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Boston Globe
21-07-2025
- Entertainment
- Boston Globe
Roger Norrington, iconoclastic British conductor, dies at 91
He led both period-instrument and modern orchestras, using the same interpretive principles, and though some of his performances drew criticism for their brash iconoclasm, many listeners regarded them as insightful and refreshingly original. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up 'As ever, with his highly idiosyncratic conducting style, one gets, in addition to a Haydn symphony, the Roger Norrington show,' Boston Globe critic Jeremy Eichler wrote in a review of a Handel and Haydn Society's performance of Haydn's Symphony No. 44 in 2008. 'He seems to delight in exuding his own personality at the orchestra through the medium of the music.' Advertisement Mr. Norrington served as an artistic director of the Handel and Hayden Society from 2006 to 2009. 'The organization feels more interesting when he's around,' Eichler wrote. Lanky, bespectacled, bearded and balding, Mr. Norrington projected both affability and authority, and he loved making the case for his ideas -- not only in interviews but also in seemingly off-the-cuff comments at his concerts. He often cited centuries-old treatises as well as his delight in the 'pure' sound, as he put it, of strings playing without vibrato. He once famously referred to vibrato as 'a modern drug.' Advertisement 'It's not about consecrating a sacred object,' Mr. Norrington said about conducting. 'It's about exploring and being curious and having fun.' Rachel Papo/The New York Times Stu Rosner Stu Rosner Toward the end of his career, he preferred to conduct while seated, usually on a high swivel chair that allowed him to turn to the audience to smile conspiratorially at a light moment within the music, and even to encourage applause. He was known to tell audiences that they could applaud between the movements of a symphony or a concerto, a common practice in the 18th and 19th centuries that is frowned on today. He reveled in being provocative. In a 2021 interview with The Telegraph, he referred to his 2007 recording of Mahler's Second Symphony as his 'last hand grenade.' International fame came late to Mr. Norrington. He had built a solid reputation as a choral conductor in the 1970s, when he made a series of well-received recordings with the Heinrich Schütz Choir, an amateur group he formed in 1962 and named after the German baroque composer. He was also the founding music director of the Kent Opera, England's first regional opera company, established by singer Norman Platt in 1969. Yet he was scarcely known outside Britain until 1987, when he released revelatory recordings of the Beethoven Second and Eighth symphonies. They were the first installments of a complete cycle with the London Classical Players, a period-instrument ensemble that Mr. Norrington founded in 1978 and led until 1997. 'I was happy to take things slowly,' he told The Telegraph in 2021. 'I didn't conduct a Beethoven symphony until I was 50. So when I finally stood up in front of the great orchestras of America and Europe as a guest conductor, I actually knew what I wanted. And this meant I could relax and treat music-making as something that is full of love and laughter. Advertisement 'It's not about consecrating a sacred object,' he continued. 'It's about exploring and being curious and having fun.' Mr. Norrington's first Beethoven recordings were striking in their adherence to the composer's metronome markings, which most conductors have considered impossibly fast or, in a few cases, impractically slow. The recordings immediately found a large audience, and by the time the cycle was complete, in 1989, Mr. Norrington's career was white hot. Roger Arthur Carver Norrington was born in Oxford, England, on March 16, 1934. His father, Arthur Norrington, worked for Oxford University Press and later became president of Trinity College, Oxford, and the vice chancellor of the University of Oxford. Roger's mother, Edith Joyce (Carver) Norrington, was a gifted amateur pianist. Roger studied the violin as a child and sang in choirs as a boy soprano. When he auditioned for a performance of Gilbert and Sullivan's 'Iolanthe,' he won the lead role. 