My latest Mint column, "Labour reforms are not to blame for the unrest at Wistron’s plant".

 https://www.livemint.com/opinion/columns/labour-reforms-are-not-to-blame-for-the-unrest-at-wistron-s-plant-11609079186877.html

Liberal economic reforms in India starting in 1991 often occur in a crisis mode, as in recent labour law and agricultural sector reforms. My latest @livemint argues Indian policymakers must move beyond this, and make a principled case for reform to voters.

 https://www.livemint.com/opinion/columns/a-redux-of-the-modi-government-s-thatcher-moment-11607873118891.html

My latest Mint column: "In this time of crisis, classical music has been our saviour".

 https://www.livemint.com/opinion/columns/in-this-time-of-crisis-classical-music-has-been-our-saviour-11606658804389.html

My latest Mint column argues that, while Trump is on his way out, Trumpism isn't.

https://www.livemint.com/opinion/columns/trump-may-have-been-defeated-but-trumpism-certainly-has-not-11605450653893.html

My latest Mint column examines the chequered history of the efficacy of lockdowns to fight COVID-19.

 https://www.livemint.com/opinion/online-views/the-dubious-record-of-lockdowns-against-coronavirus-11604247375966.html

I'm quoted in the Wall Street Journal, on the prospects for success of recent economic reforms in India.

https://www.wsj.com/articles/india-turns-to-economic-overhaul-as-growth-prospects-slide-amid-coronavirus-11602586802?mod=hp_listb_pos2

“In a word, all reforms are good in theory,” said Vivek Dehejia, an expert on the Indian economy at Carleton University in Ottawa, Canada. “In practice, I worry it may be too little too late, and I’m not confident that market incentives work well during a time of a public safety emergency.”

My latest Mint column, "Covid-19 has given conventional economic wisdom an overhaul", is now on-line.

 https://www.livemint.com/opinion/columns/covid-19-has-given-conventional-economic-wisdom-an-overhaul-11601818103523.html

My latest Mint column: "Covid is worsening inequalities of wealth and income"

 https://www.livemint.com/opinion/columns/covid-is-worsening-inequalities-of-wealth-and-income-11600615027138.html

The India growth story may be over. My latest Mint column.

 https://www.livemint.com/opinion/columns/india-s-growth-story-has-never-seemed-so-endangered-11599400708615.html

My latest Mint column argues that India must remain commercially engaged with China, while at the same time augmenting its military capacity to prevent future Chinese incursions into Indian controlled territory.

 https://www.livemint.com/opinion/columns/india-has-no-alternative-but-to-deal-with-the-people-s-republic-11598192670832.html

My latest Mint column argues that, thanks to COVID-19, the nation-state and big government are back with a vengeance.

 https://www.livemint.com/opinion/columns/the-nation-state-is-back-with-a-vengeance-thanks-to-covid-19-11596980630967.html

I speak to Mint about the return to import substitution and the license raj in India.

 https://www.livemint.com/news/india/tv-sets-signal-a-lapse-into-licence-raj-11596727404309.html

My latest Mint column, co-written with Rupa Subramanya, on the return to crony capitalism and jobless growth in India.

https://www.livemint.com/opinion/columns/an-economic-paradigm-reminiscent-of-our-licence-raj-11595773327957.html

I am quoted in the Financial Times on the migration of workers from the cities back to the countryside and what this means for the Indian economy.

https://www.ft.com/content/5426436b-193b-4e27-a86e-7f9154654a11

My latest Mint column, on the "hysteresis" effects of the COVID-19 pandemic.

https://www.livemint.com/opinion/columns/a-new-normal-created-by-the-hysteresis-effects-of-covid-11594562934845.html

In my latest Mint column, I argue that there is an asymmetry in incumbent politicians' incentives visa-a-vis unlocking vs continuing to lockdown, which conditions the political economy of lockdowns.

