A Mystery of the Jerusalem Chamber Music Festival

Dear New York Folks,

This is Jiwon.

Getting tired of reporting this awful physical problem: Sleeping one whole day (Sunday, Jul. 3), then suffering from tiny convulsions on my eyes. (Or a twitch in my lower eyelid?)Though not serious, it makes me feel more tired. Skip couple of days of computer works. Whenever I change something tiny in my daily exercise, this or that awful symptom tortures me. I want no food, nor entertainment. I only want to sleep. It is not a mental depression. When I sleep until a specific moment, I suddenly want to wake up and feel high. When someone destroys that moment, I need another sleeping to reach it. What matters seems to be not a quantity of sleeping, but a quality of sleeping. I have to sleep anyway. Then I have to figure out what makes me up. I am healthier than years ago.

My problem: It is getting harder to write in English… What’s wrong with me?

Story 1-4: (Done!)

Story 5: Barenboim (Almost done)

Story 5+: A mystery of XYZ (Today‘s story)

A mystery of the Jerusalem Chamber Music Festival

A mystery in its feet.

Who are the participants? Part of the BPO, part of the Staatskapelle, part of the CSO, part of the JSO, the Jewish youngsters, Bashkirova’s non-Jewish friends and their followers…

1. Part of the BPO members are none of my business. More members are needed to involve in Bashkirova affair. If you check the two sounds, the Jewish concertmaster and Barenboim’s Contrabass, those are from the top to the bottom. A combination of those characteristics tells you quite a lot about the present BPO. Keep going, please.

2. Part of the CSO members are Clevenger’s men and none of my business. Looks like Dale Clevenger is really enjoying this business. I have good examples to explain how Clevenger used to trick his students. He said, “Sound is everything.”

Now, someone please satisfy my curiosity:

3. Part of members from the JSO and the Staatskapelle never join Barenboim’s Jerusalem Festival. Some members frequently returned to Jerusalem, while some members never join this Barenboim affair. Why?

A mystery of the Jerusalem Chamber Music Festival

A mystery in its head.

Who is Mr. Yeheskell Beinisch, the Chairman of the JCMF? Is it true that his wife is a more influential celebrity in Israel? Years ago, I’ve read an article about Beinisch probe. It was from the Jerusalem Post. I’ve saved it but can’t find it. Or I failed to save it. I don’t remember. Anyway, it is now nowhere to be found.

Since this article was not in an art-music section, I have no idea about its aftermath. These are all I found:

http://www.andante.com/article/article.cfm?id=21476  “The JSO has struggled with serious financial problems, and it shut down in February after its funders, the city of Jerusalem, Israel Broadcast Authority and Israeli Ministry of Culture, withheld a loan because of allegations of financial wrongdoing. The JSO board has since resigned and the orchestra has been put into the hands of a court-appointed receiver. (July 8, 2003)”

http://www.jpost.com/servlet/Satellite?pagename=JPost/JPArticle/ShowFull&cid=1099451895899&p=1062388728699 “Scandalous financial mismanagement had virtually destroyed the organization two years ago – the musicians hadn’t been paid for months. Its governing body has now been replaced and refinancing has put the public institution on a new footing. Though nearly as old, the JSO has never done what the IPO has done – raise funds abroad. Botstein changed that, and used his famous Bard College fund-raising skills to raise half a million dollars last year. Now solvent, the orchestra is scheduled to tour the States next year. (Nov. 3, 2004)”

http://www.jpost.com/servlet/Satellite?pagename=JPost/JPArticle/ShowFull&cid=1121308134478&p=1062388728699 “Botstein has lifted the organization out of political, musical and economic chaos in a remarkably short time. This is due in most part, he told journalists, to his absolute refusal to become embroiled in JSO politics. (Jul. 14, 2005)”

http://www.jpost.com/servlet/Satellite?pagename=JPost/JPArticle/ShowFull&cid=1122518932092&p=1078027574097 “Alleged Jerusalem Symphony tax evasion probed: (Jul. 29, 2005)”


The last article is worth reading. Since the Jerusalem Post doesn’t provide its old articles, I will attach the entire text as a Postscript.

