The music that I have learned and want to give is like worshipping God. It's absolutely like a prayer.
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.
I don't appreciate avant-garde, electronic music. It makes me feel quite ill.
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.
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.
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.
Many people, especially young people, have started listening to sitar since George Harrison, one of the Beatles, became my disciple.
When people say that George Harrison made me famous, that is true in a way.
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.
I was admired by all these hippies, and it was wonderful playing at Monterey and Woodstock, performing for half a million people.
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.
In the U.K., classical music is composed by individuals and written down. Indian music is based on certain sequences called ragas. When I perform live, 95% of the music is improvised: it never sounds the same twice.
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.'
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.
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.
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.
I was invited for the first Woodstock. Actually, I started the programme.
My music has a very spiritual background, a sanctity that is almost like worship.
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.
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.