https://www.livemint.com/opinion/columns/how-politics-makes-it-easier-to-impose-a-lockdown-than-lift-it-11593346746609.html

My latest Mint column dissects the concept of "self-reliance" being promoted by the Modi government in India.

https://www.livemint.com/opinion/columns/what-self-reliance-should-mean-for-india-in-the-world-we-inhabit-11592142070748.html

"India needs labour law reform, but must do it the right way" -- my latest Mint column.

https://www.livemint.com/opinion/columns/india-needs-labour-law-reform-but-must-do-it-the-proper-way-11590929529779.html

I am extensively quoted in a CNN article on the first anniversary of Modi's second term in office in India.

https://www.cnn.com/2020/05/30/india/modi-first-term-analysis-hnk-intl/index.html

Opinion | India’s distant dream of becoming the world’s big factory -- my latest for Mint.

https://www.livemint.com/opinion/columns/india-s-distant-dream-of-becoming-the-world-s-big-factory-11589725006952.html

Something a little different -- "The Curious Case of the Missing Mozart and the Neglected Younger Brother"

The Curious Case of the Missing Mozart and the Neglected Younger Brother

Vivek Dehejia

May 14, 2020

How many of you music mavens have noticed the gap in the chronology of the late Mozart symphonies? Your boxed set will jump from No. 36, the “Linz”, to No. 38, the “Prague”, and then onto the final, glorious trilogy. Whatever happened to No. 37?

Therein lies a tale. When Ludwig von Köchel compiled his comprehensive catalogue of Mozart’s works in 1862, there was, indeed, a Symphony No. 37 in G major, K. 444. It was only discovered in 1907 by Lothar Perger and Georges de Saint Foix that the true composer was (Johann) Michael Haydn, younger brother of the famous (Franz) Joseph Haydn, when Perger was assembling his catalogue of the younger Haydn’s works.

So how did the misattribution occur? Simple enough, it turns out. Haydn completed the symphony on May 23, 1783, scoring it for a (small) classical orchestra, flute (only in the second movement), oboes, bassoons, and horns, in pairs, and the usual string choir (without cellos). Unlike many of the symphonies of his older brother, Haydn’s symphony has no slow introduction and jumps straight into the jolly theme of the first movement. This symphony, in three movements (fast - slow - fast, with no minuet), is now known as No. 25 in G major, Perger 16, Sherman 25, MH 334 (because there are at least three different catalogues of his works).

Now, Mozart and the younger Haydn were friends — indeed, they had been colleagues working for the Prince-Archbishop of Salzburg. While Mozart quit the hateful prince’s employ to set off on a freelance career, Haydn stayed in service to the prince until his death, much as older brother, Joseph, served the princely Esterházy for most of his career. It is fair to say that both Haydn brothers and Mozart were good friends, and thought highly of each other’s work.

When Mozart was preparing to journey to Linz in late 1783, for the concert at which the “Linz” symphony would be premiered, he decided he needed another work to add to the program. Michael’s No. 25 was readily at hand, but, Mozart being the genius he was, did not want to play Haydn’s symphony straight, but made his own modifications. Most notably, he added a slow introduction, marked Adagio maestoso, to the first movement, with a clever segue into Haydn’s actual fast opening movement. (I am leaving out the technical musicological details.)

But, those were not his only changes. Most notably, and audibly, he eliminated a bassoon solo from the Andante sostenuto slow second movement, as well as some other minor modifications to the wind parts, where, again, I leave out the technical details.

Mozart’s score, in fact, does away with bassoons altogether, being scored for flute (again, only in the second movement), pairs of oboes and horns, and the usual strings (including cellos). As with all music of this period, it is contentious whether a basso continuo, typically played on the harpsichord or perhaps the fortepiano, is required, or is dispensable. Bassoons are sometimes added back in, doubling the cellos and basses as part of the continuo group, a practice we also see in some earlier symphonies by Joseph Haydn.

