German Sound

 http://www.iht.com/articles/ap/2007/12/04/arts/EU-A-E-MUS-Italy-Barenboim-at-La-Scala.php

(December 4, 2007) Audiences of La Scala react differently to ‘Aida’ than an audience in the Staatsoper in Berlin. No question about it,” Barenboim said. “I think in Germany they would be much more tolerant of a slight vocal deficiency if the expression was there. And in Italy they would be a lot more tolerant for lack of expression if the beauty of the tone was there.”

JIWON:

This is Barenboim again, who is talking about German characteristic. I wanted to start my writing with this subject, but couldn’t do anything until I read all the valuable comments from Barenboim’s Loggioni. 

I’m wondering. Is Barenboim talking about German characteristic? Or is German nationalism what he is talking about? Or German sound?

Whether it is German characteristic or German nationalism or German sound, is there something existing inside Germany? Barenboim says YES and it is a very tolerance to a slight vocal deficiency for the sake of expression.

If one asks me the same question, I would say YES but from the different point of view.

All my friends, who dedicated their youth to foreign land called Germany, used to joke that even if someone offers them an opportunity to go out with tons of German guys, they would say “Well…” Spending time with such plain, insensitive potato-eaters like Germans? When I replied that it was in fact the characteristics of the macho, they mocked, “You should come to Germany to check other foreign guys.” Years later, I now know they were very right. At the same time, I still think there is something in German characteristics; a specific coloration, sweet texture with pure timbre. I believe it should be called German sound.

Artur Schnabel has it. What about Wunderlich? Strangely enough, this is not the characteristics of Heldentenor, but who cares? It sounds more than attractive and the same purity is also there. If you say Artur Schnabel was an Austrian Jew, I will answer that he’d never lived in Mehta’s Tel Aviv or Bashkirova’s Jerusalem. Perhaps, being Jewish had contributed to that unique coloration, but who knows what when everything turns stale whenever Music-Director Mehta enters the music scene?

Who else has it? Maestro Wand’s German ensemble also has it. I’m curious how many years it took for Maestro Wand to achieve it, because it seemed to take less than a year for Bashkirova’s friends to destroy it. This is why I believe they used to be called a second-rate ensemble. Since this is not my opinion, no one can accuse me of insulting their fame. I just feel pity for Maestro Wand, who had to work so hard to achieve so little… Barenboim is not the only one, yet who will be poorer after all, Wand or Barenboim? While Wand actually heard his favorite music from his instruments, Barenboim will never make it. I’ve written about this for ten years; about WHY.

I need to study more about German performers. It is hard to find it from the winds and I don’t know why. There are others who are considered as German voices. Weird that whenever I heard them from the radio, they were called Wagner specialists, and I had to analyze their voices, which don’t possess a top-rate quality. If I don’t hear this specific coloration from their voice, at least they have the same kind of timbre; the purity in their voice that allows them to imagine further music. I imagine Heldentenor from those low voices, who are called German. Sometimes, I prefer sound itself, but sometimes sophisticated imagination is what I prefer to good-but-stupid sound, because there is no perfect sound, which will never make me feel bored. Then, that intelligent+imaginative quality is more found in German low voices than in foreign ones. This fact is what ignited my curiosity about the difference between singing voices and speaking voices.

When I heard Furtwangler’s German ensemble, what surprised me first was his members’ inferiority. To my real surprise, his German instruments were not high-leveled enough. But then, I was surprised again at the purity of his string section sound, whose maestro hardly allowed any wind soloist to destroy its purity. Then I heard the performance itself was animated. Something alive was constantly moving toward somewhere, and you can clearly hear where to go and why.

Years ago, I heard that there was a piano competition marred by politics and read an article regarding the story behind the scene. Then, I heard the participants’ performance. Curiously, I wanted to side with the German professor, who stood in the center of politics. Despite characteristics of the competition, where impeccable technique should be a prime factor, I thought… “Sooner or later, all those techniques would mean nothing. They convey no particular sound; nothing. What if this German sound grew into a full professionalism? I want to save this pianism. Will he survive his professional life?”

If I were in the jury, I would vote for two silver medals with no first prize; for one technique with no particular sound and one sound with less technique, and then I would ignore the former and keep my eyes on the latter: Not all of young talents survive to join the professional world.

Now, I remember nothing. No names of the juries or the participants. I am not good at language, and especially awful at memorizing the names unless I hear their voice. So, I only remember the student’s performance, which still needs to be trained and should sound more pure to prove a real German characteristic. I am still curious. Was it literally a politics what did matter? Or was something there in the German professor’s academic mind?