'I realized I had some sort of gift,' he told The Guardian in 2007. But, he added, 'I thought I would be like my parents and spend my life doing music in my spare time.' When he entered Clare College, Cambridge, after completing his national service in the Royal Air Force, it was to study English literature. Nevertheless, he performed with -- and, in his final year, conducted -- student ensembles. Advertisement After graduating, Mr. Norrington became an editor at Oxford University Press. But he continued to sing in choirs and to play violin in orchestras and chamber groups. When a new edition of choral works by Heinrich Schütz was published in 1962, he became so eager to conduct the music that he formed the Heinrich Schütz Choir. Despite the choir's name, its repertoire extended from the Renaissance through the 20th century, and it quickly won enthusiastic reviews and a following. It was not until Oxford sent him on a six-month posting to Nairobi, Kenya, late in 1962 that he resolved to devote himself fully to music. When he returned to Britain, he left his job and enrolled at the Royal College of Music in London, where he studied composition, music history and conducting (with Adrian Boult) and played percussion in the orchestra. Recordings by Austrian period-instrument specialist Nikolaus Harnoncourt led Mr. Norrington to reconsider his ideas about conducting and orchestral sound. They also inspired him to read treatises by 17th- and 18th-century musicians and to seek out musicologists such as Thurston Dart, who shaped his ideas about the performance of early music. Norrington's success with the Schütz Choir led to his appointment as music director of the Kent Opera in 1969. In 1986, he established the Early Opera Group with choreographer Kay Lawrence. He and Lawrence married that year. A previous marriage, to Susan McLean May, ended in divorce in 1982. After his Beethoven recordings won him a large international audience, Mr. Norrington began performing regularly in the United States. He made his New York debut in 1989 at Carnegie Hall, leading the Orchestra of St. Luke's, a modern-instruments orchestra. Writing in The New York Times, Will Crutchfield described his performance of Beethoven's Eighth Symphony as 'exhilarating, witty, precise, full of verve and subtlety, fully convincing as to tempo (using Beethoven's markings with some modification for practicality's sake, rather than throwing them out as most conductors do) and wonderfully played.' Advertisement In addition to novel tempos and the absence of vibrato, Mr. Norrington considered a balance of intuition and scholarship essential to his interpretations. He rebelled against the notion that one could re-create historical performance styles by merely playing what was written on the page. And he inveighed against those who treated performances as museum pieces. 'A performance is for now, and one instinctively tailors it for today,' he said in 1989, adding, 'To say that you don't put your personality into it is rubbish.' In November 2021, after Mr. Norrington conducted his farewell concert -- leading the Royal Northern Sinfonia, in northern England, in an all-Haydn concert -- The Guardian called him 'arguably the most important British conductor of the last half century.' Kay Lawrence died in November. Mr. Norrington leaves his son, Thomas; two children from his marriage to May, Ben and Amy Norrington; three grandchildren; a sister, Pippa Sandford; and a brother, Humphrey. 'My story, from 1962, has been one of knocking down wall after wall and seeing what happened,' Mr. Norrington told The Guardian in 2007. 'So to discover right at the end that these great traditional European and American orchestras can be part of it as well has been wonderful. Now even they are beginning to realize you don't need to put vibrato on everything, like sugar.' He added: 'So if, on the day I die, the world is playing without vibrato, of course I will be delighted. But even if they aren't, I'll still be delighted because at least I did.' Advertisement This article originally appeared in
Observer
01-07-2025
- Business
