DB Has Friends… (really?), Boulez & DB, Parsifal

Originally written on Feb. 20, 2007 (Part 2) 
Dear New York Folks,This is Jiwon.


Let’s finish today’s work:

Has Barenboim felt lonely since du Pre’s death?

Has Barenboim felt lonely since Said’s funeral?

The world is full of human beings and friends are everywhere:

1. http://www.youtube.com/results?search_query=barenboim 

2. http://groups.google.com/groups?q=barenboim&start=0&scoring=d&hl=en&ie=UTF-8&oe=UTF-8&

3. http://blogsearch.google.com/blogsearch?q=barenboim&hl=en&ie=UTF-8&oe=UTF-8&sa=N&tab=gb

4. http://forums.nytimes.com/top/opinion/readersopinions/forums/index.html?query=barenboim&location=all&type=search&action.x=17&action.y=13

5. There used to be other forums, in which I enjoyed peeking at their comments. I found Henry Fogel’s Barenboim-comment from one of them. Now I am too tired to…

JIWON: Here goes the gold medal: (deleted…) JIWON: The world is so large, so small that it took two weeks to be answered in another place: (deleted…)

JIWON: Another medal goes for this:

http://www.youtube.com/watch?v=yp98pq8YEbM Barenboim en Argentina, Un grande interpreta a un grande

JIWON: It seems that the poster, 24 year-old from Angola, wanted to show us the atmosphere of this concert. Look at the people. BTW, this orchestra really needs more of sectional rehearsals. Playing in tune is not yet their issue. I’m surprised at their very basic, though. I know they speak Spanish, but their air is different from the Spanish ensemble. It is rather similar to the air that I feel from the Argentinean soccer performers. Soft, Warm… Weird.

JIWON: Another good comment follows:

http://forums.nytimes.com/top/opinion/readersopinions/forums/arts/classicalmusic/index.html?offset=44742 January 17, 2007) Toscanini’s commemorative concert: In the photos, Barenboim looks like he just rolled out of bed; no tux or any facsimile thereof, wearing a black shirt opened at the neck and a jacket. Yes, yes…..it’s all about the music, but Milan’s audience is still one of the most sophisticated and best dressed anywhere. Barenboim’s “attire” didn’t score high marks…….particularly after the superlative good looks and bella figura of Muti

JIWON: Now, let’s thread our way through the friends:

http://www.youtube.com/results?search_query=Barenboim+Brahms+Celibidache+&search=Search Brahms – Piano Con. n°2 by Barenboim & Celibidache

http://www.youtube.com/watch?v=D18AujwrQb4 n°2. Mov 1 (part1)

51 year-old from France: Of course Barenboïm is a great master! Beeing a master doesn’t depend on how fast you can play Liszt or Scriabin’s studies. Open your ears when listening to this concerto, or listen to his Beethoven sonatas and concertos, or to the Mozart’s ones. May be you will understand that he is much more a master than so many young asiatic pianists who can play faster than him!!!

15 year-old from Denmark: Daniel Barenboim. Sure. This is pretty good, have heard it better though, but some of Baremboims ideas of this piece are amazing. My favourite part starts at 01:54

http://www.youtube.com/watch?v=EoH9QOVSqX0 no°2. Mov 1 (part2)

51 year-old from France: This interpretation is different from the F’s one, it’s much closer to Arrau, for instance. And it is splendid.

http://www.youtube.com/watch?v=FG7F_z1xnIs n°2. Mov 3 (part1)

51 year-old from France: I find Barenboïm at least as amazing as Celibidache. His playing is unbelievably full of poetry and spirituality. He confirms once more that slow movements are his “speciality”.

http://www.youtube.com/watch?v=X-p0zDL8hFU n°2. Mov 4 (part2)

51 year-old from France: Barenboïm succeeds in making this fascinating despite Celibidache’s slow tempi. What an artist!