I still believe, all the happenings and its reasons regarding music should be in an open place, instead of hiding their political mind behind scenes, scenes, and scenes…

I am writing about German sound, am I?

I just know that Rene Pape has it, though his inheritance is still not allowed to blossom. I’ve written about this for ten years, yet none of his bosses listened to me. They were just busy at sweating their workers to support You-Know-Who for their very special reasons. One of their reasons was to see their rival, Barenboim, failing. Another reason was to make fun of me because they happened to be insulted by my analysis. Did I insult them? I just analyzed music and sometimes I didn’t even directly mention the names, but then those who considered themselves as Barenboim’s rival felt insulted by ME, who they called Barenboim-stalker. I am curious… exactly who showed my writings to each of them, because sometimes they made a dramatic improvement after reading my analysis while Barenboim was hopelessly failing. If time allows me, I want to write the full details about who’s who, starting from Maestro Abbado. Anyway…

How old is Rene Pape? Once he reaches 50, it will be damn difficult to prove his improvement. I heard that human lungs shrink after certain ages. Even now, the present situation prevents him from training more of his supporting muscles. It only forces him to over-strain his unnecessary muscles to match the voices of “Meier & Co.”

If Rene Pape is happy with his situation, it’s the end of the story. All the old blokes decided to support Waltraud Meier after reading my analysis of their sexy junior. Did they succeed in training their German-born heroine? Instead, they were happy to prove their own failing. This is why, I believe, none of them is considered a legendary level. I’m still wondering. Had Meier begged them to read my analysis and to protect her? Or had the old blokes summoned Meier to sing under their fame? If they cared for their sexy junior so much, why did they never care to dig real young talents before their retirement? This is a shit.

I was not fond of Harry Potter until I found this terrific term; “Mudblood.”

Is there better word to depict the present German sound? The word, “Mudblood,” gets me vividly imagine how Waltraud Meier sounds like, how Barenboim’s Staatskapelle’s “Glander & Co.” sounds like. It was also how Mehta’s Italian ensemble sounded like when I first heard of their bombastic performance. Its coloration was loser than the German, though, as if it sounded more relaxed. But then, it was the most stupid music I’ve ever heard.

When most people, including Barenboim who seriously takes German characteristics as a very tolerance to a slight vocal deficiency for the sake of expression, casually joke about plain, insensitive potato-eaters, (Though I don’t think Barenboim’s honesty doesn’t live in this sentence… He rather seems to believe that it is the best way to encourage my writing while protecting his mistress as he did this kind of for nearly ten years.)

When I sympathize with the fact that there is something in German characteristics; a specific coloration, sweet texture with pure timbre, and that something should be called German sound,

Some people used to call its music poetic.

Whatever it is, it was my affair with something German. When you fall in love, you see what you expect to see from your lover. This is what I did. Years ago when I first contacted Furtwangler’s German ensemble, I wanted to fall in love with their golden tradition. What happened to me?

But still, they were not the only German ensemble, and I believed in my theory. When I started analyzing Meier’s trashy music and insulting her dictatorial behaviors as Barenboim’s mistress in Barenboim’s territories, I was sure that German music lovers would follow me. Apart from German audience, how many professional performers and music scholars, including the pro critics, have been living in this country? What happened to me?

Apart from the fact that all the members of Euro Trash joined Barenboim’s Angels, a series or happenings…

Among them,

It was in the Wagnerforum and it was none but German audience, who first threw sharp criticism against Meier’s vocal problem. (I’m not sure of its site; http://forum.festspiele.de/ . I left there long time ago and there has been a huge change. Reading German comments was too tired.)

Some roared that pushed-up mezzo should not sing Isolde. Some questioned that Meier’s interpretation sounded hysterical and wanted to know if it was originally intended by Wagner the composer. How Meier Fan was able to finish this debate?

He simply posted an article by New York Times’ critic:

http://topics.nytimes.com/top/reference/timestopics/people/h/bernard_holland/index.html?inline=nyt-per

JIWON:

Then, without any rivals, who were not allowed to play in Barenboim’s territory without her permission, Meier enjoyed unlimited fame as a sole interpreter of Wagner’s music drama, and her interpretation was supported by German patriotism. The entire Germany was intoxicated by the fact that neither the Norwegian nor the Swedish but the pure German blood could “sing” Wagner’s heroine.

Sorry about telling this. I feel very sorry to have to stick to my gun. But I must say the truth; that it was sickish German patriotism that destroyed its National Treasure. It now seems that Meier’s wish for the rest of her life is not to find young real-talents from Germany or at least from Europe. Why do you think so?