Just out of curiosity,

I compare Bashkirova/Beinish Festival with the Jerusalem Symphony Orchestra.

Bashkirova/Beinish Festival is a twelve-day festival, which consists of 12 concerts. What about the JSO?

You can also compare its performance schedule with the BPO’s, or the CSO’s, or even the IPO’s or the NYP’s. (Not with the Staatskapelle, which should be a singers’ toy, for the pit orchestra and the symphony orchestra don’t sound the same. They should not sound the same.)

http://www.jso.co.il/program/index_english.php The 2005-2006 Performance Schedule of the Jerusalem Symphony Orchestra:

October, 2005: 1 concert

November, 2005: 3 concerts

December, 2005: 5 concerts

January, 2006: 8 concerts

Feb. & Mar., 2006: Tour

April & May, 2006: 6+6=12 concerts

June & July, 2006: 5+5=10 concerts

August: Zero concert. Summer vacation, but no outdoor concerts scheduled by the JSO

September: Zero concert

How many people are working for the JCMF Festival Board and Staff? In case Bashkirova changes some information, as she did in her musicians’ resume, I have to write all the names.


JCMF Festival Board: Yeheskell Beinisch (as Adv. Chairman), Ephraim Abramson (as Adv.), Meir Barlach, Elena Bashkirova, Ruth Cheshin, Hedva Fogel (as Adv.), Sam Sylvester, Pascual Broid, Emanuel Mudrik 

JCMF Festival Staff: Elena Bashkirova (as Artistic Director), Hana Manch (as Production Director), Zusia Rodan (as Marketing/Ticket Sales), Olga Stolpner (as Librarian), Dr. Evgeny Reider (as Artist Connections), Shari Greenberg (as Texts & Editing), Yoel Greenberg (as Translation), and In cooperation with the Jerusalem Music Centre

What about the Jerusalem Symphony Orchestra?


JSO Administration: Leon Botstein (as Music Director), Yossi Tal-Gan (as Director General), Miri menirav, Ziva Almagor, Esti Lax (as Production), Leah Frenkel, Hagit Yisraeli, Ranit Eliraz (as Marketing and Sales), Olga Stolpner (as Librarian), Carmen Lehner (as Players’ Coordinator), Haim Oz (as Stage), Irit Levi Kampus (as Accountant), Gilli Alon-Bitton (as Program editing)

Who is supporting Bashkirova-Festival?


Sponsors: ???

Benefactors: Sam Sylvester (from Israel), Pierre Schneider (from Luxembourg), Gabriel Safdie (from Switzerland), Jean-David Guedj (from France), Phillipe Kraemer (from France), Lilian and Victor Hochhauser (from England), The Markovitz Family (from Chicago, Illinois), Barre Seid Foundation (from Chicago, Illinois), The Solan Family (from New-York), Leon Charney (from New-York)

Supporting/supportive foundations and institutes: The Jerusalem Foundation; The Beracha Foundation; The New Jerusalem Foundation; Mishkenot Sha’anain; The Rich Foundation; The Sherover Foundation; The Voice of Music (IBA); Israel National Lottery Council for the Arts; The Jerusalem Music Centere, Mishkenot Sha’anain; The Jerusalem Municipality, Department of Culture; Ministry of Education Culture & Sport, Culture & Art Administration; Eldan Car Rental; The Goethe Institute; Smartnet Wireless Internet; Centre Culturel Francais, Romain Gary, Jerusalem; The French Embassy; The French Institute – Israel; The Horace Goldsmith Foundation; The Karev Foundation; The Teva Foundation

Who is supporting Jerusalem Symphony Orchestra? No one knows…

How was Bashkirova able to find the benefactors from Chicago, New York, and England? Or was it solely Mr. Beinisch’s achievement?

The resignation of Yeheskell Beinisch and Zusia Rodan from the JSO was not a proud story. Yet, their new organization still can receive public supports from such national foundations.

