Dear Israeli Government & Simon Wiesenthal Center

Daniel Barenboim’s Israeli Government & Media & Simon Wiesenthal Center: (As expected, there is NO ministry of Culture in Israel. I hate to include Jewish Media in this mailing, but I know I have to.)

February 17, 2008 (It was supposed to be sent. Simon Wiesenthal Center will receive this mail before April 1.)

Dear Daniel Barenboim’s Israel

Greetings to you in the name of Hope and Peace.

This is JIWON.

I am wondering. How many times should I introduce myself whenever YOU receive my Barenboim-message? I know Israeli politicians usually suffer from senile dementia, but still… I am real tired.

You don’t have to waste your time to read my message to Italian Government and Richard Wagner Foundation. But don’t you think you’d better visit My Blog: The Art of Criticism and read My-Latest-Message and My-Previous-Messages before reading this mail?

Especially when you don’t know who I am…

Since some e-mail accounts don’t provide the links I added, here are the ones. You can also read this message in this place, if you directly go to Mail-Recipients:

My Blog: The Art of Criticism :

My-Latest-Message :

My-Previous-Messages :

Mail-Recipients :

This is anyway continued from Dear Barenboim’s Italian Government & Richard Wagner Foundation

I had a dream. I had a plan.

I had a wish when I first joined Barenboim’s Furtwangler Dream.

Whoever said whatever about Daniel Barenboim, he was a real Jewish Patriot more than a lover of Palestinian Rights. I know how much this Jewish Patriot cares for the city of Jerusalem as his home, but most of all, Barenboim is a musician. Is there any maestro, who can survive his patriotic life without taking care of his national orchestra?

Let’s face the fact.

The city of Jerusalem differs from other cities in many respects. It is not only famous for its religious character but also too small even for one symphony-orchestra. The characteristics of its audience somewhat differ from the one of other cities, and the city itself can’t afford its cultural treasure, especially when the country is on the verge of national bankruptcy, due to problems in all areas from economy to national defense. (My analysis is purely based on my daily reading Jewish articles couple of years ago. But I don’t think there has been any change since then.) (February 8, 2008) A leading Israeli professor has warned that the relationship between Israel and the diaspora is drifting apart. The Jewish state, he said, was “no longer viewed as a safe haven, a source of pride”. Thirty-four per cent of Israeli children are now living in poverty.


Am I wrong? When I used to report Barenboim’s Israeli News to Everybody, even to the White House in America, one of my constant concerns was “Israeli Children Living in Poverty.” (By the way, one of White House Guys was able to figure out something very important information thanks to my report. Who was his name? It’s in my broken computer…) It is still same. In fact, it took less than a minute to find this article using Google Search Engine.

I had a dream. I had a plan.

I had a wish when I heard of Barenboim’s love of Jerusalem.

There are many, many things Jerusalem’s cultural treasure can do if supported by its government. Supporting doesn’t have to mean something financial, because unlike other countries, so many patriotic Jews can be found elsewhere you go. The Diaspora in Contemporary Jewish life: As of 2006, the largest number of Jews lives in Israel (5,309,000), United States (5,275,000), France (492,000), Canada (372,000), and the United Kingdom (297,000).


Some of them must be wealthy; wealthy enough to care for the poor children in their mother land. If its cultrual treasure could travel elsewhere-Jewish and hold Benefit-Concerts supported by its government, what do you think those poor kids can get? Only some money to buy food and clothes? Love will be also the one, with which they can be blessed. (Frankly, part of me is yelling that this is none of my business when those rich Israeli pigs never care for their own kids… I’m not even qualifed enough to address this kind of issue when my own kids are still not on the right track due to my headache life.)

If there are Israeli children living in poverty, there are also Israeli poor kids, who suffered from Palestinian militant group, Hamas. When the kids die, when they get injured, their families suffer more.

Of course, I never forget Paletinian kids, who are born more than miserable.