For musicians, speaking voice usually tells nothing; nothing about the character or instinct or even talent. (I can analyze their speaking voices, but it consists of so many complicated situations and it is always case by case, so I prefer to call it NOTHING.)

Instrumentalists speak through their instrument, which air is never same as one in their voice. I’ve never seen a musician, who talks all day and sounds marvelous; because this air is different from that air. Your mind determines your air, which determines your physical ability, which determines your sound, which “can” determine your interpretation. Some musicians sound awful when they speak before their performance.

Singers speak through their “singing” body. Some singers sing even when they speak. Meier speaks even when she sings. Barenboim surely knows how oily, thick-colored, and therefore sexy this speaking voice sounds whenever it wears a read dress to coquet with his Wagner dream. Compare ALL the legendary Wagnerian singers’ speaking voice with Meier’s, which is the very basic of her hysterical interpretation.

I remember that toward Meier’s Wagner-Festival in Berlin, Barenboim interviewed that he was studying singers’ vowel-or-consonant and trying to match his orchestral sound to the singers’ German language. He even mentioned Furtwangler in his interview. So, I sharply criticized again that Meier’s vowel sound is what caused all the problems. Then, I tried to find one comment from the Google-Group, but that was gone.

Honestly speaking, I don’t think Barenboim doesn’t know when I am talking about German characteristics. The first reaction from Barenboim when I started analyzing Meier’s prostitution was his Meier-concert was sold-out. (It was in Paris and Said was with him, who was wearing black jeans, when he made this interview, which I saved and now is in my broken computer.) My years-long story tells me that Barenboim just wants to protect his mistress as much as he cares for Zubin Mehta. Then, I believe that Barenboim really studied how to match his orchestral sound to Meier’s vowel+consonant, because it is what made “Mudblood” in Barenboim’s pit-ensemble. In Chicago, it transformed into something another and was called oak-like quality, which sounds like healthy, rich-colored whenever the string section makes the ugliest, the scattered… I believe that Meier even tried to teach Barenboim how to pronounce German vowel+consonant in Meier’s way.

A native German sounds like German when he sings, when he speaks, when he yells, and even when he talks in his sleep. No matter what kinds of language they speak or sing, it sounds like German.

What about foreign singers? They only have one choice to be heard as a German singer, especially as a Wagnerian singer; there is only one orthodox way to sing huge, high notes that Wagner wrote, because the singers are also humans, neither machines nor aliens.

This is why Meier was able to behave as a Wagner’s sole heroine in front of all the foreign musicians, who wants to “sing” Wagner. This is why all the foreign singers could never improve after their performance with German Meier. apart from the fact that they already had to suffer from acoustic problem due to Meier’s bony voice, which sounds louder to her partners on the stage than the real singers’ airy voice even during the time when an audience from far away is blessed with their choice of the real one, none of foreign singers could make their orthodox German diction on the same stage with Meier.

If Barenboim ever thought that Meier’s voice was what I used to sharply criticize, that is where his stupidity lies. I’m still not sure how many chicken heads were reading my e-mailing in those days, but I clearly remember how I started my analysis of Barenboim’s Wagnerian Heroine: I wrote that the very thing bothering me most was Meier’s German diction, which sounds comical, and her acting, which looks ridiculous. Then I wrote that Meier’s voice sounds dull and oily dirty, while the first-rate DIVAs all sound pure, simple, but brilliant.

I have written this again and again for ten years. Who listened to me?

“Oral sex” in the Collins COBUILD dictionary: Oral sex is where Waltraud Meier stimulates Daniel Barenboim’s genitals with her mouth or tongue.

Each diction requires its proper tongue-technique. This brand-new Meier’s tongue-technique in the Wagner-show is however not something new. Watch Meier’s embouchure and her tongue-technique. Then watch Barenboim’s hopeless sound whenever he conducts for his sex-partner. What else should I imagine from this sexy Isolde? Barenboim has been sleeping with Meier’s German diction, according to the exact sentence in the lecture of Korean-Wagner-Society. What specific is wrong with my writing?

http://groups.google.com/group/rec.music.opera/browse_thread/thread/a754dd3a77acaa83/e63e53176fd3b02d?hl=en&lnk=st&q=barenboim+meier#e63e53176fd3b02d

(May 1, 2002) Strange email campaign – BARENBOIM (long but bizarre!) : As for Waltraud Meier – 1. How many singers have experienced Wagner’s Isolde since Tristan’s birth? Among Meier’s predecessors, who approved+encouraged this post-modern Wagnerian singing? I need a specific name. The fact that Bayreuth’s sex-symbol mastered her unique tongue-technique under Barenboim’s crotch still lacks something to prove the entire story WHY Furtwaengler’s Germany had to fail under her red skirt. I just can not understand why. Meier’s public answer will give me more clue to solve Bayreuth-history, which has hopelessly failed under the skirt of WoWa’s second wife, Gudrun Wagner. Meier should explain the detailed information about her vocal technique in a historical way.

