My Request: Barenboim’s Music Business

From Who are YOU? American Big Five (NY-Sun) on February 5, 2007 

JIWON: Isn’t that interesting? They wrote everything I wanted to tell YOU. Have you ever seen this kind of intelligent debate from German forumites? I never did. Trading Up: Why Consumers Want New Luxury Goods… And How Companies Create Them by Michael Silverstein (February 2, 2007) Interview with Silverstein: The age of new luxury… middle class is a target……


His interview was very interesting to study, but I couldn’t find its English version. Trading up and trading down… For years, I was looking for these words. You see, whenever I follow the “Victoria’s Secret,” I pick up something valuable. Finally I found what I wanted to find. As a CEO in the music industry, however, we have to use it in an opposite way, or interpret it from another point of view.

Hence, what about this?

My Request No. 6 to Barenboim

Barenboim has always been someone’s toy, and forumites elsewhere used to insult Barenboim without realizing the reason of his unstable music or stupid behaviors. They always did this without realizing who was behind the scene. No matter what, Barenboim was a workaholic. He is a workaholic and he will be a workaholic. Then why don’t we make this naïve workaholic musician a beloved toy of real music lovers, who are still longing for the CLASSICAL music and pick up the dead recordings of dead maestros such as from A to Z?

(Originally written on February 13, 2007) 

Dear New York Folks,

This is Jiwon.

I am ill. I hope to finish it as soon as possible and contact Yigal B. Caspi, Ambassador of Israel.

My Request No. 6 to Barenboim

Barenboim has always been someone’s toy, and forumites elsewhere used to insult Barenboim without realizing the reason of his unstable music or stupid behaviors. They always did this without a clue of who was behind the scene. No matter what, Barenboim was a workaholic. He is a workaholic and he will be a workaholic. Then why don’t we make this naïve workaholic musician a beloved toy of real music lovers, who are still longing for the CLASSICAL music and pick up the dead recordings of dead maestros such as from A to Z?

This is what appeared in the Google-Group:

Forumite-A: “Pinchas could argue with God, that the Earth is turning in the wrong direction,” said R. Zukerman’s ways have jacked up the tension level in the orchestra, especially when it comes to hiring new musicians. Until he arrived, hiring decisions were reached by consensus, after an open discussion by an audition committee consisting of the conductor and several players, including section principals. But Zukerman’s habit of belittling those who didn’t share his opinions prompted the musicians’ union to push for a system in which dissenting committee members could be shielded from the music director’s wrath. For the past few years, hiring decisions have been reached by secret ballot.

Forumite-B: Geez. He’s a carbon copy of Barenboim.


During my study of Daniel Barenboim, I always wanted to check Barenboim’s performance schedule since du Pre’s wheelchair period, and compare it with the one of Barenboim’s Angels.  

Apart from the fact that Kremer’s second wife played with Barenboim’s friends and their friends, Barenboim’s enemies and their friends, and all the snobberies around Barenboim, and then made Barenboim’s headquarters a trash-bin,

Apart from the fact that Wolfgang Wagner’s sex-symbol joined Barenboim’s all the important vocal productions and others’, and destroyed Barenboim’s music,

How many young talents had Barenboim introduced to his audience while being as a Music Director of the American Major Symphony Orchestra?

Then, Barenboim interviewed; that time has passed and he grew older and age taught him generosity. (As I reported before, I failed to save its address. Then I found two interesting articles while searching for the interview with the keyword, “Barenboim and generosity.” I’ve already shown one.)

I grew older, too. I was perhaps the weakest human being, who was unable to say NO until the age of 30. Now I can say NO to anyone in anyplace, and age offered me a thorny personality, which is more peculiar than particular. For me, generosity means responsibility, and as a human being, who grew up in the middle of politics and was always hunger for a stable job, I’ve managed to learn how to see the future while studying music. No one is perfect. Not many human beings are born a musician, and most of them don’t end their life as a real musician. Then, I have to be very careful when I want to prove my generosity.


You certainly read all the readers. Whose opinion do you appreciate the most? Here goes my gold medal: “If he hates music so much, why does he bother showing up?”

Boulez interviewed: “I see myself primarily as a composer, not an interpreter. I only conduct music that interests me as a composer. I enjoy listening to Tchaikovsky and Sibelius on the radio or at concerts, but I feel no genuine affinity for their music.”

When I first realized that Clevenger decided to toss me into the bozo bin but Barenboim was still willing to behind me to check if my analysis could make him handle his impossible CSO job, I ran to the library and picked up du Pre’s recordings. I was scared.

Now, I am just sick of memorizing all the names of those celebrities around Barenboim; Domingo, Fischer Dieskau, Boulez… I just know that Domingo loves ladies, (even I have a story with this famed singer during the rehearsal here, then what about others in western world?), that Dieskau’s wife made an awful recording with Bashkirova proving her questionable diction, and that Boulez doesn’t listen to my favorite music and I now know why.

