Ravi Shankar Quotes
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I will keep playing as long as my body lets me, and as long as I'm wanted by my listeners. Because music is the only thing that keeps me going.
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Pop changes week to week, month to month. But great music is like literature.
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I was invited for the first Woodstock. Actually, I started the programme.
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My music has a very spiritual background, a sanctity that is almost like worship.
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I was admired by all these hippies, and it was wonderful playing at Monterey and Woodstock, performing for half a million people.
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In India, I have been called a 'destroyer.' But that is only because they mixed my identity as a performer and as a composer. As a composer I have tried everything, even electronic music and avant-garde. But as a performer I am, believe me, getting more classical and more orthodox, jealously protecting the heritage that I have learned.
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There are thousands of ragas, and they are all connected with different times of the day, like sunrise or night or sunset. It is all based on 72 of what we call 'mela' or scales. And we have principally nine moods, ranging from peacefulness to praying, or the feeling of emptiness you get by sitting by the ocean.
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I love the work of Matisse and Picasso, but I don't have enough millions to own one. And I don't really believe in owning art, anyway.
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Ah, 'Pather Panchali' was the most inspiring film that I wrote music for, and it was so spontaneously done. I saw the film, composed on the spot, along with myself and only four other musicians, and everything was done within 4-1/2 hours, I think an all-time record anywhere.
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When people say that George Harrison made me famous, that is true in a way.
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I enjoy seeing other Indian musicians - old and young - coming to Europe and America and having some success. I'm happy to have contributed to that.
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I try to give to my music the spiritual quality, very deep in the soul, which does something even if you are not realizing it or analyzing it - that's the duty of the music.
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My brother had a house in Paris. To it came many Western classical musicians. These musicians all made the same point: 'Indian music,' they said, 'is beautiful when we hear it with the dancers. On its own, it is repetitious and monotonous.'
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I do think that my Indian classical audiences thought I was sacrificing them through working with George; I became known as the 'fifth Beatle.' In India, they thought I was mad.
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I don't appreciate avant-garde, electronic music. It makes me feel quite ill.
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I have my own spiritual guru, and I'm so happy, and I feel so satisfied that I might appreciate many other famous gurus, but, you know, I am not attracted that way because I have found the person.
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In the olden days, I believe Mozart also improvised on piano, but somehow in the last 200 years, the whole training of Western classical music - they don't read between the lines, they just read the lines.
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I think musicians and actors have all these problems, because of the popularity and the opportunity.
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The music that I have learned and want to give is like worshipping God. It's absolutely like a prayer.
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I appreciate very much Vilayat Khan, the sitar player, and Bismillah Khan, the shehnai player; and among the tabla players, of course, Alla Rakha, Kishan Maharaja, and all these people.
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I started out as a dancer, but gradually became more interested in music.
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My secret ambition was always to provide music for animation films: something with an Indian theme, either a fairy tale or mythological tale or on the Krishna theme. I still have a very deep desire, but these sorts of chances don't always come.
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I have always had an instinct for doing new things. Call it good or bad, I love to experiment.
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Everybody has a right to like or dislike anything or anyone. From a flower to a flavor to a book or a composition but it is very sad that in our country we actually fight over such things in an unseemly manner.