JIWON:

Waltraud Meier boasted that her Isolde was above Flagstad’s, so I did what I did.

So… please tell me. What’s wrong with it? Perhaps, this Wagner-couple, Meier and Barenboim, would have been able to make a dramatic improvement together, if Meier took more air and opened her throat and then put her THING deeper into it. Perhaps… if she really loved her maestro while seducing a father of two poor teenagers. If Meier truly knew how to love Barenboim, who was always hunger for studying Wagner, this golden Wagner-couple could have led everybody around Barenboim, including Barenboim Jr., in great ways. Now, please watch who are around whom and why? (News) Does he really want to enter the professional world? He doesn’t look like. With this performance schedule, he should sound like Kremer Jr., but he doesn’t.

Funny that Meier used all the effective methods of birth control for the exactly same reason as Kremer’s wife carefully controlled her menstruation to give two Barenboim Juniors while du Pre was still alive but miserably dying. Funnier that the British media, who used to be crazy about prying the private affair between their poor du Pre’s inferior hubby and their pleasing Kremer’s adorable wife, were this time united to zip their mouth. Had they trumpeted this oral-sex-scandal very loudly, it would have worked more effectively when they tried to demote Barenboim in order to support their British Rattle. The funniest is that their love for Sir Rattle is so greater than their sympathy for du Pre that, after reading my writings, they joined the Berlin Folks to support Kremer’s ex, aka Berlin-Queen, who tried to give Barenboim away to the city of Berlin, including Rattle’s BPO, if it were to help her professional career.

Perhaps, it was an honor for the British Folks to watch du Pre’s Barenboim finally overcome the grief of widowhood with the help of their ultimate DIVA, Waltraud, It’s no strange that a British musician regarded my message as a trash and that the British young talents were diligent at imitating Meier’s vocal techniques.

As time went by, part of pro Chicagoans joined Kremer’s ex. No wonder Barenboim finished his directorship in disgrace. Do the Loggioni of La Scala know this happening when they are full of praise for open-minded Barenboim? (Go to Google-Groups if you need more information. Then, I can give you something more…)

Meanwhile, the entire Germany was busy at SOMETHING after my spreading Barenboim-mailings across the country. Outside Berlin, its local ensembles, starting from Koeln, were wiping Mudblood off its string sound. Only small ensembles sound better and they just re-gained a hint of purity, though. Believe or not, they welcomed my mailing. Or, the Germans just make their national sound whenever the members of Barenboim-Gang disappear from the music scene. Most of all, Zubin Mehta was alert outside Israel, carefully planning his performance schedule and let Barenboim take care of all the trashes. But still, why ALL the musicians, especially the younger ones, are proving their hilarious failing whenever they join Mehta?

(I am losing my way again… If the British+Berlin Folks ever report the false information about me, we’ll see. I will handle everything in a legal way.)

Am I writing about sex, which is Meier-Fan’s foremost subject? It’s music, of which I am making an issue.

I have written this again and again for more than ten years. Who listened to me?

Perhaps, those pros never wanted to accept the very fact that they don’t hear what I can hear and that they don’t watch what I can watch.

This is a shit to watch Waltraud Meier:

The basic posture of Meier’s standing is wrong.

The basic posture of Meier’s sitting is wrong.

The basic posture of Meier’s walking is wrong.

The basic posture of Meier’s running is wrong.

The basic posture of Meier’s hugging a man is wrong.

The basic posture of Meier’s bending over a man is wrong.

The basic posture of Meier’s DOING with her female partner is more wrong, because this aggressive female wants to draw more attention from audience than her partner.

Then it’s never possible for Meier’s singing partners to ignore Meier’s voice, which is sharply projecting and clearly, loudly heard on the same stage as theirs.

Wagner wrote music drama. Why do you think so?

Acting Wagner is important, and it should be based on the Wagnerian SINGING-VOICE, I believe. Still, listening to Wagner can be boring to me, and then I have to watch MUSIC of Wagner. I have to watch sound of Wagner. I have to watch all the detailed body languages in Wagner’s Music Drama, for it is a triumph of human ability. At least for me… Am I the only one?

http://www.youtube.com/watch?v=CC5OT0jieUk&feature=related

Birgit Nilsson in rehearsal at Bayreuth with W. Windgassen

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