Check the new version here

Popular channels

Shankar, Ravi & Glass, Philip - 1990 - Passages

Shankar, Ravi & Glass, Philip - 1990 - Passages

Formato: MP3
Bitrate: 128
Tamaño : 50MB

Download -> Ver en los comentarios.

* World
* Raga
* Indian Classical
* Experimental
* World Fusion

Born on April 7, 1920, in Varanasi into an orthodox, well-off Brahmin family, Rabindra Shankar Chowdery's father, ShyÆm Shankar, was employed as a diwan (minister) by the Maharajah of Jhalawar. By the age of 13, Ravi Shankar was going along on every tour of his brother Uday Shankar's Compaigne de Danse et Musique Hindou (Company of Hindu Dance and Music). At the All-Bengali Music Conference in December 1934, he met the multi-instrumentalist Allauddin Khan. Precisely when Allauddin Khan was born is uncertain. People hazard dates in the 1860s around 1862, but in later years he himself gave his age haphazardly. He would transform many musicians' lives, but he had an incalculable effect on Ali Akbar (his son), Annapurna Devi (his daughter), and Shankar himself.

Allauddin Khan joined Uday's troupe as its principal soloist around 1935-1936.

In 1938, Shankar gave up a potential career as a dancer and went to study with Allauddin Khan in Maihar. In 1939, he began giving public recitals and came out of training at the end of 1944. Until 1948, he based himself in Bombay and gave programs all over India. He toured and wrote for films and ballet. Around this time he began his recording career with a small session for HMV (India). Work for All India Radio followed; as music director from February 1949 to January 1956 in New Delhi. Concurrently, his international star was on the rise. In 1954, he performed in the Soviet Union. In 1956, he played his debut solo concerts in Western Europe and the U.S. Within a decade he would be the most famous Indian musician on the planet. Within two decades he would become probably the most famous Indian alive. His English-language autobiography, My Music, My Life (1969), is still one of the best general introductions to Hindustani music.

Shankar is not one-dimensional. Apart from pursuing a career as a classical performer, he has also experimented outside this field. For this reason he has attracted criticism from purists. Some of this, especially during the Beatles era, undoubtedly had an element of jealousy to it; some was certainly warranted, because Shankar did take many chances. In fact, that was one of the things that kept his music exciting. To use a cricketing image -- baseball would be wholly inappropriate -- Shankar's batting average has remained high throughout a long and illustrious career.


Philip Glass was unquestionably among the most innovative and influential composers of the 20th century. Postmodern music's most celebrated and high-profile proponent, his myriad orchestral works, operas, film scores, and dance pieces proved essential to the development of ambient and new age sounds, and his fusions of Western and world musics were among the earliest and most successful global experiments of their kind.

Born in Baltimore, MD, on January 31, 1937, Glass took up the flute at the age of eight; at just 15, he was accepted to the University of Chicago, ostensibly majoring in philosophy but spending most of his waking hours on the piano. After graduation he spent four years at Juilliard, followed in 1963 by a two-year period in Paris under the tutelage of the legendary Nadia Boulanger. Glass' admitted artistic breakthrough came while working with Ravi Shankar on transcribing Indian music; the experience inspired him to begin structuring music by rhythmic phrases instead of by notation, forcing him to reject the 12-tone idiom of purist classical composition as well as traditional elements including harmony, melody, and tempo.

Glass' growing fascination with non-Western musics inspired him to hitchhike across North Africa and India, finally returning to New York in 1967. There he began to develop his distinctively minimalist compositional style, his music consisting of hypnotically repetitious circular rhythms. While Glass quickly staked out territory in the blooming downtown art community, his work met with great resistance from the classical establishment, and to survive he was forced to work as a plumber and, later, as a cab driver. In the early '70s, he formed the Philip Glass Ensemble, a seven-piece group composed of woodwinds, a variety of keyboards, and amplified voices; their music found its initial home in art galleries but later moved into underground rock clubs, including the famed Max's Kansas City. After receiving initial refusals to publish his music, Glass formed his own imprint, Chatham Square Productions, in 1971; a year later, he self-released his first recording, Music With Changing Parts. Subsequent efforts like 1973's Music in Similar Motion/Music in Fifths earned significant fame overseas, and in 1974 he signed to Virgin U.K.

Glass rose to international fame with his 1976 "portrait opera" Einstein on the Beach, a collaboration with scenarist Robert Wilson. An early masterpiece close to five hours in length, it toured Europe and was performed at the Metropolitan Opera House; while it marked Glass' return to classical Western harmonic elements, its dramatic rhythmic and melodic shifts remained the work's most startling feature. At much the same time, he was attracting significant attention from mainstream audiences as a result of the album North Star, a collection of shorter pieces that he performed in rock venues and even at Carnegie Hall. In the years to follow, Glass focused primarily on theatrical projects, and in 1980 he presented Satyagraha, an operatic portrayal of the life of Gandhi complete with a Sanskrit libretto inspired by the Bhagavad Gita. Similar in theme and scope was 1984's Akhnaten, which examined the myth of the Egyptian pharaoh. In 1983, Glass made the first of many forays into film composition with the score to the Godfrey Reggio cult hit Koyaanisqatsi; a sequel, Powaqqatsi, followed five years later.

While remaining best known for his theatrical productions, Glass also enjoyed a successful career as a recording artist. In 1981, he signed an exclusive composer's contract with the CBS Masterworks label, the first such contract offered to an artist since Aaron Copland; a year later, he issued Glassworks, a highly successful instrumental collection of orchestral and ensemble performances. In 1983, he released The Photographer, including a track with lyrics by David Byrne; that same year, Glass teamed with former Doors keyboardist Ray Manzarek for Carmina Burana. Released in 1986, Songs from Liquid Days featured lyrics from luminaries including Paul Simon, Laurie Anderson, and Suzanne Vega, and became Glass' best-selling effort to date.

By this time he was far and away the avant-garde's best-known composer, thanks also to his music for the 1984 Olympic Games and works like The Juniper Tree, an opera based on a fairy tale by the Brothers Grimm. In 1992, Glass was even commissioned to write The Voyage for the Met in honor of the 500th anniversary of Christopher Columbus' arrival in the Americas -- clear confirmation of his acceptance by the classical establishment. In 1997, he scored the Martin Scorsese masterpiece Kundun; Dracula, a collaboration with the Kronos Quartet, followed two years later.


A collaboration between an avant-garde modern classical composer and a traditional Indian/Hindi composer/performer seems as unlikely as ice hockey on the River Styx. However, Passages is a collaboration between Philip Glass and Ravi Shankar and it works quite well. Shankar's smooth style fits nicely with Glass' dissonant orchestrations. There is a great deal of technical data involved here. Both of these artists have long taken intellectual approaches to music. Thus, the liner notes are a bit heavy-handed. The music is brilliant. The symphony dominates the soundscapes, but Shankar's atmospheres are integral to the success of this project. This CD will appeal to fans of John Cage, Terry Riley, and Steve Reich.

1 - Offering Shankar 9:40
2 - Sadhanipa Glass 8:31
3 - Channels and Winds Glass 7:56
4 - Ragas in Minor Scale Glass 7:32
5 - Meetings Along the Edge Shankar 8:05
6 - Prashanti Shankar 13:37
0No comments yet