Michael Johnson is a music critic with particular interest in piano.
Johnson worked as a reporter and editor in New York, Moscow, Paris and London over his journalism career. He covered European technology for Business Week for five years, and served nine years as chief editor of International Management magazine and was chief editor of the French technology weekly 01 Informatique. He also spent four years as Moscow correspondent of The Associated Press. He is the author of five books.
Michael Johnson is based in Bordeaux. Besides English and French he is also fluent in Russian.
You can order Michael Johnson's most recent book, a bilingual book, French and English, with drawings by Johnson:
“Portraitures and caricatures: Conductors, Pianist, Composers”
Concert bookers around the world are lining up pianists and conductors for performances of Pictures at an Exhibitionnext year, the 140th anniversary of one of the most frequently performed, distorted, and some say “butchered” masterpieces of 19th-century Russian music. And yet it is sure to be a celebration of what the late pianist Sviatoslav Richter called the “best Russian work for piano, amen.” At least, he might have added, when performed as Modest Mussorgsky wrote it. Lesser performers and composers have never ceased tinkering with it, much to the detriment of the inspired original.
A suite of ten short pieces linked by a recurring “promenade,” Pictures renders in musical language a ramble through an art exhibit in Tsarist St. Petersburg. No piano writing of its period quite measures up to it for its oh-so-Russian sonorities, harmonies, and jolting changes of mood. Among the hundreds of recordings available, Richter’s 1958 recital in Sofia, Bulgaria, is regarded as the gold standard. “Here the piece has incredible pianistic color,” William Grant Naboré, director of the International Piano Academy on Lake Como, Italy, tells me. “It has Russian soul, yes, but it also looks beyond Russia.” The Richter performance is still a favorite of music-lovers:
Mussorgsky’s creative storm forPictureswas almost frightening in its intensity. Musical ideas from his viewing of the artwork flooded his mind over twenty days as he struggled to structure what he was hearing in his head. “I can hardly manage to scribble it down on paper fast enough,” he wrote in mid-composition; “I think it is working.”
As with most great classical compositions, the impression ofPictureson the listener deepens and broadens upon second and third hearings. Details emerge and images come to life as the music evokes bells, children on a playground, women quarreling at an open market, two Jews in conversation and a peasant singing as he drives a rumbling wooden cart, among other scenes. Audiences love it for its charm and easy accessibility. “Picturesis a truly Russian work in its directness of expression, its form arising from content, and its summing of parts rather than organic growth,” wrote British music academic Michael Russ in an extended monograph on the piece. “Mussorgsky prefers to depict real life rather than the spiritual, romantic, sensuous or erotic.”
The piece becomes more poignant when you consider its genesis: Mussorgsky wrote it shortly after his friend, the architect-artist Viktor Hartmann, had died at the age of 39 from sudden heart failure. The two men had found common ground over their views on the arts in Russia and were on a sort of crusade against excessive Western European influence.
Mussorgsky, an impulsive, temperamental genius with an appealing comic streak, began as a pianist and popular composer of songs. Voice gradually became his special interest. BesidesPictures, his other lasting contributions are his great operas –Boris GodunovandKhovanshchina. As a music innovator, he was a charter member of the group variously known as “The Five,” “The Mighty Handful,” and “The Mighty Coterie,” consisting of himself, Nikolai Rimsky-Korsakov, Mili Balakirev, Alexander Borodin and César Cui.
Artist Hartmann gets little credit forPictures, although without him the music would never have been composed. He was no Rembrandt, but he worked tirelessly during his short life and left a copious legacy. For one architectural competition he produced seven hundred sketches. He dabbled in stage sets, teacups, lamps, picture frames and jewellry but his most accomplished works were watercolors and pencil sketches. The sole extant Hartmann architectural construction is the Russian Milleniary Monument at Novgorod dating from 1862.
Only about sixty-five of his paintings and sketches have survived Russia’s diasporas, wars and revolutions. The teacups and other ephemera have long since vanished.
Hartmann’s architectural creations often featured carved-wood filigree and quaint, impractical peasant ornamentation. Columns and pilasters were replaced with wooden filigree under the eaves, roosters and colored tiles in complex patterns. Mussorgsky, for his part, exhumed country folk music and dances and then felt his way forward on instinct. His brother Filaret recalled that the composer, who was largely self-taught, had a love for “everything connected with the people and the peasantry. Even the Russianmuzhikwas a human being in his eyes.” For most of the educated or aristocratic population, the Russian peasant was then considered equivalent to a farm animal, bought and sold “like a sack of corn or a cart-horse,” wrote a Mussorgsky biographer.
