Philip Glass and Ravi Shankar BBC Proms

Passages has always been one of my favourite examples of collaboration.

It's a beautiful album that my father Ravi Shankar

made in duet with Philip Glass.

This concert to me seems like such a treat.

It is a real-world premiere of an album that many people have

loved for nearly 30 years.

No-one has heard it live before.

This album has been in my life for so long

that I have forgotten where the actual click came.

It changed my world immediately.

And I think I was at uni and I said, "I want to conduct this piece

"with Ravi Shankar." That was always a goal,

and of course Mr Shankar passed away five years ago,

and the honour is just as great to do it with Anoushka.

I grew up being aware of Passages.

I was there in the sessions from when I was nine.

I was the kid there conducting.

I re-approached the album when I started writing music

and that is when the genius of that album really was brought home to me.

It celebrates and explores the separateness and togetherness

of Western classical instruments, Indian classical instruments

in a way that really only my dad and Philip Glass could have done.

I grew up aware of how close my father and Philip Glass were.

Philip studied with Ravi Shankar starting when he was about 25.

This would have been in the '60s.

At some point in conversation they said,

"Why don't we do a piece together?"

And one, two, three, four, five, six.

Basically my father gave Philip three pieces of music

and Philip gave my dad three and from there they both grew their own

three individual pieces of music and those six pieces make the album.

There is a kind of seed of Philip's brain in my dad's pieces

and a seed of my dad's brain in Philip's pieces.

It is one thing to hear it,

it sounds complete, but the language is different for the two styles.

Western music is very one, two, three, four, one, two, three...

These are all different in Indian music - they have their own sets

of hand movements, which when I am conducting and I see them doing

the hand movements, I am kind of like, "Oh, my goodness."

My score doesn't look like their score but you have to have enough

that means we can communicate with each other.

It is all a bit crazy.

Part of the Indian tradition and part of Philip Glass's tradition,

there is a meditative element to it.

So it is definitely going to have a beginning meditation

and an ending meditation,

and Philip's meditation begins the hour

and Mr Shankar's ends the hour.

The fact that you get to hear the whole journey of the album,

there is a story there, the way it ends on that really peaceful note

after a lot of drama and some dark moments.

I think there is going to be a lot of tears at the end,

because, look at me, I'm tearing up because it is so beautiful.

I hope that we'll leave people with that kind of uplifting sense

of peace that they hoped to give listeners when they made the album.

APPLAUSE

APPLAUSE

APPLAUSE

SHE VOCALISES TO THE MUSIC

VOCALISING CONTINUES

VOCALISING CONTINUES

APPLAUSE

APPLAUSE

CHEERING AND APPLAUSE

THEY VOCALISE TO THE MUSIC

VOCALISING CONTINUES

HARMONISED VOCALISING CONTINUES

RAPID CHANTING

APPLAUSE

HUMMING

# Hey Nath

# Hama para kripa kijiye

# Door kara andhakar

# Gyan ka aloka dijiye

# Hinsa dwesh lobha bamese chhin lijiye

# Manamey prem shanti bhar dijiye

# Hey Nath, hama para kripa kijiye

THEY HUM

# Hey Nath, hama para kripa kijiye

# Hey Nath, hama para kripa kijiye

# Door kara andhakar

# Gyan ka aloka dijiye

# Hey Nath, hama para kripa kijiye

# Hinsa dwesh lobha bamese chhin lijiye

# Hinsa dwesh lobha bamese chhin lijiye

# Manamey prem shanti bhar dijiye

# Manamey prem shanti bhar dijiye

# Hey Nath, hama para kripa kijiye

# Hey Nath, kripa kijiye

# Hey Nath, kripa kijiye

# Hey Nath, kripa kijiye. #

APPLAUSE