Ravi shankar

If you’ve ever strolled to the Wallace Collection or hurried to an appointment in Harley Street, fled an overcrowded Selfridges or sat on a sunny bench in Cavendish Square Gardens, you’ll probably have walked past the Wigmore Hall. It’s easy to miss – a wrought-iron canopy and a small mosaic embedded in the pavement the only signage. But this ‘modest building tucked away behind a busy London shopping street’ contains multitudes. Now celebrating its 125th birthday, it has been variously described as ‘London’s most sumptuous temple of music’ and the symptom of a ‘faded, bombed-out world’; ‘a place where it was possible to experience the exotic, unfamiliar and bizarre’ and one filled with ‘too many dull concerts and too many indifferent debut pianists’.

At George Harrison’s 1971 concert for Bangladesh, awkwardly, the audience applauded after Ravi Shankar and his musicians had paused to tune their sitars and tablas. ‘If you appreciated the tuning so much,’ Shankar said, half in jest, ‘I hope you’ll enjoy the music even more.’ To the untrained ear, Indian music may sound unmelodious and directionless as it strays into apparent pre-concert tuning registers and monotony. Nonetheless, its transcendental Zen-like qualities impressed Richard Wagner, who was drawn to the spirituality and joss-stick mysticism (as he saw it) of the east. A devotional song performed by the Punjab Sufi vocalist Nusrat Fateh Ali Khan can soar as ecstatically as Parsifal.