Their efforts were short-lived, however. “Russian music,” wrote one critic, “ had the vitality to break up the 18th century tradition but not the continuity to build up another. Like nomad Tartars, the Russians razed Western buildings to the ground but replaced them with gaily painted tents.” In retrospect, this seems a harsh indictment of the Russian tradition and the stalwart compositions that remain in the repertoire today. But without a doubt Russian music moved on: Stravinsky, most notably, came next.
Pictureswas slow to settle into the music scene after it was first published in 1886 – five years after Mussorgsky died and twelve years after it was completed. Even the initial published version was distorted. Rimsky-Korsakov, a former roommate and protector of Mussorgsky’s legacy, was the first to massage it. “With the best of intentions, Rimsky felt obliged to emend some of Mussorgsky’s more daring touches,” wrote German musicologist Manfred Schandert in his commentary on the urtext manuscript. It nevertheless remained little known for decades, rarely performed in recitals and too difficult for amateurs to play at home. (A pianist friend of mine in London today raises one eyebrow and warns of its “tight corners.”) Only in 1922, after Serge Koussevitsky commissioned Maurice Ravel for an orchestration, was it brought to life in a new orchestrated version, Westernized, Frenchified and popularized in the form most concert-goers know today. The accurate and “daring” piano original was then finally published in 1931.
In the years since, orchestrators, adapters and performers have never stopped trying to make it better, or at least leave their own stamp on it. Russian-born Vladimir Horowitz wrote a personalized version of it for piano in 1947, “wild, dirty and explosive,” says Naboré. The full suite à la Horowitz is still available here:
Roughly thirty-eight full orchestrations ofPicturesare catalogued and another forty or fifty adaptations—many of them on the goofy side—can be found by trawling the web. Eclectic versions for a synthesizer, electric guitar, seven trombones, 23 clarinets, various chamber combinations, three pipe organs and percussion, accordion, women’s choir, men’s choir, a glass harp, indeed nearly every instrument known to Western man including a Kentucky jug band – if a jug can be called an instrument. The effect on the ear ranges from stirring (the trombones) to outrageous (Emerson, Lake and Palmer rock band), to just too French for words (the Ravel orchestration, by far the most popular), to cotton candy (Cailliet). For an ear-bending kazoo and pennywhistle parody, Canadian musician Friendly Rich’s orchestra recorded this tribute, which he admits is a friendly butchering:
Such heavyweights as Ravel, Leopold Stokowski, Vladimir Ashkenazy, Lucien Cailliet (for Eugene Ormandy’s Philadelphia Orchestra), Sir Henry Wood and Leo Funtek produced orchestrations.
But it is Ravel’s version that causes the most controversy among the cognoscenti. Russians, who feel they own this music, find his treatment – especially the inclusion of a saxophone – grossly inappropriate. Worse, he is also accused of reproducing errors from an inaccurate piano score. These shortcomings have not prevented the Ravel estate from making millions in royalties, however, as the orchestration became integral to the repertoire throughout the world. Even today the fees can be prohibitive, depending on the orchestra and its audience. Swedish movie director Christopher Nupen recalled for me his decision to drop the costly Ravel version he planned to use in a documentary film on Ashkenazy. Instead he opted for the orchestration by Leo Funtek, the Slovenian-born composer who made his life and career in Finland. As a bonus, Funtek hewed closer to the piano score – and included no offending saxophone solo. Later, Russian-born Ashkenazy undertook his own orchestration to restore “complete loyalty to Mussorgsky’s idiom.” Besides, he adds, “in my version these mistakes can be put right.”
Sviatoslav Richter’s criticism went much further. He said in an interview shortly before his death that he consideredPicturesto be the “most profound masterpiece of Russian piano music”. But when the Frenchman tried to improve it, Richter felt, the results were disastrous. “I loathe and abhor” the Ravel piece, he said. The orchestration is “an abomination, a terrible, decorative travesty.” The interview was published in book form and as a DVD by documentary maker Bruno Monsaingeon asRichter: The Enigma, a rare extended conversation on Richter’s life and piano career that electrified the music world.
Julian Lampert, a U.S. composer-pianist of Russian descent, tells me he also finds the Ravel version a clash of opposites. It reminds him, he says, of “Grand Marnier poured over potatoes and kasha.”