- Observer
The evolving face of Oman's fisheries sector
Oman's fisheries industry, a pillar of the country's economic diversification efforts, stands at a strategic crossroads, balancing the preservation of its traditional artisanal sector with ambitions to modernize and expand its industrial and aquaculture capabilities. The sector is divided into three distinct streams: artisanal, industrial, and aquaculture. Among them, the artisanal or traditional fishery dominates, accounting for a staggering 89% of the Sultanate of Oman's marine capture production in 2023. According to official data, more than 60,000 licensed full- and part-time fishers operated over 27,000 vessels, landing around 706,000 tonnes of fish valued at nearly $1.14 billion that year. The artisanal fleet mainly targets small and large pelagic species—such as sardines, anchovies, kingfish, tunas, and Indian mackerel—alongside demersal fish like sea bream and groupers. Fishers also harvest sharks, rays, and crustaceans including spiny lobster and shrimp. Their tools range from fixed and drift nets to hand lines and beach seines. However, the sector faces mounting challenges: low education levels, limited income, and rising competition from illegal and unlicensed operators. While artisanal fishing remains an open-access activity aligned with national welfare goals—supporting employment in coastal communities—it is increasingly strained. Overfishing of species such as kingfish, abalone, lobster, and shrimp has pushed stocks to unsustainable levels. Despite legal protections and regulatory frameworks, enforcement remains weak. Illegal trawling within restricted zones and the continued use of banned gear such as encircling nets persist, often unchecked. The industrial fisheries sector, once dominated by foreign trawlers, saw a dramatic shift after 2011 when the government banned these vessels over repeated regulation breaches. By 2023, Oman's industrial fishing fleet had rebounded modestly to eight locally operated longliners, and fishing nets producing 76,480 tonnes of primarily large pelagic fish such as yellowfin tuna. Oman launched its National Fisheries Development Strategy (2013–2020) under its broader goal to diversify away from hydrocarbons. The total fish production, however, still exploits just around 40% of the sustainable yield from Oman's waters, suggesting untapped potential. The Arabian Sea, in particular, holds promise—not only for traditional fish species but also for lanternfish, offering opportunities in fishmeal and fish oil production. In response to fluctuating global oil markets and dwindling reserves, Oman launched its National Fisheries Development Strategy (2013–2020) under its broader goal to diversify away from hydrocarbons. With oil and gas comprising over 68% of national revenue in 2015, the urgency to develop non-oil sectors became clear. The fisheries sector was identified as a key growth area, and the Eighth and Ninth Five-Year Plans emphasized foreign investment, infrastructure development, and private sector participation. The government's vision included an expanded aquaculture industry, new offshore fisheries, and greater control over fish stock sustainability. Export controls introduced in 2020 aimed to stabilize domestic prices and reduce import reliance—resulting in fish exports (including aquaculture) dropping to 34% of total production, down from 60% during 2011–2016. Still, implementation hurdles remain. Inadequate port infrastructure, inefficient inshore fleets, underdeveloped markets, and the artisanal sector's limited offshore capacity are major impediments. Despite ambitious goals, the hybrid policy that emerged reflects a compromise: promoting both a wealth-maximization model via industrialization and a welfare-maximization model through sustained artisanal support. This pragmatic dual-track strategy aims to modernize the sector without abandoning its socio-economic roots. While the original goal of fully transforming artisanal fisheries into a high-tech industrial powerhouse has been tempered, Oman continues to build a more diversified and resilient fisheries economy, anchored by tradition, but steering toward innovation.