JIWON: In general, it was a wrong relationship. Celibidache’s concept doesn’t work for Barenboim’s pianism. I wonder what makes Barenboim think of Celibidache as his mentor. To be sure, Barenboim learned many things from his conducting techniques and I read Barenboim’s saying about his slow tempo. I know what Barenboim means. But frankly, this style simply doesn’t work for du Pre’s Barenboim, who wants to conduct Furtwangler’s “Little Republic.” While reading this thread, I found interesting opinions, explaining Celibidache’s sound theory, and his tempo as a question of acoustics more than speed. There was nothing wrong in their postings. The problem was that Celibidache seemed to be chained by rehearsal room sound. Whenever his members play for the concert, he was killing their instinct and the moment. It was opposite to Furtwangler’s case. Or Celibidache must have favored a very special kind of acoustics, instead of Furtwangler’s favorite one that is same as mine, even in the recordings. Boring Brahms, in general.

http://www.youtube.com/watch?v=rIGfz2GPd0Q Barenboim – 50 years on stage

31 year-old: I’ve known and followed him since 1966. Never could figure out why he stopped piano, but personal reasons I guess. Brilliant pianist.

http://www.youtube.com/watch?v=7w17MamPY7A Parsifal Act I Prelude_1

JIWON: When this fucking brass section is going to play in tune???

http://www.youtube.com/watch?v=LnG8HDDrY4w Parsifal Act I Prelude_2

JIWON: Will they answer that they just can’t ignore the holy wood winds playing in the wrong ground? It is a result of years-long chamber concerts, isn’t it? No wonder the folks rushed to Jerusalem. When I started reading articles from Berlin, the first thing I found was like this: “Barenboim touring with his Berlin ensemble – the maestro prefers to sit with the members instead of finding himself in the first class. One member approached him and grabbed his hands or hugged him and said bla-bla-bla…” This article made me plunge into Barenboim’s Staatskapelle, and how many fucking days had I wasted to support this hopeless ensemble? Years later, I saw that same instrument playing for Bashkirova, and I was speechless. I now know his reason to say bla-bla-bla. Did I work for this trashy bin and their concept of chamber ensemble? The more time I think of my lost life dedicated to those jerks, the more… Firing them will not be enough. One should break those necks, which have no concept of playing chamber music, nor have an idea of playing in tune as orchestra members. So, who is going to be the first member in Milan approaching Barenboim, grabbing his hands or hugging him, to say bla-bla-bla?


http://homepages.ipact.nl/~otterhouse/ Childish Downloads: à 45RPM’s by 12 year old Daniel Barenboim

http://groups.google.com/group/rec.music.classical.recordings/browse_frm/thread/2ad52ff801b3a1b1/1bbdb6c0e3ef7b20?lnk=st&q=barenboim&rnum=2&hl=en#1bbdb6c0e3ef7b20 A REAL Great Recording of the Century

Forumite: You forget that I have been around this pasture for longer than I like to think. I bought that item on LP the month it appeared. DuPre, good as she is, in one of her more wayward moments, in my opinion. She was always a taffy-pull kind of musician. I heard her dozens of times in person. Captivating on the stage. On records, well, you need to be rather selective. I continue to favour the Barbirolli version on EMI, which was her first recording of the Elgar, over this later one. Barenboim was head over heels in love with his wife at this time and she could do anything she wanted and there’s the rub. She wants to do too much. The “in person” version I heard in Toronto was unforgettable, but that exists only in my memory, alas. I don’t remember the conductor, but it was probably SO. Just can’t remember. The vision of Jackie. with a smile on her face right out to the ears, swinging her priceless cello over the heads of the TSO violin section is just one of those things one doesn’t forget. What followed was just one of those precious memories.

http://myrightword.blogspot.com/search?q=barenboim Forumite: Do You Know (Of) These People? You don’t? You are not in awe of them? You have no respect for them and their talents and accomplishments? Their wisdom, individual and collective? Oh, well. In any case, here’s what they wrote and what was published in their names in today’s NYTimes:- [Impassioned Pleas in the Mideast] – But there’s no one from Lebanon. So, I sent off this letter to the paper:-


This guy is the one who wrote “Boom Boom Barenboim.” I didn’t know that he is a Vice Chairman of Israel Media Watch and THAT headache participant in Barenboim’s Reith Lecture in Jerusalem. Here is my problem. I don’t understand either this guy’s spoken music or Barenboim’s answer. What a headache… Anyway, I am now thinking to open my blog in his neighborhood. Cool! ^o^

While searching for more friends, something hit my eyes. I remember one Google Forumite, who was claiming to be Barenboim’s devoted fan appearing many times to defend this failing conductor, yet I never saw his involvement in Barenboim’s Wagner debate nor sending his comments to Meier forum. So, I used to think that his interest in Barenboim lay only in his instrumental music until Ms. Varnay passed away. Now, I start to find his Wagner postings.

http://groups.google.com/group/rec.music.classical.recordings/browse_frm/thread/8d8313ab15f363e9/e2557fa91a0b763b?lnk=st&q=barenboim&rnum=3&hl=en#e2557fa91a0b763b (Feb 13, 2007) Re: Which Ring cycle to get – Solti or Keilberth?