Music scholars argue in several biographies and monographs over the glories and tragedies of Mussorgsky’s artistic life, focusing first on the spelling and pronunciation of his family name. Variations through the ages had no letter “g,” hinting at the root “musor,” meaning garbage, mucous, or in current slang, “policeman.” One Russian friend tells me she recalls giggles in the classroom whenever Mussorgsky’s name was mentioned. The syllabic stress was eventually shifted and the letter “g” was inserted by Filaret, Modest’s “snooty” brother, to clean up the name, according to one scholar. Nevertheless, Modest took pleasure in jokingly signing lettersMussoryanin(in Russian, “he who lives in garbage”).
When Mussorgsky turned his talents toPicturesin 1874, shortly after finishing his great operaBoris Godunov, he selected ten works from the 400 on display at the Hartmann posthumous exhibit to portray in music. They provide one of the earliest and most direct examples of “program music”, the creative process for translating the visual into music. Ironically, six of the ten pictures in the “profoundly Russian” suite were produced during Hartmann’s travels in France, Italy and Poland.
Mussorgsky invented a unique structure to tie the ten pieces together. The pictures are linked by a recurring theme, a “promenade”, to evoke the wandering of an exhibit visitor. The viewer, Mussorgsky himself, first stops at a drawing entitled “The Gnome,” an awkward, jumping dwarf that in its musical depiction was considered “an incredible piece of audacity” in the way it departs from traditional piano writing. Next he stops atIl veccio castello(The Old Castle), painted during his trip to Italy. The music brings out a heart-rending melancholy line, evoking a troubador performing before the castle. The controversial saxophone appears in this part. A short promenade returns, then the viewer comes toTuileries, subtitledChildren’s Quarreling at Play. Here the music echoes the sound of animated young voices, one of Mussorgsky’s most effective translations of human sounds onto the piano. The frolic and romp of the children virtually leaps from the piano. Next comes a watercolor of a large wooden wagon, titled in Polish “Bydlo,” that combines thick, ponderous left-hand chords of the giant wooden wheels overlaid with a folk tune being sung by the driver.
A quiet promenade intervenes, then at No. 5 the visitor discovers theBallet of Unhatched Chicks, a sketch of costumes for a ballet called “Trilbi,” and it appears musically as a charming scherzino that breaks the heavy mood and substitutes a feeling of wild gaiety among privileged children. Next comes another watercolor, this one titled “Samuel Goldenberg and Schmuyle,” which Mussorgsky explained as his attempt to “get at Hartmann’s Jews” and to reproduce more “intonations of human speech.” The music replicates a comfortable Jew speaking in a deep, rumbling voice, alternating with the whining tremulo of the poor Jew.
The longest promenade of the set follows, as the listener imagines the viewer pausing, moving on from picture to picture, finally settling at Limoges, usually subtitled “The Market(The Big News)” which he called “a study in intonation,” again picking up sounds of animated chatter. The musical outbursts here were invented to mimic women bickering and exchanging their version of news of the day.
Without a promenade, Mussorgsky next takes directly on to theCatacombs(A Roman Sepulchre)” in Paris, that flows from a haunting introduction into a subtheme, “Con mortius in linua mortua, bastard Latin for “With the dead in a dead language.” The eerie melody is Mussorgsky’s translation of a visit to the “place of skulls,” as he wrote on his score, and as he calls out to the macabre scene, “the skulls begin to glow faintly from within”. And on to No. 9, a sketch known as “The Hut of Baba-Yaga,” one of the most exciting passages in the suite, a wild scherzo with unusual harmonies and halting melodies. Hartmann has borrowed “Baba-Yaga” from Russian folklore, a witch who lives deep in the woods in a hut on hen’s legs. This creature was best rendered by Pushkin in his introduction toRuslan and Lyudmila. Mussorgsky’s witches’ ride is one of the most interesting of the entire suite for its thumping rhythms and memorable melodies.
The finale is the now-familiar “Bogatyr Gate, the Great Gate of Kiev,” based on one of the better-known Hartmann sketches, a monument to Tsar Alexander II’s escape from an assassination attempt. He won the design competition for Kiev Gate, with a Slavic war helmet atop it instead of the usual onion dome. He regarded it as his finest work. The monument was never built but the music made it memorable in different artistic terms. The gate provides a finale that calls on the full range of the keyboard and its arpeggios, including bell-like chiming in the upper register – rendered in most orchestrations as a mighty climax with sets of bells hammered by percussionists. The effect, even for critics of Ravel, can be breathtaking. In this version, Gustavo Dudamel conducts a Venezuelan youth orchestra in the Ravel version:
Late in life, Mussorgsky’s tragedies multiplied. His operas were dormant or unfinished, his piano suite unpublished and his own creative talents in remission. He ended his life as an unpaid assistant teacher at a school for singers, and was reduced to accompanying them on tour. He suffered bouts of depression and struggled with alcoholism. Epileptic seizures became more frequent. Virtually dysfunctional, he was sacked from a civil service post that had provided a subsistence income in 1881.
