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The greatest living force and attraction in the music world – this is how Ravi Shankar will be mentioned in the history of contemporary music. It is he who has done more than anyone else to popularize Indian classical music outside India. His spirit of enterprise, uncanny skill and his intense devotion to the art and his motherland are worthy of highest commendation. Borth with a silver spoon, Ravi Shankar went abroad at a tender age and thus got opportunities to listen to and imbibe the art of some of the most outstanding maestros in western classical music. Groomed with fond yet assiduous care and grueling practice by Ustad Allauddin Khan, the wizard of instrumental music, Ravi Shankar set out on a conquering expedition at a comparatively young age. Success followed him at every step in the world of music, in society, in India and in foreign lands.

Awards and titles came his way in galore and his rise in popularity, fame and fortune continues unabated. His virtuosity knows no bounds. As a music maker for films, as a conductor of orchestras, or as a solo performed on sitar, he has received fantastic acclaim which rarely comes the way of an artiste in his lifetime.

His intimate association and collaboration with the world-renowned violin maestro Yehudi Menuhin has considerably enriched repertoire on discs by the many bold experiments they have conducted together.

His latest experiment with western music has resulted in the ‘Sitar Concerto’ written by him and played on sitar with the London Symphony Orchestra and is now being considered a trend setter evoking world-wide interest.

Out of India for most part of the year, he is most befittingly called the roving cultural ambassador of India.

THE MUSIC:

SIDE ONE

Pandit Ravi Shankar’s exposition of Raga Shudh Kalyan is an ideal example of chaste demonstration. Shudh Kalyan emanates from Kalyan Thaat. In the ascent it is pentatonic because it omits completely the fourth note Madhyam and the seventh note Nishad. The descent however is complete but the two notes omitted in the ascent are used very sparingly. An early night melody, its character is sublime and serene. Pandit Ravi Shankar gives a very elaborate treatment, developing the Raga with all its characteristics facets in a style which only a maestro of his calibre can have.

Ustad Alla Rakha’s accompaniment on the table is exhilarating and complimentary.

SIDE TWO

This side has two items, the first being a flawless presentation of Raga Samant Sarang. This is a sub melody of Sarang and is usually rendered at mid-day. The composition is confined to Jhap taal (10 beats).

The second piece is a sweet Dhun in Raga Devgiri Bilawal which is essentially a morning melody. The lilting style makes this piece enchanting. The superb rhythmic accompaniment on the tabla by the veteran percussionist Ustad Alla Rakha enriches it in ample measure.