Barenboim-Fan: [>I just saw that the Boulez Ring Cycle is available on CD. Price comparable to the Bohm.] – Although one really should be warned that Miss Jones’s voice is in complete tatters in the Siegfried, flapping like a torn flag in the wind, and very nearly so in the Goetterdaemmerung while the Siegfried has the sophistication of an awkward bull. (Jones fares rather better in the very different music for the Walkuere Bruennhilde, although we’re not talking Frida Leider’s technique in any case.)

Barenboim-Fan: Just about the only Keilberth performance I know is the live Arabella on DG with Della Casa, Rothenberger, and Fischer-Dieskau: the comments of B and others have made me curious to hear at least the Siegfried from the Keilberth Ring. In the opinion of the perfect Wagnerites, what are the relative merits of the live Bayreuth Ring’s with Keilberth, Knappertsbuch, and Clemens Krauss: not of the singing or the quality of the recording but of the conducted performance?     I haven’t heard the Solti Rheingold in years, but, for what it’s worth, I’m much less enthusiastic about the Solti Walküre and Götterdämmerung than the Siegfried. I normally don’t think of Solti as the most distinctive of micromanagers when it comes to phrasing, but, even at the level of the tiniest individual motive or gesture, his shaping of the Siegfried strikes me as extraordinary, both his surprisingly refined shaping at the level of the motives and the way he projects the broader sweep of the thing. (Solti’s elastic handling of the prelude to Act I and the beautiful way he delineates the individual motives, for example, are not to be believed.) I don’t feel the same way about the Walküre and Götterdämmerung at all:  he muscles his way through Götterdämmerung one disjointed episode after another.  Not that there isn’t a lot of pleasure to be derived from the raw energy and gorgeous playing, but this is not exactly first class music making.

Barenboim-Fan: [>In fact, I would say that there’s something attractive with opera recordings in historical sound. Maybe, I feel some of the singing in some of the more modern recordings can be a bit over-whelming. I really like the old Maria Callas stuff, so maybe I will have the same relationship with Wagner?] – AH! Then you ought to hear Miss Callas sing “Dolce e calmo” from Tristano ed Isotta both on the 1949 Cetra recording and at the Athens concert from 1956(?). Votto’s conducting in Athens is very fine. (I’m much less of a Parsi-phile, but there’s also the Kundry under Gui.)

JIWON: His Kundry posting prompt me to search more…



Wow… If his postings are like this, what about other respondents’? One wrote, “It is certainly not Kundry who redeems Parsifal, but Parsifal who redeems Kundry.” So I went to his Meier-posting and this is the one: “But shouldn’t her name come before Meier’s? I assume she sings the title role, with Meier as Sieglinde…”

While reading his postings, I found something more interesting. So, I went further.

http://groups.google.com/group/rec.music.classical.recordings/browse_frm/thread/5812146a5a56e82b/a97c7264d1a16069?lnk=st&q=kundry&rnum=9&hl=en#a97c7264d1a16069 (Nov 4, 2003) Re: Parsifal discography, old and new

Barenboim-Fan: [>Shouldn’t there be more warmth?] – People charge Boulez with a lack of warmth and often attribute the lack to his interest in (a presumed) heartless, soulless “modern” music. It is in fact a matter of temperament and culture, and the charge misses–misunderstands–the target. There is a whole century and a half long French tradition that is given the creeps by the hot sweaty bear hug of late German Romanticism. (Manet, Monet, Degas, Rimbaud, Debussy, etc.) “Do you never weep in verse, Monsieur Mallarmé?” “No, nor blow my nose.” (”Non, ni me mouche.”)  Debussy and Boulez are also French/secretive. They believe the secret emotion is the real one, not the one on somebody’s sleeve. They prefer inference to making explicit.  Argue that the Frenchman is therefore temperamentally unsuited to conduct Wagner–but Wagner is one of the composers that Boulez is in many respects the very best suited to–but don’t simply say that Boulez is “cold.” And Parsifal is a different kind of opera from the other nine canonical Wagner operas: it’s not essentially a love story. There is a lot of volupté in Parsifal and a lot of “religious” “purity.” The volupté and purity are right up Boulez’s alley. I’m also surprised that G doesn’t see from the Boulez essay how interested in Kundry’s psychology Boulez is.