His last public appearance as a soloist was at a January 25, 1881, commemoration of Dostoevsky’s death, where he improvised a funeral march. The audience stood in respect – as much for the music as for the deceased.
Mussorgsky was destitute and close to begging in the street when he sat for a portrait by his friend the renowned painter Ilya Repin. The portrait depicts a man in distress, clothed in a dressing gown, disheveled, disoriented, uncombed. His nose is painted red, reflecting a long period of alcoholism. Mussorgsky died March 16, 1881, at 42 just 11 days after the painting was finished, alone in a hospital where he was being treated for a stroke.
“Pure as crystal, against the dark background of his tragic destiny, the soul of this incomparable artist stands out,” concluded biographer Oskar von Riesemann.
The story of Modest Mussorgsky contains many of the elements of the tortured Russian soul of 19th century fiction – a majestic natural talent, the rise to public acclaim, then a loss of creative power, descent into alcoholism and despair, and a pathetic, lonely death. Scholars and musicians today agree on Mussorgsky’s greatness as a creative force. His legacy is validated by his continued presence in opera houses and concert halls around the world, and popularity 130 years after his death that has inspired a broad spectrum of interpreters.
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EXTRACT: "Central banks are thus locked in a “debt trap”: any attempt to normalize monetary policy will cause debt-servicing burdens to spike, leading to massive insolvencies, cascading financial crises, and fallout in the real economy.
---- With governments unable to reduce high debts and deficits by spending less or raising revenues, those that can borrow in their own currency will increasingly resort to the “inflation tax”: relying on unexpected price growth to wipe out long-term nominal liabilities at fixed rates."
EXTRACT: ".... the likelihood is that Biden, who spent his life as a senator, played a central behind-the-scenes role in turning Manchin around and keeping the Democratic Party Senators together on this pared-down version of Build Back Better. Biden’s legislative accomplishments, not to mention his administrative ones, will likely end up being very impressive for the first two years of his presidency.
------ In matters of climate, every ton of CO2 you don’t put into the atmosphere is a decrease in how hard life will be for our grandchildren. They will have reason to be grateful to President Biden and the Democratic Party if this bill becomes law."
EXTRACTS: "Right-wing media outlets including Fox News, One America News (OAN), Newsmax, and talk radio are grossly abusing the right to free speech and are causing profound, if not irreparable damage to our country at home and abroad. They have been engaged in these deliberate practices of spreading poisonous misinformation all in the name of free speech." ---- "A team at MIT, analyzing propaganda techniques in the news, underscores the use of logical fallacies – such as strawmen (the misrepresentation of the other’s position), red herrings (the provision of irrelevancies), false dichotomies (offering two alternatives as the only possibilities), and whataboutism (a diversionary tactic to avoid directly addressing an issue). ----
Whataboutism is worth considering more closely because it is becoming ubiquitous among Republicans – perhaps this is not surprising given that it is certainly Trump’s “favorite dodge.” It is one of the fundamental rules by which he operates: when you are criticized, say that someone else is worse. In an interview with Trump, Bill O’Reilly states the obvious fact that “Putin is a killer,” and who can forget Trump’s response: “There are a lot of killers. You got a lot of killers. What, you think our country is so innocent?” That is classic whataboutism. And it is also of course all over Fox News’ most popular line-up."
EXTRACTS: "For three hours, against the unequivocal advice of his counsel, friends, and family, Trump purposefully and steadfastly declined to give the mob he had summoned any signal to disperse, to exit the building peacefully, or to simply cease threatening the life of his vice president or other members of Congress." ------ "Trump is corrupt to the core, a traitor who deserves nothing but contempt and to spend the rest of his life behind bars because he remains a menace to this country and an existential threat to our democratic institutions."
EXTRACT: "For some countries, diasporas also are not new. Just ask the Russians. For three-quarters of a century, Stalin’s NKVD and its successor, the KGB, kept close tabs on expatriate Russians, constantly worrying about the threat they might pose. And now, Russian President Vladimir Putin’s security service, the FSB, is continuing the tradition. According to recent FSB estimates, almost four million Russians left the country in the first three months of this year.