My problem has been that as much as I cared for those miserable Palestinian kids, the same poor Israeli kids constantly hooked my attention. I suffer from more problem when the Jewish Pigs are the only group that points out their gloomy(?) situation and howls for the equal(?) treatement, and therefore, outsiders are hardly willing to hear the Voice-of-Israel and hardly know the real situation inside Barenboim’s Israel.

Which title more appeals to you? A Benefit Concert by the Israel Philharmonic Orchestra or the same title by the Jerusalem Symphony Orchestra? Thanks to Wagner-Scandal in Israel, all we know how much Symbolism matters especially when it becomes associated with politics.

Is there better way for this dying ensemble, the Jerusalem Symphony Orchestra, to raise funds, when no one can find a hope inside Israel?

If I am forced to write one more thing about the city of Jerusalem and Daniel Barenboim, this is a right place where one can truly understand Barenboim’s Pianism: 1. One should be born a top-rated brain. 2. One should be keen to sound. 3. One should be armed by healthy but sensitive heart, physically and mentally. 4. One should concentrate on every each note, being able to express his whole thing through one simple note. 5. One should develop the powers of imagination.

Jerusalem is a home of Israel Arts and Science Academy. Well, not every brain is born a musician. Not every brain has sensitive ears to listen to music. Surely, it is a real headache or a hopeless cancer when a top-brain, who was not born a musician, wants to behave as a musician. But still, there exist sensitive ears among those in the city of Jerusalem. When the Jews are famous for their big-brain, are there better human beings who can understand what Daniel Barenboim learned from his father, Enrique Barenboim? Even Danny himself hasn’t perfectly proved Barenboim’s pianism, which definitely differs from the one of Artur Schunabel. I promise. Once they learn what means music, they surely want to listen to more.

Just In Case…

Barenboim will become the busiest conductor and pianist in no time, traveling all over the world, wherever I find valuable comments on Barenboim and Music. What does it mean? If under the auspices of the Israeli government, its Jerusalem Symphony Orchestra can schedule its tour concert with guest-conductor Barenboim or guest-pianist Barenboim whenever its members want. (I never want to steal the title, Music Director, when a real Jew is working so hard, even for free, to save this dying ensemble.)

Wherever he goes, Barenboim will prove legendary baton-techniques and a very special pianism. Who shall attend these Barenboim’s Extra-Jewish-Concerts? Only Jewish Money, who deeply care for their poor Israeli children? Or Palestinian Hearts only? Or Wagner-Lovers only?

If the poor kids are born in one place of Israel, there are old Holocaust survivors dying in its other parts.

What will happen after the last Holocaust survivor disappear from the Jewish scene? Is the entire Israeli going to perform, listen to, and enjoy Music of Wagner, with no feeling of guilt?

Music differs from Fine Arts, because it deals with timing. More precisely speaking, it deals with the moment. Has any one heard of Zubin Mehta conducting the moments whenever the fan-club praises his VPO concerts? No matter what kind of trick Zubin Mehta attemps in his favorite city, Vienna, Music is Art of Creating the Moment, and therefore, he can never prove the reason of his musicianship in front of real audience.

In those days, Music of Wagner sounded real great. The Holocaust Survivors still remember that holy-therefore-hellish sound ringing in their ears. I promise. Whenever they hear something similar, their heart will be pierced with what they remember. While they are still alive, their younsters can see the pain in their old eyes, which suffer from Music of Wagner. What will happen after the last Holocaust Survivor disappear from the scene?

If I ever fall in love with the Jews, it is purely because of the existence of Simon Wiesenthal Center. They never give up.

If Isareli Government is going to allow Music of Wagner performed in the Jewish-Concert-Hall after a certain period of time… if the remaining Holocaust Survivors allow Music of Wagner enjoyed by their next generation after they die, something must be done before The-Day-You-Know, I believe.