Barenboim-Fan: [>Do anyone know the Boulez Parsifal?] – I do. At least I know the DGG recording. Several friends who are more interested in Parsifal than I am believe that his best performances of Parsifal took place in his first Bayreuth season rather than in 1970 when DGG finally got around to taping him, but I’ve never heard the earlier performance made available by, I think, Melodram. In any case, I think Boulez is the best thing about the DGG set. There are many aspects of Wagner’s writing to which Boulez is extremely sympathetic, including Wagner’s conception of orchestration, an orchestration that changes “like clouds,” as the composer put it.  (Debussy admired it for similar reasons.) Boulez is obviously enchanted with Wagner’s orchestration, presenting it with a very radiant clarity and purity. Rarely have Wagner’s textures been presented so lucidly, seemed so pellucid, rarely have brass instruments sounded more gleaming, etc. etc. I’m not convinced that Boulez’s pure but comparatively thin (in a non-pejorative sense of the term: thin as opposed to beefy) string sound–its light-weight-ness–is echt Deutsch, but Boulez is undeniably responsive to Wagner’s colors. Second, Boulez is fascinated by more than one aspect of Wagner’s continuum. (The older he’s gotten, the more he’s found to admire in Wagner and Mahler.) One is its seamless but flexible continuum. (Actually, such a continuum is not invariably as characteristic of Parsifal as of Tristan and the later Ring operas. I’m thinking of those choruses in Act I that sound a bit more like Kurt Weill than I like.) Boulez is extraordinarily attracted to, deeply responsive to, a seamless, supple, and flexible continuum of this kind. At the same time, he’s an absolute master of Wagner’s long line, and these two sensitivities are indispensable for Wagner, although it’s very hard to put your finger on the tangible results of my second more platitudinous compliment. (I do believe in–can hear–what I’m writing about, intangibility and platitudinousness notwithstanding.) Boulez is also interested in the kind of “timelessness” that Wagner attempts to create at certain points in the opera. “Der Raum wird hier die Zeit”: “Here Space becomes time,” as Boulez, revealingly quoting Gurnemanz, entitled the essay he wrote for the Bayreuth program booklet the first time he conducted the opera. Boulez’s own music is fundamentally based on a kind of writing that is richly developmental and yet, paradoxically, not Beethovenian/dynamic but “timeless”/spacious/hovering/floating. In short static: characterized by stasis. To the extent that this kind of conception is already found in Parsifal, Boulez is very sensitive to it. Finally, he is also extremely responsive to the voluptuous writing for the Flower Maidens. In the end, though, Boulez is “Parsifal for people who hate Parsifal,” as somebody wickedly put it. Or at least the Parsifal that has come down to us in some performances within the work’s performance history. Boulez’s orchestral sound is lighter in weight, leaner, more pure, more shiny bright, than Wagner himself ever imagined.  Where Wagner painted with thick rich oil paints, Boulez is all French “son et lumière.”  Boulez’s conception of phrasing is also not entirely echt Wagnerian. Boulez’s responsiveness to Wagner’s subtly fluctuating tempi and long line are utterly Wagnerian, but his conception of phrasing, a phrasing based on a seamless conception, although a post-Wagnerian development, differs from Wagner’s at the most immediate level. Wagner’s continuous phrasing, his “unending melody,” was rooted in a more old fashioned conception of phrasing, a conception based on series of explicitly shaped gestures at the immediate level. Wagner took these old fashioned phrases and swallowed them up within a more seamless continuum, but those constituent gestures and phrases are still there. Phrasing involves (in part) the creation of the dynamic envelopes that envelop the harmonic/rhythmic “sentences” or phrases that constitute the building blocks in the larger form. Boulez’s very subtle and refined envelopes with their narrow ambitus, Boulez’s continuous phrasing controlled as if by rheostat, downplay the individual grandiloquent gesture, subsuming the whole within a kind of seamlessly unfolding pure filament of sound. To the extent that Boulez is Wagner’s future, he conducts Wagner’s future. But the immediate gestures are comparatively slighted in a manner Wagner could never have foreseen. All too few people are aware of how extraordinarily refined an ear this guy has. Misapprehending what he’s about as a composer, they imagine failings in his performances that simply aren’t there (or, when they are, attribute them to the wrong causes). Far from being a heartless and clinical machine, Boulez is all suppleness and nuance and understatement and weightlessness.  But Wagner is all flexibility and gesture and grandiloquence and weight. I’ve presented both sides of the argument about Boulez’s performance, the utterly Wagnerian and the unconsciously revisionist, because they’re both there in his performance (although this post badly needs re-editing and reorganization and clarification, but there you have it.)  If you want to hear Boulez’s very special sensibility responding to a work that deeply interests him, you’ll hear some very interesting and fundamental aspects of Wagner in his performance. For certain other kinds of expressivity, and particularly the kinds of expressivity that depend on a much more muscular and distinctive sense of phrasing, a phrasing using larger and less refined gestures than Boulez likes, go somewhere else.  (Boulez’s faster than usual tempi are not at all un-Wagnerian: his tempi are slower than Levi’s at Bayreuth in Wagner’s lifetime.)             P.S. I’m not wild about Boulez’s singers. Not that they’re a total disaster. You’d be hard pressed to find a Parsifal as good as James King today, but I still don’t think he’s the second coming. His voice is not as fresh at the beginning of his career, and there is not enough interpretive insight to make up for the loss in freshness. Gwyneth Jones’s voice is not yet completely torn to shreds, certainly not to the extent that it will be in Boulez’s Siegfried, but it’s already hard to take anywhere above the staff. Too bad. She’s an intelligent singer.