Still weird:

Jerusalem Music Center (http://www.jmc.co.il/) is not the Jerusalem Academy of Music (http://www.jmd.ac.il/english/), where some 550 students are currently studying.

Looks like JMC is Bashkirova Festival’s mastermind.

Sounds like the JAM is the enemy or slaves of Bashkirova members.

The participants in Bashkirova Festival play for free. (They may not in these days.) As Bashkirova claimed, no one needs money but friendship with her. Or as their behaviors prove, no one needs money but international careers escorted by Barenboim’s Mehta’s conductors. Or as the New York critic writes, no one needs money but good reasons to insult my rude writing.

Do the Jerusalem Symphony members play for free?

I believe most JSO members have no money to travel abroad.

None of Bashkirova friends live in Jerusalem, and this is why her festival is called international. Why don’t you compare Bashkirova-Ensemble’s Carnegie+Alpha concerts with the JSO member’s USA tour, during which it was even hard to take the flight. (I know something awful happened, but I felt no need to save that article, since it was anyway none of my business.)

New Yorkers fell in love with Bashkriova’s luxurious music business, while no one appreciated Jerusalemites’ poorly organized, shameful music making. (The fact that the JSO’s maestro is a musicologist and a fund-raiser, and therefore, his conducting technique is hardly appreciated is another issue.)

How has your American Jewry rated those two different parts’ American visits?

They look different. They sound different. And they function different.

What is a main character in every symphony orchestra whenever they are musically getting rotten? Elena Bashkirova has been educating the Jerusalemites, including the whole Israeli music students, how to expect the symphonic sound while listening to the chamber music. Once you accustom your ears to this kind of C-leveled but luxurious chamber music sound, you can never excuse the B-leveled but mediocre symphony orchestra sound. Furthermore, the JSO is even below the B-leveled orchestra, concerning the characteristics of chamber music performance of its participants in Bashkirova-Festival.

One is a superfluously luxurious chamber music playing for free, and the other is the poorest orchestra ensemble playing for the money.

Whether Bashkirova’s renting the Carnegie hall is hand-picked by Barenboim’s friend or financially possible as mentioned in your Carnegie-article, 

Which one would you choose as a clever management? Which one would you choose as a naive audience?

How big is Jerusalem market? Even in Jerusalem, it is already a losing business for the JSO members, who never joined or are not allowed to join the business of Elena Bashkirova or Yeheskell Beinisch.

I don’t know…

But what makes me believe that Yeheskell Beinisch’s working style is the exact combination of Henry Fogel and Prof. Franz Xaver Ohnesorg?s

A mystery of the Jerusalem Chamber Music Festival

A mystery in its heart, Daniel Barenboim.

As I reported before, this is the main theme in Bashkirova Festival’s history section:

http://www.jcmf.org.il/EN/history.asp?pid=5  An unforgetable “Trout” Quintet : “36 years have passed since the young 27 year old Barenboim, already at the peak of his career, performed Schubert’s “Trout” Quintet with Perlman, Zukerman, Barenboim’s wife, cellist Jacqueline du Pre, and Mehta, each and everyone a star in his own right…” (Noam Ben Ze’ev: Ha’aretz 5.9.05). Many of those present in the audience in the YMCA Concert Hall last night (3.9.05) remembered this performance. Once again Barenboim sat at the piano, now with his son Michael Barenboim, Grosz, Zlotnikov on Jacqueline du Pre’s cello presented to him by Daniel Barenboim, and with Shehata. And, as he had at that performance so long ago, the conductor Foster turned the pages for Barenboim. “This was a great performance, which reaffirmed for us yet again that classical music is able to produce a great experience, rich in emotion, intellect and beauty.” (Ha’aretz 4.9.05)

Basically, I have no interest in either Bashkirova-Festival or the Jerusalem Symphony Orchestra.

I just said during their early days,

That if Jerusalemites ever need a chamber music festival, it should be run by the JSO members. That this cultural affair should enhance the quality of the local professional musicians’ practical life as much as it amuses the local audience.