I wanted to make something before the last victim disappears. In my view, the Wagner-Concert should not be allowed as a normal program. Instead, it should always be planned as a special concert and should be held under the auspices of Isareli Government and Simon Wiesenthal Center. It will be very painful for the Holocaust Survivors, but this is the only way for them to make their next generation never forget what they suffered.

The Federal Chancellor of Germany should be present at the very first night of Wagner-Concert for Holocaust Survivors, and he should make his victims a deep, humble apology for what his Germans did and he should promise that it will never happen to his next generation. Whenever the German leaders visit Israel, there should be Wagner-Concert for Holocaust Survivors waiting for their humble apology. The Simon Wiesenthal Center should capture all the moments and make it into a real material to teach the youngstes all over the world. They should make them as many as possible. How many of their materials do you think I happened to watch and was shocked by what I saw?

OR… those victims should be blessed with the LAW never to allow their next generation raped by Music of Wagner so that they can die in peace. I don’t understand why the Simon Wiesenthal Center never has a voice in this legislation. (July 24, 2001) Wiesenthal Center Welcomes Knesset Education Committee Recommendations to Boycott BARENBOIM: (…) Israel Director Dr. Efraim Zuroff praised the “unequivocal and brave” resolutions passed today and urged the committee to continue dealing with the Wagner issue as long as necessary. (…) “thereby performing a public act of cultural rape in the Jewish state. We encourage you to continue to deal with this painful subject as long as it affects public life and discourse in the State of Israel.”


What means “as long as it affects public life and discourse in the State of Israel?” This Wagner-News was in 2001, and it was the last one in their Wanger-issue. Since then, they’ve never attempted such an act. How many Holocaust Survivors died between 2001 and 2008, and how many are left? I read that some had already said their farewell to the living things. What will happen after ALL of them disappear? To be exact, Barenboim didn’t rape. It was his Israeli audience who wanted to be raped after hours-long debate with Barenboim. It was rather a mutual intercourse. How on earth the “unequivocal and brave resolutions passed” by Israeli Knesset can never be protected by LAW? I’ve never seen this kind of comial country. Whenever I read happenings inside Israeli Knesset, I can’t help laughing myself to death. (They are still suffering from etiquette problem…)

I’m tired… I’ve written same thing again and again. One of my previous writing, My Opinion: DB’s Wagner in Israel, Berlin, only a tiny part of it.

I had a wish when I wanted to join Barenboim’s Israel.

I wrote; that if a small city, Jerusalem, wants to run a chamber music festival, it should be run by its major Symphony Orchestra. Its symphony orchestra means its orchestra members.

I had a wish when I wanted to join Barenboim’s real Jewish Patriotism, his hearty relationship with Prof. Edward Said. I had a plan when I heard Barenboim’s headache(!) relationship with Amateur-Musician Edward Said.

All youth ensembles consist of promising youths under the age of 20s, which should keep their hearty relationship with their teachers in their birthplaces, which is neither Berlin nor Chicago nor Madrid. They should belong to their Middle East, not to Barenboim’s working place. OR… if those Divans want to behave as real Pros and hardly allow the younger members to take their position, they should pay Barenboim, their paid-conductor, enough amount of money, because Glander’s Divan-Ensemble can never sound like MTT’s New World Symphony. And then, they should not sell fame of late Edward Said to accomplish their professional dream. (March 1, 2007) New World Symphony: The players pass through the academy in appointments that typically last no more than three years. So its personnel are continually changing. (…) The players come from diverse backgrounds, but they work together, study together, and even live together, rent free, in two converted hotels in Miami Beach. Their compatibility is spiked with a healthy jolt of competitiveness, since they regularly audition for a limited number of orchestra jobs.