Barenboim-Fan: [>Perhaps this means I’m not really “in tune” with traditional notions about Wagner’s musical world, but that is fine with me. I guess I’m glad that somebody–Boulez in this case–can intrepret Wagner in way that does a lot for me.] – Thanks for the kind words concerning my remarks on Boulez. Appreciating Boulez doesn’t necessarily mean you wouldn’t like the Wagner of Furtwängler or Knappertsbusch, of course. They aren’t slow pokes in this repertory, either. (The RIng, that is.) At the most immediate level, their phrasing in Wagner is at the antipodes from Boulez’s, and not to be believed. I’m not sure I’ll ever recover from hearing Knappertsbusch’s canny pulling of the strings at points in the Götterdämmerung on Testament, although the performance overall is underrehearsed, the ensemble occasionally sloppy, the singing less than spectacular. Boulez, by the way, is a fairly recent convert to Knappertbusch in late German Romantic repertory. One thing we are undeniably missing these days is big fat gorgeous Wagnerian voices, the Leider’s, Flagstad’s, Traubel’s, Lehmann’s, Melchior’s, and Schorr’s. I do hope you get a chance to hear some of these old timers one of these days. Gwyneth Jones at the end of her career is really not the same thing. One place to hear what Boulez can really do with phrasing is a live BBC SO Mahler 6, the scherzo. His use of tempo rubato there and the manner in which he delineates each statement of the various motives are really spectacular. Virtuosic technical control.

JIWON: Now, this is an answer to his posting:

Forumite-A: Until quite recently, any Wagner outside Tristan was foreign territory for me, aside from a few orchestra selections (Overtures, Preludes, etc.) I’ve heard F. and Kna. in those, and appreciated it. I think I’m only know getting to a point in my life where I can truly appreciate Wagner; previously (excepting Tristan) it’s seemed largely moribund and excessively, otiosely German to me. But…I think I’m starting to get it. I’ll spend some more time with F. and Kna.’s Wagner as per your recommendation. – [>One thing we are undeniably missing these days is big fat gorgeous Wagnerian voices, the Leider’s, Flagstad’s, Traubel’s, Lehmann’s, Melchior’s, and Schorr’s. I do hope you get a chance to hear some of these old timers one of these days. Gwyneth Jones at the end of her career is really not the same thing.] – Indeed. I have heard some of these singers you mention, but only, I’m sad to say, in excerpts. But, WOW.

JIWON: Here is another one:

Forumite-B: My God…what an insightful post. As I grow older (60+) I find myself drawn to ‘Parsifal’ more with each passing day. Wagner really did outdo himself in this opera. So much so that I don’t think even HE realized how very much that is so. I agree about the ‘Kna’ readings…really old school Wagner. I must grab a copy of the Kubelik. I worked with Jim King in the LOC production of ‘Carmen’…one of his last. He told me he just wanted to see if he could still do it. He could!! But what a heldentenor! And I don’t think I will ever hear the likes of his ‘Frau ohne Schatten’ ‘Emperor’ Very nice….

