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But with his Bharath Symphony, which he premieres this weekend, he’s taken on a monumental task: to celebrate the 70th anniversary of India’s independence from British rule, this three-hour composition attempts nothing less than a summation of the four major eras of India’s illustrious history, from prehistory to the present day. Subramaniam is an old hand at crossover projects: he’s reached beyond traditional sounds to score film soundtracks and collaborate with a wide range of stars, including jazz artists Herbie Hancock and Larry Coryell, Western virtuosos Yehudi Menuhin and Jean-Pierre Rampal, and George Harrison of the Beatles.

Unfortunately, you get what you pay for, and this year’s World Music Festival includes a bunch of groups that are proficient technically but short on personality, innovation, and grit.ģ PM, Pritzker Pavilion, Millennium Park, Michigan and Randolph, all-ages groups that ply a commercialized hybrid of musical traditions than it is to organize a tour for a foreign ensemble that’s actually advancing one of the traditions in question-in the latter case, you’re likely to need expensive visas, translators, and booking agents. The booking and promotion of this kind of music, especially at big events, has become increasingly institutionalized-and the drive toward cost efficiency by those institutions has fueled a proliferation of panstylistic performers whose sound rarely suggests anything more specific than “world music.” It’s much easier to bring in U.S. I have a bigger complaint too, but it’s less about the festival’s organizers and more about the general state of the marketplace for international music.

Also stealing oxygen from the WMF are the excellent international musicians playing in Chicago during its run but outside its purview: great flamenco guitarist Vicente Amigo performs at City Winery on September 17 and 18, for instance, and Senegalese trio Bideew Bou Bess (proteges of Youssou N’Dour) have a show at the Old Town School on September 15. But the pace of this year’s fest has slackened perhaps too much-there’s something to be said for momentum and excitement, and it’s tougher to maintain either with so many days off. The WMF has long been less grueling than a typical music festival, both because it spreads out its lineup across so many days and because most of its shows are in cozy venues where you don’t have to compete for elbow room with tens of thousands of people.

In its 19th year, Chicago’s World Music Festival is as sprawling as ever-it lasts 17 days, from Friday, September 8, till Sunday, September 24-but because it’s abandoned booking concerts on Mondays and Tuesdays, overall it feels more modest. Now Playing: Chicago’s history in movie ads.

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