Indian Express
01-06-2025
- Politics
- Indian Express
Demand for inclusion of Kokborok and Bhojpuri in Eighth Schedule of Constitution: A must-know for UPSC Exam
Take a look at the essential events, concepts, terms, quotes, or phenomena every day and brush up your knowledge. Here's your knowledge nugget for today on the Eighth Schedule of the Indian Constitution. (Relevance: The Eighth Schedule of the Indian Constitution is an important topic for UPSC CSE. Previously, the commission has asked questions on it; for instance, in the 2024 prelims, a question was asked on the languages included in the Eighth Schedule through the Constitution (71st Amendment) Act, 1992. Thus, knowing about the Eight Schedule from a broader perspective becomes essential.) Recently, in a letter to Tripura Chief Minister Dr Manik Saha, the Kokborok Sahitya Parishad sought the inclusion of the Kokborok language in the Eighth Schedule of the Constitution. The tribal literary body stated that the script for the Kokborok language can either be Bengali or Devanagari. Notably, earlier on International Mother Tongue Day (February 21), at Delhi's Jantar Mantar, Dr Santosh Patel and a group of supporters gathered to demand the inclusion of Bhojpuri in the Eighth Schedule of the Indian Constitution. Spoken by millions of people across several countries, Bhojpuri holds constitutional status in both Mauritius and Nepal, but it remains constitutionally unrecognised in India. In the context of rising demands for inclusion of various languages in the Eighth Schedule of the Indian Constitution, let's understand what this schedule is all about and other important aspects related to it. 1. The Eighth Schedule to the Constitution of India lists the languages officially recognised by the Government of India. Articles 344(1) and 351 of the Constitution contain provisions relating to the Eighth Schedule. 2. Article 344 (1) provides for the constitution of a Commission by the President on expiration of five years from the commencement of the Constitution and thereafter at the expiration of ten years from such commencement, which shall consist of a Chairman and such other members representing the different languages specified in the Eighth Schedule to make recommendations to the President for the progressive use of Hindi for official purposes of the Union. 3. Article 351 of the Constitution provides that it shall be the duty of the Union to promote the spread of the Hindi language to develop it so that it may serve as a medium of expression for all the elements of the composite culture of India and to secure its enrichment by assimilating without interfering with its genius, the forms, style and expressions used in Hindustani and in the other languages of India specified in the Eighth Schedule, and by drawing, wherever necessary or desirable, for its vocabulary, primarily, on Sanskrit and secondarily on other languages. 4. As of May 2025, 22 languages have been classified under the Eighth Schedule to the Constitution. Initially, however, the Eighth Schedule included 14 languages: Assamese, Bengali, Gujarati, Hindi, Kannada, Kashmiri, Malayalam, Marathi, Oriya (renamed to Odia in 2011), Punjabi, Sanskrit, Tamil, Telugu, and Urdu. 5. These 14 languages were selected from among the hundreds identified by George A Grierson in his Linguistic Survey of India which catalogued over 700 linguistic varieties across the subcontinent as early as 1927. 6. Over time, the Schedule expanded beyond the original 14 languages to include Bodo, Dogri, Konkani, Maithili, Manipuri, Nepali, Santhali, and Sindhi, bringing the total to 22. 7. Sindhi was added through the 21st Amendment Act of 1967; Konkani, Manipuri, and Nepali were added by the 71st Amendment Act of 1992; and Bodo, Dogri, Maithili, and Santhali were included through the 92nd Amendment Act of 2003. 8. Interestingly, English — despite its widespread use and role in official spheres — has never been part of the Eighth Schedule. 1. The Constituent Assembly did not lay down any formal criteria for the inclusion of languages in the Eighth Schedule. However, from time to time, efforts have been made by various committees to define clearer criteria for inclusion. 2. The Ashok Pahwa Committee (1996) proposed that a language could be included in the Eighth Schedule if: (i) it was an official language in at least one state; (ii) a significant portion of a state's population spoke it; (iii) it was an independent language rather than a dialect or derivative of one already listed; (iv) it had recognition from the Sahitya Akademi; and (v) it possessed a well-defined and developed literary tradition. 