JIWON: His Boulez posting finally made me realize why Barenboim was always eager to work with him. Honestly speaking, I never liked Boulez’ CSO. It was after I “heard” Boulez’ BPO that I started pondering if he was a maestro. Then I “watched” Boulez’ VPO, and I could answer all my reasons. Then I read Tommasini’s Boulez article in the New York Times, and accepted their invitation. This poor guy still doesn’t know the reason of his article. ^o* A long story… So, I became curious. He was originally Boulez’ man, rather than Barenboim’s devoted fan. Then, how much this American loves Barenboim?

http://groups.google.com/group/rec.music.classical/browse_frm/thread/7afc542cb044b4ec/33048cc466642702?lnk=st&q=barenboim&rnum=8&hl=en#33048cc466642702 (Aug 21 2006) God Bless Daniel Barenboim

Barenboim-Fan: [Yes, God bless Mr. Barenboim.] – It may well be that his young orchestra brings out the best in Barenboim. Let’s hope so. I love the guy because I’ve heard him give unassailable performances in repertory that I’m passionate about, but something like 80% of the time, nothing much seems to happen.

JIWON: Is he lying?



I am tired. I must stop.

If I dig in this group again to find one more poster and read all his partners, it will only take more time to finish my work. Without changing anything in my life…

When I was in American music school, where I became everybody’s toy, I had to learn all kinds of dirty language, because it afforded me a great mental pleasure. I still want to learn more. I didn’t know that it was another myself until I picked up du Pre’s biography to read her dying life. Then, I happened to study Furtwangler. While searching for the stories about this tragic maestro and his utopia, I was able to forget all the politics around me. I could just concentrate on myself. When I took a flight to America for my further study, I never planned to study so hard like this. I just wanted my foreign degree, which could make me free from my late Korean teacher and end my slave life. I was a diligent student because there was always nothing wrong in teachers’ teaching, but I’ve never experienced such a pure moment like that. Years later, I read American forumites and I breathe the same pure air as I did in those days.

If I ever want to write about du Pre, it is perhaps because I know how much she drove herself into the bottom of despair. I know how much she hated seeing her spoken words misinterpreted by outsiders. When I listen to her, I know what she desperately wanted from her lover and her life. Music was only a part of it.

If I ever want to study more about Furtwangler, it is because I still miss that very moment. The purity of my soul. Perhaps, Kremer’s second ex will experience this same moment if she feels nothing left in her life. But then, does she have a talent to make a room for her improvement? Poor bitch… I am even suspecting if she has ears to listen to music. If she ever had, she must have picked up something from du Pre’s music while this woman was tragically failing. A man may not know, but a woman knows what a woman wants from her life. Bashkirova knew that du Pre’s husband was quite an ordinary penis, when she succeeded in her plan to be fucked. But still, du Pre was not an ordinary musician, who suffered a sexless marriage and then MS. What did Bashkirova hear from du Pre’s music? Now, compare the two postings, one of which is my first discovery and the other is my last finding from this group.

http://groups.google.com/group/soc.culture.russian/browse_frm/thread/1c6ad120cc14e3bf/1ff3ab7690f95f3d?lnk=st&q=barenboim+Galina+Bashkirova&rnum=1&hl=ko#1ff3ab7690f95f3d (July 12, 1999) Daniel Barenboim, Chicago Symphony Orchestra Director, married Russian musician, Galina Bashkirova. But of course, she isn’t really musician, but a whore….

http://groups.google.com/group/rec.music.classical.recordings/browse_frm/thread/cf0a1ac81a1aae58/b560f7039d4f4139?lnk=st&q=mehta&rnum=2&hl=en#b560f7039d4f4139 (12 Dec 2006)

Forumite from Israel: If you want to know the truth, I respect him more because he cancelled an appearance because his mother was ill (this was shortly after his father’s death). Unlike certain Famous Conductors who were too busy with their mistresses to spend any time by their wives’ deathbed.

Forumite-A: Such as a certain wife who played the cello really, really, really well?

Forumite from Israel: If you mean the certain wife who played the cello really, really, really well *before* she was on her deathbed, yes, that’s one famous example. I guess it says something about me that such behavior bothers me a lot more than something like playing Wagner in Israel.

Forumite-B: I find that pretty mean, too, but what business is it of ours? It’s their private life.

Forumite from Israel: I made no particular effort to find out the information, but once I had the information, I cannot deny that it colored my attitude toward the individual under discussion (far more than his naive political views ever did).


