0:00:21 > 0:00:25Passages has always been one of my favourite examples of collaboration.
0:00:25 > 0:00:28It's a beautiful album that my father Ravi Shankar
0:00:28 > 0:00:30made in duet with Philip Glass.
0:00:32 > 0:00:35This concert to me seems like such a treat.
0:00:35 > 0:00:37It is a real-world premiere of an album that many people have
0:00:37 > 0:00:39loved for nearly 30 years.
0:00:39 > 0:00:41No-one has heard it live before.
0:00:43 > 0:00:45This album has been in my life for so long
0:00:45 > 0:00:48that I have forgotten where the actual click came.
0:00:48 > 0:00:49It changed my world immediately.
0:00:49 > 0:00:52And I think I was at uni and I said, "I want to conduct this piece
0:00:52 > 0:00:55"with Ravi Shankar." That was always a goal,
0:00:55 > 0:00:58and of course Mr Shankar passed away five years ago,
0:00:58 > 0:01:00and the honour is just as great to do it with Anoushka.
0:01:02 > 0:01:04I grew up being aware of Passages.
0:01:04 > 0:01:06I was there in the sessions from when I was nine.
0:01:06 > 0:01:08I was the kid there conducting.
0:01:08 > 0:01:11I re-approached the album when I started writing music
0:01:11 > 0:01:15and that is when the genius of that album really was brought home to me.
0:01:20 > 0:01:24It celebrates and explores the separateness and togetherness
0:01:24 > 0:01:27of Western classical instruments, Indian classical instruments
0:01:27 > 0:01:31in a way that really only my dad and Philip Glass could have done.
0:01:32 > 0:01:36I grew up aware of how close my father and Philip Glass were.
0:01:36 > 0:01:40Philip studied with Ravi Shankar starting when he was about 25.
0:01:40 > 0:01:41This would have been in the '60s.
0:01:41 > 0:01:44At some point in conversation they said,
0:01:44 > 0:01:46"Why don't we do a piece together?"
0:01:46 > 0:01:48And one, two, three, four, five, six.
0:01:50 > 0:01:53Basically my father gave Philip three pieces of music
0:01:53 > 0:01:58and Philip gave my dad three and from there they both grew their own
0:01:58 > 0:02:02three individual pieces of music and those six pieces make the album.
0:02:02 > 0:02:05There is a kind of seed of Philip's brain in my dad's pieces
0:02:05 > 0:02:07and a seed of my dad's brain in Philip's pieces.
0:02:10 > 0:02:11It is one thing to hear it,
0:02:11 > 0:02:14it sounds complete, but the language is different for the two styles.
0:02:14 > 0:02:17Western music is very one, two, three, four, one, two, three...
0:02:17 > 0:02:20These are all different in Indian music - they have their own sets
0:02:20 > 0:02:23of hand movements, which when I am conducting and I see them doing
0:02:23 > 0:02:26the hand movements, I am kind of like, "Oh, my goodness."
0:02:28 > 0:02:31My score doesn't look like their score but you have to have enough
0:02:31 > 0:02:34that means we can communicate with each other.
0:02:34 > 0:02:35It is all a bit crazy.
0:02:39 > 0:02:43Part of the Indian tradition and part of Philip Glass's tradition,
0:02:43 > 0:02:45there is a meditative element to it.
0:02:45 > 0:02:49So it is definitely going to have a beginning meditation
0:02:49 > 0:02:51and an ending meditation,
0:02:51 > 0:02:53and Philip's meditation begins the hour
0:02:53 > 0:02:56and Mr Shankar's ends the hour.
0:02:58 > 0:03:00The fact that you get to hear the whole journey of the album,
0:03:00 > 0:03:04there is a story there, the way it ends on that really peaceful note
0:03:04 > 0:03:06after a lot of drama and some dark moments.
0:03:09 > 0:03:11I think there is going to be a lot of tears at the end,
0:03:11 > 0:03:14because, look at me, I'm tearing up because it is so beautiful.
0:03:17 > 0:03:20I hope that we'll leave people with that kind of uplifting sense
0:03:20 > 0:03:25of peace that they hoped to give listeners when they made the album.
0:03:25 > 0:03:27APPLAUSE
0:13:15 > 0:13:18APPLAUSE
0:26:00 > 0:26:02APPLAUSE
0:26:47 > 0:26:49SHE VOCALISES TO THE MUSIC
0:27:29 > 0:27:31VOCALISING CONTINUES
0:31:38 > 0:31:41VOCALISING CONTINUES
0:34:44 > 0:34:46APPLAUSE
0:42:47 > 0:42:49APPLAUSE
0:51:22 > 0:51:24CHEERING AND APPLAUSE
0:55:29 > 0:55:32THEY VOCALISE TO THE MUSIC
0:56:03 > 0:56:05VOCALISING CONTINUES
0:56:54 > 0:56:57HARMONISED VOCALISING CONTINUES
0:58:49 > 0:58:51RAPID CHANTING
0:59:12 > 0:59:14APPLAUSE
1:01:56 > 1:01:59HUMMING
1:02:39 > 1:02:44# Hey Nath
1:02:51 > 1:02:58# Hama para kripa kijiye
1:03:05 > 1:03:15# Door kara andhakar
1:03:26 > 1:03:42# Gyan ka aloka dijiye
1:03:47 > 1:04:05# Hinsa dwesh lobha bamese chhin lijiye
1:04:10 > 1:04:34# Manamey prem shanti bhar dijiye
1:04:42 > 1:04:54# Hey Nath, hama para kripa kijiye
1:05:07 > 1:05:09THEY HUM
1:06:01 > 1:06:10# Hey Nath, hama para kripa kijiye
1:06:13 > 1:06:21# Hey Nath, hama para kripa kijiye
1:06:22 > 1:06:27# Door kara andhakar
1:06:28 > 1:06:36# Gyan ka aloka dijiye
1:06:36 > 1:06:45# Hey Nath, hama para kripa kijiye
1:06:47 > 1:06:58# Hinsa dwesh lobha bamese chhin lijiye
1:06:58 > 1:07:10# Hinsa dwesh lobha bamese chhin lijiye
1:07:10 > 1:07:20# Manamey prem shanti bhar dijiye
1:07:20 > 1:07:31# Manamey prem shanti bhar dijiye
1:07:33 > 1:07:41# Hey Nath, hama para kripa kijiye
1:07:44 > 1:07:51# Hey Nath, kripa kijiye
1:07:51 > 1:07:59# Hey Nath, kripa kijiye
1:07:59 > 1:08:07# Hey Nath, kripa kijiye. #
1:08:24 > 1:08:26APPLAUSE