Obviously, FSB statistics are hard to verify. But the sheer magnitude of this year’s departures is striking."
EXTRACTS: "We need leaders who will be honest about our problems in the short, medium, and long term. We are becoming poorer than our neighbors, with our per capita growth and productivity lagging behind theirs. We confront surging energy prices, soaring inflation, and public-sector strikes. Our fiscal deficit is uncomfortably high. Our influence is diminished.
Far from recognizing these challenges, let alone proposing sensible solutions, the candidates to succeed Johnson are trying to win votes with reckless proposals like ever-larger tax cuts." ----- "There is one exception. Former Chancellor of the Exchequer Rishi Sunak refuses to abandon the notion that expenditure should bear some relationship to revenue. "
EXTRACT: "Looking ahead, five factors could make today’s energy crisis even worse. First, Putin has opened a second front in the conflict by cutting back on the contracted volumes of natural gas that Russia supplies to Europe. The goal is to prevent Europeans from storing enough supplies for next winter, and to drive prices higher, creating economic hardship and political discord. In his speech in June at the St. Petersburg International Economic Forum, Putin made his reasoning clear: “Social and economic problems worsening in Europe” will “split their societies” and “inevitably lead to populism … and a change of the elites in the short term.” ...... As it is, Germany is now anticipating the need for gas rationing, and its minister for economic affairs, Robert Habeck, warns of a “Lehman-style contagion” (referring to the 2008 financial crisis) if Europe cannot manage today’s energy-induced economic disruptions."
EXTRACT: "Fortunately, I am not alone in claiming that the survival of democracy in the US is gravely endangered. The American public has been aroused by the decision overturning Roe. But people need to recognize that decision for what it is: part of a carefully laid plan to turn the US into a repressive regime.
We must do everything we can to prevent that. This fight ought to include many people who voted for Trump in the past."
EXTRACT: "The Israeli philosopher Avishai Margalit described this succinctly in his book On Compromise and Rotten Compromises. In “politics as economics,” material interests are “subject to bargaining, everything is negotiable, whereas in the religious picture, centered on the idea of the holy, the holy is non-negotiable.”
This, then, is why politics in the US is now in such a perilous state. More and more, the secular left and the religious right are engaged in a culture war, revolving around sexuality, gender, and race, where politics is no longer negotiable. When that happens, institutions start breaking down, and the stage is set for charismatic demagogues and the politics of violence."
EXTRACT: "...EU enlargement is essentially a political decision by member states, based on a multitude of considerations that sometimes include dramatic events. Russia’s war of aggression against Ukraine is such a turning point."
EXTRACT: "Most market analysts seem to think that central banks will remain hawkish, but I am not so sure. I have argued that they will eventually wimp out and accept higher inflation – followed by stagflation – once a hard landing becomes imminent, because they will be worried about the damage of a recession and a debt trap, owing to an excessive build-up of private and public liabilities after years of low interest rates." ----- "There is ample reason to believe that the next recession will be marked by a severe stagflationary debt crisis. As a share of global GDP, private and public debt levels are much higher today than in the past, having risen from 200% in 1999 to 350% today (with a particularly sharp increase since the start of the pandemic). Under these conditions, rapid normalization of monetary policy and rising interest rates will drive highly leveraged zombie households, companies, financial institutions, and governments into bankruptcy and default."
EXTRACT: "It is tempting to conclude that today’s central bankers are damned if they do and damned if they don’t. Maybe if they sit tight, they will ride out the storm. Then-Fed Chair Paul Volcker was Public Enemy Number One in the United States in the early 1980s, when he squeezed post-oil-shock inflation out of the system with double-digit interest rates. But in his later years he was revered, and became a national treasure, called on to advise successive presidents in any financial emergency. -----
But central bankers would be wise not to assume that their reputations will automatically recover, and that the status quo ante will be restored. We live in a more disputatious age than the 1980s. Public institutions are more regularly challenged and held to account by far less reverential legislators." ----- "Moreover, former central bankers have joined the chorus of critics. Former Fed Chair Ben Bernanke, breaking the unwritten rule not to reproach one’s successors, has said that today’s Fed made “a mistake” by responding slowly to inflation. And Bailey’s immediate predecessors, Mervyn King and Mark Carney, have weighed in, too, with challenges to the BOE’s policy. The fabric of the central banking fraternity is fraying."