When Mozart’s autograph score was discovered, the slow introduction and part of the second movement was in his handwriting, and the remainder of the symphony was in another’s hand, perhaps that of a copyist. This is how the misattribution occurred, and we know already how it was eventually rectified.

What is interesting is that the chronology of the late Mozart symphonies was not re-arranged, which would have made the “Prague” into No. 37, and the final trilogy Nos. 38 - 40. Rather, No 37 was kept vacant — a “missing Mozart”, so to speak.

All of this would be rather pedantic and uninteresting, except for the fact that the symphony — in either version — is very lovely indeed, most especially the delightful middle movement. It is well worth listening to.

There are several recordings of both versions available. For the Haydn original, I would recommend Matthias Bamert conducting the London Mozart Players, on the Chandos label, part of the “Contemporaries of Mozart” series (he uses a harpsichord continuo). For the Mozart version, there is a very fine recording by Jane Glover conducting, also, the London Mozart Players, on the Sanctuary label, in a box called “Mozart: The Great Symphonies”. She dispenses with a continuo instrument. In terms of historical recordings, the great Erich Leinsdorf’s traversal of the complete Mozart symphonies — the first recorded set of the complete symphonies, in fact — for the Westminster label, includes No. 37, in perfectly acceptable late mono sound, and a very vigorous performance.

It is noteworthy that No. 37 is performed much less frequently since it became known that the composer was mostly not, in fact, Mozart. But not a single note changed. It gives you pause to think about how we perceive works of art based on the presumed authorship. Mozart is rightly thought a universal genius, so even the archaic sounding (for 1783) No. 37 was accepted as part of his oeuvre — until it was discovered that the true author was a lesser light, the younger Haydn brother at that. And so the symphony has mostly gone in the drawer since then, and only occasionally dusted off for performance or recording, which is a real pity.

As a postscript, the lovely bassoon-laden second movement of the Haydn symphony forms an important part of the soundtrack of the 2018 Denys Arcand film, La chute de l'empire américain, in an arrangement and elaboration by Mathieu Lussier, and played by Les Violons du Roy, conducted by Lussier.

In fact, it was watching Arcand’s beautiful and autumnal film — for which the music is perfectly suited — that enticed me into rediscovering the mystery of the missing Mozart and the neglected younger brother.

Notes and Sources

For background on the Haydn/Mozart confusion, Wikipedia — what else? — and for the recording recommendations and other maundering, myself. The recordings are easily found on your favourite streaming service or for purchase from the usual on-line stores.

The Wikipedia articles on both Haydn’s Symphony No. 25 and Mozart’s Symphony No. 37 contain useful links to scholarly and semi-scholarly sources. The most useful is Denis Pajot’s blog post on the Mozart forum, https://web.archive.org/web/20070929091530/http://www.mozartforum.com/Lore/article.php?id=085 . There is some interesting discussion here of how it was that Haydn’s symphony came into Mozart’s hands (from a dishonest Salzburg copyist, or perhaps a gift from Haydn to Mozart?), and how and why he felt it necessary to add a slow introduction before taking it with him to Linz. It is possible that the confusion was abetted by the fact that the Mozart No. 37 was thought to be a new symphony composed for Linz, which we now know to be No. 36.

HT picks up on my Twitter comment on the Indian PM's announcement of an economic package today to fight the current crisis.

“The speech was skimpy on bold reforms and there was more discussion of the local, self reliance and Make in India (read import substitution). Colour me sceptical at this point.” 

https://www.hindustantimes.com/india-news/20l-cr-boost-for-self-reliant-india/story-4g47UGLGWjyu96p0JsOKEJ.html

I speak to the WSJ on India's lockdown.