Then, I was poorly treated by the Jewish media. JSO management and even part of the members joined Bashkirova-Festival. Then Daniel Barenboim functioned as Matthias Glander’s well-trained robot. I’ve lost my interest in anything Jerusalem.

Years later now, the results of this international chamber music festival are:

1. The rising international career of its couple of participants. (I wonder why their young heroes suddenly changed the content of resume in Bashkirova’s Homepage…)

2. Bashkirova’s worldwide performance schedules.

3. Jerusalem is becoming a good center for the foreign participants to educate their Jewish students.

Years later now, I know. Yeheskell Beinisch’s headquarters was relocated from the JSO to JCMF. 

Years later now, I know. Still parts of the JSO members never join this international affair.

I remember that the JSO members did have a performance schedule in September. Now their one month salary is gone. The orchestra members seem to be busier at earning money with their teaching job. Just like their affluent counterparts in Korea. They even don’t need a summer job, while the CSO or the NYP members need a summer contract purely for their financial reason as you pointed out in your article.

Barenboim’s “unique” interpretation in these days, while conducting orchestra music, proves how much he is proud of this Bashkirova-Festival and its musicians.

Barenboim’s interview appeared in the Haaretz: “Before the reporters besieged him with questions about the incident, Barenboim started talking about the chamber music festival and how important it is to hold it in Jerusalem: He stressed Jerusalem’s status for him as a symbol of cultural and intellectual activity, mentioned that in his childhood, the city was suffused with these values, and noted the changes that have taken place there since then, including the religious fervor that sweeps through it. He described the festival as one of the events that could help restore the city’s original character. (September 6, 2005)”

Barenboim also said in his Reith lecture: “If you want to play music because you think it’s a good job, I think you will find easier ways of making a living. If you love it, and you want to spend your life in it and with it, you have a good chance of making a very good living.”

Maestro Barenboim is famous for his public demand to shield his orchestra members’ rights. Monthly salary is among them, or a primary issue. (I remember to accidentally find one article, in which Barenboim’s one participant interviewed that his CSO salary couldn’t afford his recovery and had to find another life.) He is also famous for his wish to encourage the quality of his orchestra members’ music making.


I can’t say that Barenboim wants to extinguish the local spirit of the Jerusalem music society, where one month salary is perhaps all about their practical life. I am just saying that the reason of Barenboim’s orchestra members’ participating in Bashkirova-Festival is to deposit their September salary into the JSO members’ empty bank account. I can just say that Barenboim wants to establish the Jerusalem Philharmonic Orchestra in near future, after checking that all Bashkirova concerts were sold out. The founding members are of course from part of the BPO, part of the Staatskapelle, part of the CSO, and part of the JSO. I can just say that Barenboim, who has been sick of his orchestra members’ bizarre music making, wants to mature his own ensemble business. As a matter of fact, this is better for the Staatskapelle, for they can “create” much interesting performances without those members. The Berliners will love this Jerusalem affair, for the CSO’s new maestro will be able to prove the better performances with the new Staatskapelle.

It would be also the better idea for the “former” JSO members, who never joined Bashkirova affair, to set up the string chamber ensemble and plan a worldwide tour. Years ago, I read that formites appreciate Israeli anonymous string ensemble, usually made up by the Russian immigrants. Then I frequently read from the Jerusalem Post about the broad education in Israeli music society. They didn’t look like a professional movement.

Years later,

They will be able to imagine the proper wind sounds while producing their utmost professional string section sound.

To be continued…

Sincerely yours,



http://www.jpost.com/servlet/Satellite?pagename=JPost/JPArticle/ShowFull&cid=1122518932092&p=1078027574097 “Alleged Jerusalem Symphony tax evasion probed (Jul. 29, 2005)”

The Registrar of Nonprofit Organizations, Yaron Kedar, on Wednesday formally accepted the findings of an investigator who found that the organization which ran the Jerusalem Symphony Orchestra (JSO) until March 2003 grossly violated the rules of proper administration and undertook projects without a budget.

