The cracks had already begun to appear in the marriage, in the early days. Ravi Shankar would later recollect that it was after [their son] Subho’s birth that the problems began. The crying child would keep Annapurna awake at night and she would be tired and distressed the next day. But perhaps there were other factors that led to the rift.

Circumstances — caring for a sick baby, keen desire to continue with her riyaz — apart, there were other areas where her husband was less than supportive. Perhaps at that time Annapurna could not understand them, but on looking back, she finds that there may have been other reasons.

Annapurna recalls: ‘My first public performance was a duet in Delhi. I remember Panditji telling me before the performance that I should cater a little to the public taste. My response was that I would play only what I was taught. I think the audience enjoyed my playing. I don’t particularly like my playing so I don’t think of any concert that I played as being memorable. Whenever I performed, people appreciated my playing and I sensed that Panditji was not too happy with the response. I was not that fond of performing anyway so I stopped it and continued my sadhana.’

The years between 1944 and 1947 were incredibly difficult for Ravi Shankar. He was passing through a period of intense financial and spiritual crisis. On the personal front, his marriage with Annapurna had almost floundered. She had left for Maihar after witnessing Ravi’s weakness for [dancer] Kamala. She had not totally deserted Ravi, but shuttled between Maihar and Bombay with Subho. The romantic phase of the marriage was over. Ravi was face to face with the stark reality and bitterness resulting from a festering relationship. He used to practise with her on the surbahar; but now she was no longer his musical partner...

30 March 1955

The last item of the music conference organized by the Constitution Club of New Delhi was a jugalbandi presentation by Ravi Shankar and Annapurna Shankar. The listeners had already been regaled by music stalwarts like Kumar Gandharva, Bismillah Khan, Ali Akbar Khan, Hirabai Barodekar, Gangubai Hangal and Najakat Salamat Khan. Legendary tabaliyas like Ahmad Jan Thirakwa, Prem Bhallabh had accompanied the artists.

On the last day of the programme Pandit Ravi Shankar came on stage. He was accompanied by his wife Annapurna Shankar. He did not have the sitar but the surbahar in his hands. One of his esraj recordings was released from New York in 1937. Even then listeners were both amazed and enthralled as he came out with the surbahar to play the duet with his wife Annapurna Shankar… it seemed Annapurna excelled him in ease and naturalness. There are many myths relating to Annapurna’s music. Many say that her father had directed her not to play in public so that Ravi Shankar’s playing does not sound lacklustre to the audience. Maybe Baba said all this due to his love for his son-in-law. Some others say that at the time of his talim under Baba Allauddin Khan Annapurna would help Ravi Shankar in his riyaz.

After that evening’s recital there was humming among the audience. Then the judgement of the listeners placed the crown on Annapurna. I do not know if Annapurna ever performed in public after this…

Ravi was justifiably jealous. And so he elicited a vow from his wife that she would no longer play in public. There are many versions of this anecdote afloat, mostly apocryphal. Annapurna, however, told me that something worse had happened than Ravi attempting to make her take this oath. But she added that she would divulge it to none. ‘That will go with me when I go,’ she said emphatically. This was bound to happen if the husband and wife shared the same profession. It is the male ego. For Ravi Shankar it was worse. He was ambitious and egocentric; he would not allow anyone to rule his world. Truly he was the sun and loved to shine alone in the sky. So perhaps he had decided to take her away from public performances...

Though it is difficult to find out whether she actually played better than Ravi Shankar, however, a look at the photographs of the mehfils in which Annapurna played show her totally absorbed in her playing. Her eyes are closed and she seems totally cut off from the world, and Ravi Shankar looking admiringly at her. The body language expresses it all. Even listening to their jugalbandi in Raga Yaman, one feels that Annapurna sounds more focussed. The bass of the surbahar, the undulating meends spanning five notes, the high seriousness of approach and flawless execution leave one spellbound.

Annapurna Devi: An Unheard Melody was published by Roli Books in 2005. Annapurna Devi passed away last Saturday

comment COMMENT NOW