When I was young, the world was full of human beings and I learned many things from every No-Name. Still, I feel no need to associate with those famous names to learn something about music. I just want to be who I am. I much prefer to read fun debate by American forumites, most of whom Barenboim has never heard of.

When I was young, I went to all the possible live concerts, and nothing changed my life. Now, I don’t go to the concert. I just analyze music for my survival. So, forumites can never criticize me even if I insult all the musicians. Besides, it’s more fun to read beautifully written articles than to listen to so-so music. Whatever happens to me, I feel no need to go to the concert in my future, unless Art of Criticism really hooks my curiosity and made me want to watch its real sound. Chicago Tribune on February 10, 2007

JIWON: Mr. von Rhein is back. He writes something and the forumites are quick to respond to his article. Years have passed since my farewell, and it seems that it’s my first time to fully understand his English. I can follow his grammar now… I followed their debate to the end but failed to find my subject. It was worth reading, though. We learn what they want to see from their favorite maestro.,1,4706955.story?track=rss (February 9, 2007) He will return to Chicago bearing the heavy burden of his rancorous public divorce from Milan’s La Scala in 2005, during which orchestra musicians there assailed his reportedly dictatorial ways. The CSO board, having suffered Barenboim’s ego, ultimately might decide to hitch the orchestra’s future to a safer, less incendiary prospect than…


I used to think. One Jewish monkey already finished his lobby to make Bashkirova’s CSO wait till he is free. Anyway, it’s none of my business and I am still thinking…

What would have happened to Barenboim’s CSO, if he were paired with my favorite musicians, rather than Henry Fogel, whose favorite partner was the NYP’s Mehta and whose wishful voice was Waltraud Meier? I keep wondering. What means the American Symphony Orchestra League and what is his job as its president? It’s OK that he writes his opinion about me in a public place. It’s even more OK that he trumpets his opinion about Barenboim to any of his listeners that Barenboim is not maestro Barenboim but merely Mr. Barenboim. However, I still don’t think that it was a good idea for a president of American Big-Five to join public forums, to steer public opinion, and to drive away Meier-haters from Voice Forum. Now, it is hard to find valuable opinions there. When Varnay’s death was reported, there were suddenly many comments sent by unknown members, whose opinions were all worth reading.

What surprised me most was when I found a Meier-comment by American trustee of Barenboim’s CSO. It is OK that Henry Fogel ignores penniless music lovers’ plea not to listen to Meier’s trashy voice, but it’s not OK that Henry Fogel ignores the musical complaint from the source of funds. If I were in his shoes, I would sue the president, who stole my money and my right to enjoy my favorite music.

For instrumentalists, voice means less than something unless he becomes an accompanist. But for conductors who want to grow up a real maestro, voice means more than something. It sometimes means more than everything.

No date scheduled: Bashkirova’s Meier in Lieder-recital

October 8, 11, 14, 17: Barenboim’s Isolde in Japan

December 7, 11, 16, 20, 23, 28: Barenboim’s Isolde in Italy 

It was updated on February 7, 2007. 


For years, thanks to Barenboim, I was forced to listen to trashy music only and analyze them. Then, Henry Fogel wrote his official words on March 1, 2002: “Jiwon had been harrassing Mr. Barenboim and the CSO by email — we actually had our attorney threaten her with legal action which stopped her from sending the emails to the CSO; she now apparently is sending them to the rest of the world. Mr. Barenboim would appear to be the object of a rather involved fantasy life of hers.”

When their attorney stopped me? I asked him to take everything into the legal case. My only reason of spreading e-mails was to make Barenboim’s Wagner Festival a real event, in which talented newbies could start their professionalism. Had I realized that Henry Fogel was behind this entire thing, I’d never wasted my time for this trashy job. Still, I can’t sleep whenever I remember his last words; Barenboim as the object of my fantasy life.

When I was in America, I was under the illusion. Under the illusion that I was a beauty: When you walk in the street as the CSO’s princess and so many penises want to put those fancy things in your body, what else do you think about yourself? Hadn’t they looked so dirty, so disgusting, my American life could have been more than perfect.

It was naïve kids, who shattered my fantasy. When I tried to teach them how to pronounce better English, they fiercely protested: “You sound like a sexy girl. It’s not you! You’d better sound like a witch. Behave yourself!” When I looked in the mirror, there was nothing wrong in their testimony. So I woke up. How can I change my embouchure?

Now, I never want to waste my time for this trashy work again. However, if Henry Fogel wants me to do, if Waltraud Meier wants me to do, if Daniel Barenboim wants me to do, I am willing to resume this trashy job. If I could make Barenboim’s Wagner a real thing, either in Japan or in Italy, why do I bother? I promise that all Japanese ticket-buyers can receive my official letter written in Japanese. Poor Christian Franz, René Pape, and Michelle De Young; all could make a very good team if supported by a qualified Isolde. (I don’t know the rest of the voices.) Their ticket sales already started in Japan. So it will be interesting to see how many concertgoers want to get a refund after receiving my official letter, for fear of Barenboim’s new Isolde destroying their night.

