I later realised that it was a historic occasion, for it was the last time Annapurna and Ravi Shankar shared a platform. The two, it is said, never played together again. I was then a teenager and since I was learning music, my mother took me along to attend all the concerts during that December season. On new year&rsquo;s eve, when Ravi Shankar and Annapurna took the dais at 9 pm, the pandal was full (there was no hall at that time). The recital went on well beyond the billed duration. As soon as midnight approached, I remember Ravi Shankar stopped playing, lowered his sitar, leaned towards the mike and wished the audience a &ldquo;Happy New Year&rdquo;. None of us knew at that time that the two were playing together for the last time. What I remember very clearly, six decades later, is that during the recital, Ravi Shankar (who was the better known of the two, as a professional artist) played a phrase and paused for Annapurna to do her bit, and each time, she outdid him, to the delight of the audience. Especially during the jhala and fast improvisations, he threw her several challenges but each time she went one better and out-performed him in terms of speed and breathtaking flights of fancy. He tried playing faster, and unfazed she responded in equal measure. It was an unforgettable treat. I remember the moment when he, almost in desperation, played a super-fast phrase, and she coolly took up the challenge and outdid him. He then threw up his hands dramatically, almost as if saying &ldquo;I give up&rdquo;, and the audience burst into ecstatic applause.Ravi Shankar clearly meant to lead although it was a duet concert, but again and again she outshone him, without fanfare, flamboyance or theatrics. I can clearly recall Annapurna seated on the stage, on his left, dignity personified, taking the musical presentation to great heights. She was not dressed in a flashy &lsquo;pattu&rsquo; sari like all the other women who performed at the conference. Whether it was alap, gat or a tihai to arrive at the sam, it was she who carried the dayAnnapurna&rsquo;s father Ustad Allauddin Khan, and her brother Ali Akbar Khan, have both gone on record that between Ravi Shankar and Annapurna, she was undoubtedly the better artist, and that probably rankled with Ravi Shankar. The Music Academy concert was reportedly the last time they played together. A few months later, in 1956, Ravi Shankar left her. That was the end of her public appearances and concerts. The couple went on to secure a divorce much later.Fame and accolades do not always come automatically and commensurately, to those with talent. She became a recluse, as every obituary has noted, restricting herself to teaching a very small number of disciples. What a loss to the world of music, to the Maihar gharana that she belonged to, and to our cultural heritage! She cut no records, won no global accolades and had no social or public life, despite her talent as a musician, and especially as an exponent of the difficult surbahar. The number of surbahar players today can be counted on one&rsquo;s fingers.Her death was not the real tragedy. Her life over six decades as a recluse seems to me the greater tragedy, when I recall the fantastic recital I was witness to in 1955.

An Unforgettable Concert

The New Yorker

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