EXTRACT: "Public opinion in Belarus remains firmly against involvement into the war with Ukraine. Moreover, according to a Chatham House survey, 40% of Belarusians do not support Russia’s war, compared to 32% who do, while around half of those questioned see predominately negative consequences of the war for Belarus (53%) and for themselves (48%).
The Belarusian military and security services are also aware of the determined and skilful resistance that Ukrainian forces have put up against Russia and the risks that they would therefore be running if they entered the war against Ukraine. This, in turn, means that the risk to Lukashenko himself remains that he might lose his grip on power, a grip which depends heavily on the loyalty of his armed forces." ---- "Ultimately, Belarus may not be on the brink of being plunged into war quite yet, but its options to avoid such a disaster are narrowing."
EXTRACT: "Russification (the policy of enforcing Russian culture on populations) appears to be being reinforced by ethnic cleansing. Last month the Ukrainian parliament’s commissioner for human rights, Liudmyla Denisova, informed the United Nations’ High Commissioner for Refugees, Filippo Grandi, that 1.3 million Ukrainians, including 223,000 children, had been forcibly deported to Russia."
EXTRACT: "If Trump had his way, then Vice-President Pence would have also broken his oath to the constitution and derailed the certification of electoral votes. Our continued existence as a Republic might very well have hung on Pence’s actions that day. The mob’s response was to call for Pence to be hanged, and a noose and scaffold was erected apparently for that very purpose. What was Trump’s reaction when he was told that the mob was calling for Pence’s summary execution? His words were: “Maybe our supporters have the right idea.” Mike Pence “deserves” it."
EXTRACTS: "Speaking to journalist Sophie Raworth on the BBC’s Sunday Morning show recently, former war crimes prosecutor Sir Howard Morrison, now an advisor to the Ukraine government, highlighted the dangers posed by the negative – often insulting and dehumanising – statements made by some Russian politicians and media personalities about Ukraine and its people." ---- "The conditions and attitudes described by Morrison have existed for centuries: Russians have viewed Ukrainians as inferior since before the Soviet era." ----- "And, as Morrison said, stereotyping and denigrating a people as inferior or lacking agency makes atrocities and looting more likely to happen, as we are seeing in Ukraine."
EXTRACT: "Unless Russia realises that the west is willing and able to push back, a new, stable security order in Europe will not be possible. Concessions to Russia, by Ukraine or the EU and Nato, are not the way to achieve this. That this has been realised beyond Ukraine’s most ardent supporters in the Baltic states, Poland, the UK and the US is clear from German support for strengthening Nato’s northern flank and a general increase in Nato members’ defence spending."
EXTRACT: "Highly civilized people can turn into barbarians when demagogues and dictators exploit their fears and trigger their most atavistic instincts. Rape, torture, and massacres often happen when soldiers invade foreign countries. Commanding officers sometimes actively encourage such behavior to terrorize an enemy into submission. And sometimes it occurs when the officer corps loses control and discipline breaks down. Japanese and Germans know this, as do Serbs, Koreans, Americans, Russians, and many others."
EXTRACTS: "Like Metternich, Kissinger commits the fatal error of believing that a few wise policymakers can impose their will on the world. Worse, he believes they can halt domestically generated change and the power of nationalism. Many years ago, this is what Senator William Fulbright termed the “arrogance of power.” This approach failed in Vietnam, Iraq, and Afghanistan. It is also doomed to fail in Russia and Ukraine." ------ "Not surprisingly, Kissinger misunderstands Russia. He appears to believe that, because Russia has been an “essential part of Europe” for over four centuries, it is therefore fated to remain so for the foreseeable future.The claim is completely at odds with history." ---- "Finally, Kissinger misunderstands the implications of his own analysis for Western relations with Russia. “We are facing,” he said, “a situation now where Russia could alienate itself completely from Europe and seek a permanent alliance elsewhere." ---- "But what’s so bad about Russia’s isolating itself from Europe and becoming a vassal state of China? "
EXTRACTS: "According to the latest figures from China’s National Bureau of Statistics, China’s population grew from 1.41212 billion to just 1.41260 billion in 2021 – a record low increase of just 480,000, a mere fraction of the annual growth of eight million or so common a decade ago." ----- "China’s total fertility rate (births per woman) was 2.6 in the late 1980s – well above the 2.1 needed to replace deaths. It has been between 1.6 and 1.7 since 1994, and slipped to 1.3 in 2020 and just 1.15 in 2021."