Kedar wrote that he would submit a copy of his decision and the report of the investigator to the tax authorities for them to determine whether senior executives of the non-profit organization were guilty of tax law violations.

The investigator, Rami Elhanati, singled out three senior members of the non-profit organization for special criticism. The first was Attorney Yehezkel Beinish, who served as chairman of the executive committee for many years until his resignation in March 2003. Beinish is the husband of Supreme Court Justice Dorit Beinish. The second was Zusia Rodan, who served as general manager of the organization until his resignation at the same time. The third was the deputy director-general in charge of finances.

According to Elhanati, “The non-profit organization undertook obligations without proper budgetary backing and without any attempt at making sure the budget was balanced. As a result, the organization reached the point of economic collapse. The heads of the organization continued to take on commitments even though they knew it did not have the resources to cover these expenses.” Elhanati criticized the Jerusalem Municipality, one of the four partners in the non-profit organization, for failing to pay all of the money to the orchestra that it was supposed to pay.

He accused Beinish of “actively allowing the organization to continue its operations and chalk up more financial commitments even though he was aware of the genuine difficulties in paying for these undertakings. Beinish also signed [along with the director-general] the salaries of the workers even though he did not transfer to the tax authorities the tax payments he deducted from the employees.”

Kedar instructed the temporary receiver who was appointed two months after the JSO executive committee resigned to investigate whether Beinish, using his insider’s information, had made certain that the organization paid back its debts to him before other creditors. The orchestra owed money to a bank account for which Beinish was a guarantor.

Beinish rejected the accusations leveled by Elhanati and Kedar. He told The Jerusalem Post he had deposited NIS 220,000 of his own money in the empty account of the JSO non-profit organization so that it could continue its activities. Most of the money had been paid back to the account before he resigned, at a time when he was not a creditor. Beinish estimated that the account is still short some NIS 22,000.

(Orginally written on July 22, 2007)

Dear New York Folks,

This is Jiwon.


To correct or revise my writing:

I wrote,

“While reading the Google Group, I happened to find something interesting. Did Karajan’s principal horn get fired by maestro Abbado? Their conversation had stopped there. If it is true, I am pretty sure that Daniel Barenboim did a wonderful job contributing this dismissal in Abbado’s horn section… Now, is this legendary German horn player going to join Bashkirova’s Jerusalem Festival? So that I should write more about him? I heard it in Chicago…”

I didn’t mean to write this in a negative way. That night, I was too tired to write what was really in my heart. What’s his name? Gerd Seifert?

Even since Jacobs’ theory became the answer to my American life, this German performance had frequently occupied my laboratory as a main guest while Dale Clevenger was never on my list after checking one anonymous photo of his early days.

When I was a student, I hardly picked up his recordings for couple of reasons. (Should I write everything? *.*???) Then, I went to Chicago and heard something about him. It is surely not a proud story and the students love to spread gossips about their mentors…

Then I left Chicago and started to study music in my own way. I thought… “How could a human being play this instrument in this situation?”

I also thought… “Hum, this rumor may be true. Is there anything better to explain my Jacobs’ theory? Funny that his case is not same as Clevenger’s, which has nothing to do with Jacobs’ theory.”

Years later now,

I know I won’t use his mouthpiece, though I am damn curious of his equipments. Studying the characteristics of his mouthpiece could give me a clue to make my own. I want to respect his professional achievement. I want to make friend with this German guy. But if he joins Bashkirova-Gang after reading my writing, I have to use his name only as a laboratory nude mouse.



The Jerusalem Symphony Orchestra does have a performance schedule in September. Two concerts indeed. What does it mean? Did its music director upgrade them after reading my writing, or was it originally planned but I failed to recognize? Concerning years of his professionalism, I don’t think he and Mr. Yossi Tal-Gan, who is a Barenboim-hater after their Wagner scandal, would join Yeheskell Beinisch’s business. I am wondering. Did he get mad at my rude writing, which didn’t appreciate his conducting skills? I just followed all the articles at


What do I do? I am just curious. How much do the members earn with the two concerts per month?

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