“Governments around the world are reclaiming the commanding heights of the economy,” said Vivek Dehejia, an economics professor at Carleton University in Ottawa. “You can do things quickly, but the danger is once governments obtain more power they are very reluctant to give it up.”

https://www.wsj.com/articles/amid-coronavirus-lockdown-india-post-still-deliversbecause-nobody-else-can-11588528535?mod=searchresults&page=1&pos=1

My latest Mint column: "The lockdown dilemma: Is the cure worse than the disease?"

https://www.livemint.com/opinion/columns/the-lockdown-dilemma-is-the-cure-worse-than-the-disease-11588512837650.html

I speak to the BBC about the need for the Indian government to encourage and subsidise testing for COVID-19, in a country which is woefully under-testing.

https://www.bbc.com/news/world-asia-india-52322559

My latest Mint column: Governments are retaking the ‘commanding heights’ of their economies

https://www.livemint.com/opinion/columns/opinion-governments-are-retaking-the-commanding-heights-of-their-economies-11587135955578.html

My latest: Opinion | Covid could be a perfect alibi to reshape the free world

https://www.livemint.com/opinion/online-views/covid-could-be-a-perfect-alibi-to-reshape-the-free-world-11586190792644.html

I speak to BBC World News ("Asia Business Report") about India's relief measures in response to the COVID-19 crisis.

https://www.dropbox.com/s/bjzz5hwplpg6lgd/7aaf8200-91b2-446c-968a-2afa3bc7f0da.mp4?dl=0

I speak to Radio-Canada Television about the difficult situation facing Canadians in India right now and the need for the government of Canada to act. [video clip]

 https://ici.radio-canada.ca/nouvelle/1688390/coronavirus-rapatriement-voyageurs-canadiens-inde

I also spoke on the same subject to CBC Radio "World Report". The clip does not seem to be archived, but some of you may have heard it.

Opinion | The coronavirus outbreak is a crisis of globalization, my latest Mint column.

https://www.livemint.com/opinion/columns/the-coronavirus-outbreak-is-a-crisis-of-globalization-11584892582468.html

A special post on our present moment

OUR PRESENT MOMENT

VIVEK DEHEJIA

 March 22, 2020

Mumbai, India

Different folks are doing different things to stay sane during the self-isolation/lockdown we are all experiencing all over the world thanks to COVID-19. My solace is art, literature, and, especially, music (sometimes some food and drink as well!).

And, folks, there is such a thing as synchronicity! I had been looking forward for some time to "La Passione", a new album by superb Canadian soprano and conductor, Barbara Hannigan, which just released this past Friday after being in the pipeline for months. The timing could not have been more a propos for our present global moment.

The album has haunting and powerful songs by (near) contemporary composers Luigi Nono and Gérard Grisey, but the centrepiece is Haydn's Symphony No. 49 in F minor, "La passione". The title, apparently not Haydn's, refers to the Passion of Christ and the stages of the Cross. Whether the title is apocryphal or not, this is perhaps Haydn's most powerful, personal, and existentially charged work. It should also be noted that Haydn was a devout and observant Roman Catholic, a well documented fact, so that the casting of doubt on the title, suggesting it may reflect a theatrical representation of the Passion, rather than the Passion itself,  may reflect rather  the biases of "secular" critics -- just a conjecture by me, not based on historiographical research.

Many well-known recordings scrub down the sharp edges of the work and present is as buttoned-down, slick, soulless, middle-period, and run-of-the-mill -- good old Papa Haydn. Hannigan and her inspired Dutch musicians blow this myth apart. Hannigan does for Haydn what Bernstein did for Mahler. The emotional core of the piece, the long first movement, is here given all its repeats and played at an appropriately sepulchral tempo -- clocking in at close to an incredible 15 minutes -- as long as some movements in Mahler! The remaining movements maintain the intensity level.

A very special touch is the harpsichord part, which plays at variance with the music on top, not relegated to a generic continuo which mimics the bass line. Hannigan, in her own liner notes, describes this as the "dark, lost angel". The effect is extraordinary. This is where genuine authenticity -- coming to the core meaning of a work of art -- sometimes parts ways with pedantic authenticity as in some of the "historically informed performance" folks.