But then, I’ve never heard this Jewish guy mention Mehta’s illegitimate kid. Perhaps, he doesn’t quite like his current wife. Perhaps or weird… I’m curious. How many times Nancy Mehta was behind Meier’s Barenboim-project? I know she loves Meier and Korean girls, from whom her husband doesn’t expect sex, because Meier’s acting used to hit her soul.

In between, while Bashkirova was traveling all over the world as a Jewish Muse, the Jews never gave up sending their comments to forums elsewhere. It was Barenboim version of Simon Wiesenthal Group. If I ever fall in love with the Jews, it is purely because of the existence of Simon Wiesenthal Center. They never give up! Though terrific, it was very funny. Barenboim’s Jews never give up telling that Barenboim pierced the Holocaust survivors’ hearts with music of Wagner just as he pierced du Pre’s heart with his wrong ejaculation.

Leah Boehm interviewed that her Israelis put great emphasis on an analytical, logical way of life: They try to teach that one plus one equals two, and they believe that this conception should grow in their young kids’ brain from baby years. They teach that earning for nothing is the biggest crime and honesty is their first virtue. So, they favor straight talking. They really hate walking in the bushes when there are something to talk about. They teach to look at in the face and talk frankly, logically when they want to voice their discontent. While doing a large business, they prefer stamping on partner’s hand to just sign the papers.   

This is my wishful country, where I want to sprinkle my ashes. I am curious. What about America? But then, I wake up and prepare a fresh cup of coffee and think about Bashkirova’s Israel. This is a beggar’s country: http://www.jcmf.org.il/pressimages/MusicReviews.doc

Mr. Kremer is also a Jew. Whether Bashkirova is Kremer’s second ex or a mother of Barenboim’s illegitimate kids, she can remain as a Jewish Muse as long as she wants to. There are still so many things for an artistic director of Bashkirova Festival to do for the beggars, who desperately need her music for nothing. Planning three concerts a day in all the orphanages, kindergartens, music classes of all the schools, the soldiers’ camps, and senior asylums. Even in the Knesset, where the genius politicians, who are suffering from the general dementia, are hunger for the mental therapy through music. I don’t understand why she just roams the world and destroy all Barenboim’s fame, instead of sticking around her Jerusalem market and contribute the music business there.  

Should I drink a fresh cup of coffee? Do you think Leah Boehm, who is among the finest brains in Israel, lied in her interview? I promise. Attorney Beinisch will have no hesitation in making his Bashkirova a worldwide whore if he thinks it helps to make his Jerusalem Festival a real event. This is a Jewish characteristic that I’ve known. This is why I used to think that Hitler was partly right, and part of fucking Jews deserves the gas chamber. Which is the real Jew and the real Israel? I want to know.

Is there something wrong with me while insulting Kremer’s poop? It was exactly the same as what I wrote about this bitch when Barenboim wanted to be chosen as the BPO’s maestro and the Berlin Folks were praising Kremer’s poop as their queen. This is why I had to directly contact the BPO members, instead of just waiting for something from Barenboim and his BPO, who eventually got mad at my Furtwangler writing and dumped Barenboim. What a terrific job I did! How many years have passed since then? I’ve dedicated my golden years only to check all the facts about this historically unique pianist, Elena Bashkirova. I promise. If I give up now, Bashkirova will rush to Barenboim’s headquarters AGAIN and steal all my works AGAIN, appearing in Jerusalem as a German Queen and then traveling all over the world as a Jewish Muse, as she did during the past 10 years, especially since 2002(?) when the Forbes reported Barenboim’s income, which was half of his usual amount for the special reason. (I wish my memory is right. This article is in my old computer, and I couldn’t find it from the present internet news.)

Bashkirova was noisily dirty while I was still alive but far from Barenboim’s headquarters. Then what about Bashkirova during the period of du Pre’s tragic failing to death and after that? All Parisians in those days should answer me. Did du Pre’s husband rape Kremer’s second wife? I promise. It was an Art of Sex, a joint production by Bashkirova’s father, Bashkirova’s husband, and Bashkirova herself. They believed that du Pre would eventually die and all about Barenboim would be theirs and Bashkirova doesn’t have to wreck Kremer’s performance schedule. Years later when Bashkirova planned Barenboim’s CNN interview, it was already toward the end of my writings. She firmly believed in something regardless of Barenboim’s whatever decision. It must have been about Barenboim’s son. She was sure that I would give up after watching Barenboim in her CNN party. Paradoxically, it made me work, work, and work. Hadn’t she known that I desperately need my money, and that I feel nothing and just analyze the psychology of Barenboim, who claims to be mentally not-quite-healthy since the diagnosis of du Pre’s multiple sclerosis? Barenboim will travel all over the world and Barenboim’s fans+haters elsewhere will watch Bashkirova’s CNN interview. We’ll see.

