raga Nat Bhairav, capturing the meditative essence of dawn. As the session progressed, the recital journeyed into the luminous expanse of Raga Gour Sarang, reflecting the brightness of approaching noon.

Pandit Chakraborty beautifully expressed:

“Together, these ragas created a vivid sonic canvas, allowing us to experience the subtle transitions of time through melody and rhythm.”

Throughout, Shri Koushik Banerjee’s tabla provided a strong rhythmic foundation, enhancing the melodic expressions of the Veena and evolving into a spontaneous conversation in sound. 

Thus, the Morning Baithaki blossomed into a communion of tradition and devotion—where shared learning and musical prayer bridged past and present in timeless harmony.