Much has been written, much has been talked about 83 year old Pt. Ravi Shankar, and his glamorous daughter Anoushka. Being uninitiated into Hindustani music, I feel neither competent nor comfortable writing about the same. However, I will share here, some facts from concert fliers, and sleevenotes of albums, and my impressions from the concert at the Symphony Hall in Boston, on Sep 28, 2003. That this concert was organized under the auspices of World Music speaks volumes about the artists.

My reason for attending this concert was to see for the first time, this much talked about phenomenon, Ravi Shankar, who was responsible for putting Indian Music on the world map in the 60s. Ever since, rightfully or not, Ravi Shankar and his Sitar music, have become synonymous for Indian classical music for non Indian audiences worldwide. He is credited with 12 doctorates, popularized the Jugalbandi concept, composing scores of music for famous people such as Yehudi Menuhin, George Harrison, and films like Gandhi. He has written 3 books 'My Music, My Life'; 'Rag Anurag' in Bengali; and 'Raag Mala' an autobiography released in 1999. He had started the Shankar Foundation in New Delhi to promote Western music and Carnatic music in North India.

20 something, Anoushka has a formidable resume. She started learning Sitar from her father at the age of 9 and accompanied him since age 13. Prior to learning sitar, she had learnt Carnatic music. She grew up between London and New Delhi and then moved to Encinatas, California, where she graduated from high school with honors in all subjects in 1999. She received rigorous training as a Bharatanatyam dancer to play a role in the movie, 'Dance Like a Man'. She released 2 albums, 'Anoushka' and 'Anourag' and was the youngest nominee for a Grammy, for her CD 'Live at Carnegie Hall'. She shared the stage with many celebrities like Madonna, Vanessa Redgrave for a fundraising concert in London. She plays classical piano, and has authored a book on her father 'Bapi, the Love of my Life'.

The program started with a brief intro by a World Music representative. He stated that Ravi Shankar performed at the Symphony Hall for the first time in 1933 along with his brother Uday Shankar. The next time he performed at Symphony Hall was 2 years ago, with his daughter Anoushka. He explained the reason for starting late was a breakdown in the Green Line and the passengers had to be transported by bus. This explained why many were ushered after the first piece of the concert ended. The concert lasted 2 hours long, with 4 main pieces, roughly 30 minutes a piece, halfway paused by an Intermission. The ambience of the stage, the acoustics of the Hall, and the delectable cafe treats of capuccino and chocolate biscuits was perfect for an unforgettable concert evening. The hall boasted a seating capacity of 2600 which seemed nearly full.

Then entered the artists in order: the 2 tanpura players, and 1 of the 2 tabla players. Then entered Anoushka, as if a damsel has descended on stage, amidst thunderous applause that lasted quite a few minutes. That she had a following, or an expectant crowd was unmistakable. Lastly, the living legend, Pt. Ravi Shankar entered, which commanded nothing short of a even longer applause with a standing ovation. Anoushka was radiating divine presence and such eagerness to greet the audience that she knocked her sitar while putting it down before she gave a Namaskar-greeting. After settling on stage, Anoushka was busy tuning the tanpuras and sitars for the crew. The stage was some 24 feet or so long, and 15 feet wide.

Soft spoken Ravi Shankar announced that the concert will begin with an evening raga, Anandi Kalyan or Nandam, in a traditional Alaap (a slow serene opening of a raga, unaccompanied and without rhythm , which sets the mood of a composition); followed by a Jor (continuation of the Alaap, unaccompanied but with the element of rhythm (unmeasured) added); followed by a Gat (fixed composition for instruments in any Tala around which the improvisation is woven); in Roopak Taal (a seven beat cycle). Ravi started the Alaap followed by Anoushka, they both trailed each other, Anoushka tracing the lower octave. Anandi Kalyan seemed like an appropriate raga to build the proper ambience. I was a bit disappointed because Anoushka hardly played solo. I heard that Anoushka usually leads and he joins much later. Many concert goers from the past years do not go because they dont get enough of Ravi Shankar these days. So it was a pleasant surprise. The first piece ended and the doors were open to let more crowds in, in what seemed like an already house full hall.

The 2nd tabla player entered now. Anoushka again was providing tuning for her dad's sitar. After what seemed like a prompt from his daughter, Ravi Shankar announced the second piece. It is in raga Desh, set to slow tempo of Teen Tal (sixteen matras, or beats), followed by a fast Ek Taal. The duo did the Alaap in a slow tempo characterized by swaying music, and the build up was reminescent of Krishna playing pranks of hide and seek with the Gopis. There was perfect synchronization and mastery of rhythm among the sitars and the tablas.

After the intermission, the second part of the concert started with an intro of artists by Ravi Shankar. He announced the tabla players as Tanmoy Bose, a disciple of late Kanai Dutta, and Pt. Shankar Ghosh, and Arup Chattopadhay, a much sought after tabla player and and premier disciple of world renowned Pt. Shankar Ghosh. I could not get name of the tanpura players, but one of them seemed to have local presence from the applause he received when his name was announced. Ravi Shankar announced that the third piece was in Mishra Kafi, a Dhun (light classical piece) set to different ragas and different compositions. Then he said 'Of course, I have my Anoushka with me, she has injured her right hand. She is inspiring me as usual, still playing with pain. Here we go, I dont know what I'm going to do now'. Anoushka was beaming on stage throughout, and was mostly playing on the lower octave strings. This was a medley of many moods and rhythms, it was totally absorbing, with the concert at a peak, with sweet strains of sitar and tabla. Anoushka seemed to be the fulcrum of the concert, singing bols and providing the rhythm intermittently when not playing. Somewhere in the middle Ravi Shankar managed to slip in the nursery rhyme 'Jack and Jill went up the hill', it was a crowd quencher. By now, I was totally frustrated for not knowing exactly what is going on, but was simply overtaken by the music. It seemed like this piece was the high point of the concert, a feast to the eyes and ears, my heart was sobbing with inexplicable pride and joy. Alas, this concert passed my litmus test.

The last piece was a Jugalbandi of the tablas with Anoushka playing mono syllables, repeating the same string of SPGS, but varying the tempo and the octave, in what seemed like a question and answer session. It was intense and the artists displayed total understanding of each other, there was sweet harmony, and rhythm. Towards the end Ravi Shankar joins and the concert ended, seemingly soon. Anoushka takes the blessing of her father in familiar Indian fashion of touching the feet. The crowds again gave a standing ovation, one by one the artists left the stage, with Ravi Shankar remaining until the applause subsided. And the applause began again, so Panditji motioned his crew to come back on stage to take another bow, and another, and another, and then they left, as if not wanting to leave.

I left the concert feeling a sense of wonderment and reverence at this man who is doubly blessed. He is fittingly given titles of 'Godfather of World Music' and 'Global Ambassador'. As for Anoushka, could one ask for a more fitting heiress, to preserve and pass on this rich musical legacy. She will be playing at Worcester's Tuckerman Hall, this time alone with her own ensemble, on Oct. 28, for those who have not heard enough of Anoushka.

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