If I ever join to train Barenboim’s Divans and Bashkirova still runs her Barenboim-project, I will make the Divans study music by analyzing Bashkirova’s performance with Barenboim’s pigs and monkeys in front of Bashkirova’s son. Only two possibilities will exist: If he’s inherited his mother’s stupidity and thick skin, he will never figure out what I am trying to show him. Nor he will smell all the jokes about him behind the scene. If he’s inherited Barenboim’s sensible brain, he will be the first one, who learns to realize the reason of his birth. If he still wants to study music despite all the things, he will listen to du Pre’s music more and more and make his future on his own. Please look at Mariah Carey, who tells about her mother and explain how the situation made her plunge into music. No one blames her, nor pity her. Her audience just thinks that it is a triumph of human power.

Bashkirova had better think of what is better for either herself or her precious son, if she still wants to keep her relationship with du Pre’s widower through Barenboim’s son. 

Bashkirova was right when she thought that I was/is/will be nothing, but at least, her story with du Pre is still “on Air” because she had stolen Barenboim’s sperms while du Pre was still alive and one of them now wants to join du Pre’s headquarters. Not Bashkirova nor I, but Bashkirova’s son will finish her decade-long story with du Pre. I will not omit this part. This will be better for Barenboim’s son, if he really inherited his father. Anyway, Mr. Kremer will take care of his lover till their last moment, and Germany is where the whore’s music is fully welcomed despite the fact that she still misses her beautiful days in Paris, which is a heaven of free sex and a single mom: Berlin, Dusseldorf, Lindau, etc.

This time, who is behind Meier’s Barenboim-project, since she doesn’t have to wear a red dress? I will figure out. Just sick of those bitches. I’m now wondering if the forumites know that she quickly deleted her own bragging compliments from her homepage when I started my insulting. This time, she should prove her rainbow Isolde with her slave conductor, who can recognize all the shimmering colors from her powerful acting. By then, she is welcome to boast that her Isolde levels above Flagstad’s. If I have one more word for Waltraud Meier, I heartily recommend her to receive plastic surgery before “singing” in her complete nude. The red Kundry’s breasts look like grandma’s, and her fucking facial expression only contributed a wrinkled face. It no more looks sexy. Get it?

Days ago, I happened to read one forumite saying that the Kupfer’s Singers look very poor because they have to suffer too much of physical movements or acting, part of which he feels unnecessary for music of Wagner. Then he mentioned Cosima’s request to the singers about how to act. This opinion awakened my years-long sleeping question about Barenboim’s Kupfer. It’s true that I really like some of Kupfer’s ideas but I kept suspecting if Kupfer’s stage acting was based on Meier’s Voice. This forumite gave me a clue. (This was a Korean website, and I am still trying to find its exact address.) Is it true? Whatever… I believe… if he feels running out of idea, he should stop. He should do something for himself until he is ready for his next life, instead of hanging on the color-blind conductor. Friendship never means professionalism, I believe. What’s the difference between Bayreuth’s WoWa and Barenboim’s Kupfer?

Now, I know I must stop.

Nothing’s changed Barenboim’s music since then.

Nothing will change it tomorrow.


JIWON: No Regine Crespin


JIWON: I need more of Leonie Rysanek. It’s not enough.

http://www.youtube.com/watch?v=L5C99JyP2ns Elgar Cello Concerto 1st mov.

JIWON: She was already not in a good health. Look at her posture. Poor lady.

http://www.youtube.com/watch?v=YA1q8-hBe04 Israel: 70 años de la Orquesta Filarmónica

JIWON: Can Mr. Mehta just concentrate on drawing the picture instead of trying to beat, beat, beat with a huge, sincerely stiff, but never-exact body language? Just perform a generous dance please, instead of distracting the musicians’ attention and making them scatterbrains, which only know how to play an Art of Cacophony. 

To be continued…

Two weeks later, I will contact:

Yigal B. Caspi, Ambassador of Israel

Ambassador’s Office: ambas-sec@seoul.mfa.gov.il

Sincerely yours,


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