3. Later, the Sitakant Mohapatra Committee (2003) added more specific benchmarks. It recommended that a language must have at least 5 million speakers, based on census data from the previous three decades, to qualify as being spoken by a substantial population. The language should also serve as a medium of instruction at least up to the secondary level, preferably extending to the university level. Additionally, its script—whether indigenous, borrowed from a dominant regional language, or using Devanagari—should have been in established use for at least 50 years. 4. Notably, despite these efforts, no official standard has been adopted for selecting languages for the Eight schedule. The Ministry of Home Affairs confirms this position: 'As the evolution of dialects and languages is dynamic, influenced by socio-eco-political developments, it is difficult to fix any criterion for languages, whether to distinguish them from dialects, or for inclusion in the Eighth Schedule to the Constitution of India.' The benefits of being listed in the Eighth Schedule are both symbolic and practical. Such as: (i) Languages listed in the Eighth Schedule are eligible for translation services in Parliament if spoken by any member, (ii) They are included as options in the Indian language paper for the Union Public Service Commission (UPSC) examinations, (iii) Receive developmental funds from the central government, as language falls under the Concurrent List. 1. Last year, 'Classical Language' status was granted to Marathi, Pali, Prakrit, Assamese, and Bengali, and it brought the total number of officially designated classical languages to 11. Previously, only six languages held the 'Classical' status: Tamil (2004), Sanskrit (2005), Kannada (2008), Telugu (2008), Malayalam (2013), and Odia (2014). (Notably, among all the classical languages, Prakrit and Pali are the two classical languages that are not mentioned in the eighth schedule of the Indian Constitution.) 2. Classical languages are considered the custodians of India's ancient and profound cultural heritage. They preserve the rich history, literature, and traditions of their respective communities. The government grants this status to languages to honor and safeguard the linguistic milestones of India's diverse cultural landscape. 3. In October 2004, the Centre decided to create a new category of languages as 'classical languages'. On October 12, 2004, Tamil became the first Indian language to receive 'classical' status due to its high antiquity and rich literary tradition. (1) The Constitution (71st Amendment) Act, 1992 amends the Eighth Schedule to the Constitution to include which of the following languages? (UPSC 2024) 1. Konkani 2. Manipuri 3. Nepali 4. Maithili Select the correct answer using the code given below: (a) 1, 2 and 3 (b) 1, 2 and 4 (c) 1, 3 and 4 (d) 2, 3 and 4 (2) The Ashok Pahwa Committee (1996) and Sitakant Mohapatra Committee (2003) were associated with: (a) Reforms in the Lok Sabha (b) Caste Census (c) Eighth Schedule (d) Delimitation (3) Consider the following languages: 1. Manipuri 2. Bodo 3. Kashmiri What is the correct chronological order of these languages as they were included in the eighth schedule of the Constitution of India? (a) 3—2—1 (b) 1—2—3 (c) 2—1—3 (d) 3—1—2 (Sources: Knowledge Nugget of the day: Classical languages, The Eighth Schedule of the Indian Constitution: how language inclusion creates exclusion) Subscribe to our UPSC newsletter. Stay updated with the latest UPSC articles by joining our Telegram channel – Indian Express UPSC Hub, and follow us on Instagram and X. 🚨 Click Here to read the UPSC Essentials magazine for May 2025. Share your views and suggestions in the comment box or at Roshni Yadav is a Deputy Copy Editor with The Indian Express. She is an alumna of the University of Delhi and Jawaharlal Nehru University, where she pursued her graduation and post-graduation in Political Science. She has over five years of work experience in ed-tech and media. At The Indian Express, she writes for the UPSC section. Her interests lie in national and international affairs, governance, economy, and social issues. You can contact her via email: ... Read More
Yahoo
23-05-2025
- Politics
- Yahoo
Report: Trump taps Andy Byford, ‘Train Daddy,' to head Penn Station rebuild
Former NYC Transit head Andy Byford has been chosen by President Trump to head up the effort to rebuild Penn Station, according to the White House. Trump's apparent selection of Byford — a respected authority on railroad and transit operations who has run systems in Toronto, New York, London and Sydney — comes one month after the federal government pulled the stalled project away from the Metropolitan Transportation Authority. The news was first reported Friday by the West Side Spirit. Byford's leadership could signal an unexpected commitment to the project on the part of the mercurial Trump administration, and signal a departure from prior elements of Amtrak's plan — such as possibly abandoning the demolition of a city block south of the station in order to build more tracks for NJ Transit. Byford — whose short two-year stint at the head of