By the way, you’d better go to the YouTube, in which forumites compare various Isoldes. With Henry Fogel’s beloved golden Isolde, I have to hold my neck and massage its stiff muscles. Ten minutes are already too long and it’s physically painful to listen to this trashy voice, which sounds inferior to even forumites’ worst rated heroine. What about other Isoldes? The moment they open their mouth, I’m busy at studying them. Feel like drinking fresh cup of coffee. The voice… You’ll love Wagner. Then you’ll think about Hitler’s gas chamber again. Their instrumental accompaniment sound different, indeed. They sound alive, while Meier’s ensemble sounds dead and dull. Please read the forumites’ comments on their voices. 

Here is one of them: “Only Callas’ huge artistry can make us forget that the language is Italian, beautiful language but not for Isolde…Bravissima, grande Callas!!!”

I want to listen to Isolde singing a beautiful German language, which exists for Isolde.

Is there something wrong with me?

It was already one year ago when I resumed this work, and I made it clear that there would be no more after finishing this part and I never compromise on my favorite music. Then, Barenboim entered into his contract with La Scala. By then, Barenboim knew which voice he should bring to his headquarters elsewhere. I promise. If Barenboim wants me to do, I will make a big scandal, which will eventually contribute to sold-out concerts. Just prepare to introduce a new Isolde. I will indeed work to prepare Meier’s independent Japan visit, accompanied by her slave conductor. Not to mention Rattle’s British Ring in France, Gergiev’s Russian Ring in Korea was also quite an issue and was sold-out. Then what about Meier’s German Ring in Japan? Don’t worry. Just in case.

Just in case.

Perhaps, this is better. All I need is money. Even now, there is no need for me to go abroad to communicate with the Folks. Everything was possible if equipped with computer and internet. With my Barenboim-money, I can prove that there was nothing wrong in my American life, and I can keep my computer work in my office here, and I can take care of my kids until Barenboim’s funeral. My life will be totally different, and by then, I will be able to start another life elsewhere.

To be fair, a portion of what Barenboim earned from his Chicago job was mine, and You-Know-Who has been stolen it. I vividly remember how this tiny conductor enjoyed his hilarious moment whenever my written words punched each face of his American members. Then my portion got bigger as Barenboim ignored my warnings and started destroying this American Major Ensemble. Am I wrong? (April 4, 1992) Another Orchestra, a Similar Change: Though they are quite different figures, Daniel Barenboim, in his first appearance in New York as music director of the CSO, on Thursday night in Carnegie Hall, sometimes brought Kurt Masur to mind… Finally, the winds were stridently out of tune and tone during the piece. Perhaps this was deliberate. But did the sound really have to be as ugly as it was? Where was the grace, the wisdom, the kindness, the generosity, the patience, the warmth. . . .


I happened to find this article while searching for “Barenboim and generosity.”

Meier’s Barenboim-plan prompted me to add another request to Barenboim:

I want to know the exact happenings inside Barenboim’s CSO and La Scala orchestra. I want to check if the reason of the CSO members’ ill feeling toward Barenboim is same as mine. I want to check if what the Milan members want to see from conductor Barenboim is same as what I want to see from maestro Barenboim.

I’d like to recommend the orchestra members to submit their complaint sheet. I will also ask them to submit another paper, in which they could write what they want from their maestro. It can be either anonymous or under specific names. If they want, I will make it public. Orchestra members are also human beings, and everybody has a feeling. There should be an open place for them to express their opinion about their leader, whether he is rotten or great. They might be right, and then their leader should open his eyes. They might be wrong. If so, they should solve their problem before being fired for the specific reason.

Furtwangler called his orchestra “A Little Republic.” What really means Art of Debate? I want to prove it in my headquarters. I’m pretty sure. Their complaint sheet will start like this:

1. Conductor should not draw the picture. He should draw the beat when we need him. If he wants us to memorize every single note in his score, it’s fine. But then, he should memorize every single moment whenever we need a beat. He should know that we are not his poor Berlin slaves. How can we know all his “manipulated” moments?

2. Audience may not know, but we do know who is a qualified soloist or a serious musician. If he wants to bring bimbo or circus-man or Jewish monkey or Palestinian pig as his soloists, it’s still fine. But then, please don’t pretend to be a real musician. Selling Furtwangler’s fame has been enough.

3. bla-bla-bla

To be continued…

P.S.: Why is there no Perlman to celebrate the IPO’s 70th birthday? Why the search button on hasn’t been working since weeks ago? I am now too tired to think about.

P.P.S: There was a reason why I deliberately omitted Jewish opinion about Mehta’s Schoenberg. I wanted to check something before writing something. I am too tired now. Just in case Mehta misunderstands my reason, I can say that I will not forget about it.

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