Listening to this recording has given me a lot of solace, and helped me think through -- or, better yet, feel through -- the existential questions swirling around all of us now.

If you want to check this amazing recording out, the link below points you to various sites to download or stream the work. The usual suspects, Apple Music and Spotify, are streaming it, and it's available for purchase from other standard sites.

********

A last thought from me: I've been thinking quite a bit of what that last music is one might want to hear, in these existential times, in case one needs to make such a choice. The obvious choices for me would have been Mozart, or Beethoven, or Schubert, Mendelssohn, Bach or Brahms, (maybe) Mahler, (just possibly) Wagner, (unlikely) Strauss. It is said that, on his deathbed, Schubert wished his friends to play Beethoven's C sharp minor string quartet, Op. 131, as the last music he heard. Some, including me, might pick Schubert's great C major string quintet for one's swan song. Suddenly, out of left field, came this stunning "La passione" from Hannigan, that I have been listening to "on loop" (as they say) since first hearing it a few nights ago. I recall the sage words of an old professor of English of my brother, whom I also knew a bit, a fine Chaucer scholar and a great lover of classical music, who said, "In the end, we always come back to Haydn..."

I'll give the last word to Hannigan: "Haydn’s Symphony 49...is a universal ritual for loss and grieving, beyond a single figure. The symphony is the journey of souls: the ones enduring on earth and the ones who have departed."

https://lnk.to/LaPassione_HanniganID

POSTSCRIPT

The first page of the full score to Haydn's "La Passione". Notice the inscription at the head, "In Nomine Domini" -- "in the name of the Lord". At the end of the work, Haydn writes, "Fine laus Deo" -- "the end, praise be to God": the sacred, the secular, and aesthetic are melded.

India's economy is in a deep malaise, but we are nowhere near a 1991 style macroeconomic crisis, despite the doomsayers. My latest Mint column.

https://www.livemint.com/opinion/columns/opinion-india-s-economy-bears-signs-of-a-deep-malaise-but-not-of-a-crisis-11583677480974.html

My latest column in the Mint argues that the hard work of negotiating a trade deal with the US will begin in earnest after the spectacle of Trump's two day visit to India ends.

https://www.livemint.com/opinion/columns/opinion-what-new-delhi-must-do-after-the-us-president-returns-home-11582470044327.html

I'm quoted in an op-ed in the Wall Street Journal on India turning away from three decades of trade liberalization.

https://www.wsj.com/articles/modi-bashes-nehru-but-rejects-only-his-good-ideas-11582483855

My latest Mint column argues that the recent Union Budget's spate of tariff hikes cements a damaging backsliding into import substitution and protectionism. The lessons of 1991 are, alas, being unlearned.

https://www.livemint.com/opinion/columns/india-s-rerun-of-its-protectionist-folly-mars-the-liberalization-era-11581262685208.html

I speak to Global News on the upcoming second anniversary of the failed Trudeau visit to India.

https://globalnews.ca/news/6486955/yoga-summit-justin-trudeau-nahendra-modi/?fbclid=IwAR3bh9RSsBL7ptwvj8tgea2rZfRrrH8mf6tmRqnF8WkkJsqzyXzVx17jhFo

The latest IMF data shows that convergence between rich and poor countries has gone off the rails. My latest Mint column analyses this.

https://www.livemint.com/opinion/columns/opinion-the-convergence-of-rich-nations-with-the-rest-has-gone-off-track-11580056952588.html

A left-wing Palestinian magazine takes note of writing by myself and Rupa Subramanya on the ideological affinities between Israel and India.

https://www.972mag.com/caa-hindu-nationalism-zionism/

My latest Mint column argues that endless protest which doesn't transform into a political movement will ultimately undermine the legitimacy of Indian democracy.

https://www.livemint.com/opinion/columns/endless-protests-without-a-clear-goal-threaten-india-s-democracy-11578824684330.html