NYC Transit endeared him to transit workers and riders alike, earning him the nickname 'Train Daddy' — has been working at Amtrak on high-speed rail since 2023. That same year, as previously reported by The News, Byford opined — albeit in a personal capacity — on several of the more controversial elements of the Penn Station plan at a public talk about the station. '[I]t would break my heart to see beautiful buildings torn down on Eighth and Seventh Aves. when they don't need to be,' he said at the time. Byford also indicated his support for so-called 'through-running,' an arrangement that would see trains continue on to other destinations beyond Penn Station before turning around or reversing — an arrangement that would reduce the time trains sit stationary at Penn and could allow for more frequent service. Despite the fact that many NJ Transit trains do, in fact, travel on to a yard in Queens after making their last stop at Penn, Amtrak has historically argued that through-running is not possible, citing incompatibilities among the equipment used by the three railroads — Amtrak, Long Island Rail Road and NJ Transit — that use the station. It was unclear on Friday whether Byford would have the authority to change Amtrak's existing plans, like the proposed demolition of Block 780 — the city block between W. 31st and W. 30th Sts., bounded by Seventh and Eighth Aves. — in order to create more platform space for NJ Transit commuter trains. The news of Byford's involvement was welcomed by close watchers of Penn's redevelopment. Layla Law-Gisiko — who heads the City Club of New York, a preservation group that opposes the plan to demolish the blocks around Penn — described Byford as an 'obvious' choice. 'I am overjoyed,' she told The News. 'He knows rail. He knows infrastructure. He knows community engagement in New York. He has the highest level of integrity. This guy has no ego.' Samuel Turvey of the advocacy group ReThinkNYC, who also opposes the state plan, described Byford's selection as 'a really great choice for everyone in the New York region.' 'Andy Byford has had great success on three continents, including his time in New York, and will bring integrity, competence and advanced leadership skills to the multi-decade conundrum at Penn Station,' he said. 'He will not, however, be able to do this on his own. He will need all of us to help him succeed.'
The Guardian
30-04-2025
- Entertainment
- The Guardian
Carducci Quartet review – terror and tumult as Shostakovich focus widens
A decade ago, marking 40 years since the composer's death, the Carducci Quartet played Shostakovich's 15 string quartets in a remarkable day-long marathon. This year is the 50th anniversary, but how do you follow that? For the Carduccis, the answer was to look outwards: programming the Shostakovich quartets they've played so often across five concerts alongside works by the Russian composer's students and sharing their platform with newer, up-and-coming groups. The Carduccis opened this penultimate concert with Shostakovich's String Quartet No 4, which runs from spare, plaintive folksiness to full-throttle pseudo-klezmer. The former showcased the Carduccis' exquisitely blended tone. The latter, the drama that can be generated from rustic pizzicatos, the hard catch of bow hair on string, the intensity of a cello melody eked out of a stratospheric thumb position. But there was also a hint of business as usual – the first violin always dominant, energy always injected by the cello, the overall sound always mellow. No such danger with the Elmore Quartet, which played Shostakovich's String Quartet No 13 with the ferocity of musicians determined to make an impact. Vibrato was banished; the vibrant array of tone colours came from bow control alone. The results were sometimes unearthly, sometimes brutal – the first violin's interjections at one point picked off the string in nasty little wedges and Shostakovich's wooden knocks (bow against instrument) terrifying. The audience fell absolutely silent. After the interval, the Elmores returned with Elena Firsova's String Quartet No 4 'Amoroso', with the composer present. The violins fired pizzicatos like gunshots and contrapuntal lines were served searing. But there were also moments of sudden beauty, poised amid the tumult. No Shostakovich quartet is better known than his Eighth, played here in Rudolf Barshai's chamber arrangement by the Carducci, Kyan and Oculus quartets plus two of the Elmores and double bassist Chris West. Such a lineup created a strange, occasionally scrappy blend: quartets, after all, fashion their own distinct sound and don't easily merge into an ad hoc string orchestra. But this remained gripping in parts, its stabbed chords grizzly, its repeated theme nightmarish, the double bass casting shadow across the texture like a bruise. The Carducci festival at Highnam, Gloucestershire, is on 16-18 May