JIWON: This is not the only group, which shows a typical atmosphere of the typical youth orchestra, when its members really want their pro-life. Frankly, this is exactly not a student youth ensemble. The students consider it as a bridge to real-pro after their graduation. It is very hard to join this youth ensemble, yet less than few alumni can survive their pro-life. (May 31, 2005) Young (Not Only at Heart), and Tangling With Masters: That overused catchphrase of the 1990’s applies here: it takes a village to raise a youth orchestra, too. Think of all the needed instruments, the teachers and the private lessons, the rehearsals with special orchestral coaches, the encouragement (read bullying) to practice, and early on, the parental leap of faith to believe that a twinkle-twinkle-scraping kid could someday play tone poems by Richard Strauss, or anything else for that matter. It seemed as if most of the village turned out on Sunday afternoon as proud families, friends and other supporters streamed into Carnegie Hall for the final performance of the New York Youth Symphony‘s 42nd season. It included Brahms’s “Tragic Overture,” Bruch’s Violin Concerto No. 1 and, yes, Strauss’s “Also Sprach Zarathustra.” Beyond just providing students, 12 to 22, with real experience in an orchestra, the Youth Symphony also promotes young professional musicians in the early stages of their careers. (…) There are clearly players in this orchestra bound for professional careers in music, but just as important are those who will one day take their seats in the audience. Conservatories are bursting at the seams, but our supply of impassioned listeners desperately needs restocking. And for that job, there can scarcely be better training.


Hence, the situation above was what I would have rather expected from Barenboim’s Divan-Project. I wanted to see ALL Barenboim’s Divans grow into mature human beings and remember their golden youth, their hearty experience with Palestinian Said’s Jewish friend Barenboim, elsewhere they go with various social titles shining on their heads; professor, doctor, scholar, businessman, politician, and so on…

Please compare those two youth groups with Barenboim’s Divan-Ensemble, whose members are less qualified than the one of the New York Youth Symphony, yet behave far above the alumni of the New World Symphony. I know quite members, who passed the NWS’s audition. Years later now, I don’t know where they are. They were certainly much better than Barenboim’s Divans, who should be called definite-pros.

Two things I can never understand about the Divans: One is that I’ve never heard of their missing the notes. In fact, their difficult notes sound very easy, while I heard the VPO members cracking in much easier pieces (plural…). Weird that the listeners all over the world point out their limited talent. Another one is that when the students join the NWS, they accept the fact that their future life will be much harder than their present situation. How on earth those Divans can believe that they will die on the stage as long as they cling to Barenboim’s baton, which is nothing but a mere woodstick. How come they behave just like Elena Bashkirova? 

It would be terrific if I could see a real talented musician from Barenboim’s Divan-Ensemble, but at the same time, especially when it is nearly impossible to find one, I really hoped to see the future Prime Ministers of Israel and Palestine come from Barenboim’s Divan-Workshop. Or what about a future millionaire who could take care of all the poor kids in Middle-East. Was I dreaming an impossible dream?

If Barenboim can’t understand its age-problem and technical deficiencies caused from their cultural background, he doesn’t deserve this project.

Time has passed.

Everything sounds like a shit. Everything looks like a shit. The entire scene is a mess.

Please look around you. Your Israel is literally full of shits. This golden pair, Zubin Mehta and Elena Bashkirova won’t die until all Israeli ears are paralyzed by, and then blessed with their sickish sound.

What’s more,

All my favorite Jews now consider Barenboim’s real patriotism as a cancerous disease. I feel miserable. Only a few of Israeli extreme-leftists and ALL Jewish Pigs, who want to join pro-music-society as Barenboim’s protégés, are proud of their friendship with Daniel Barenboim. I even smell that some Palestinian Pigs want to take advantage of Barenboim’s real Jewish heart. 

Does Simon Wiesenthal Center know that those Divans want to play Wagner? Did they say that Barenboim raped the Jewish state? Those Jewish Pigs are real rapists. Barenboim is merely their cheapest-paid-conductor.

Dear My Dearest Jewish Government and Simon Wiesenthal Center,

I know I will fail again, and this time I will leave after taking my money from Daniel Barenboim.

Therefore, I am begging YOU.

Could you please find a legal way to permanently ban public performances of the music of Wagner, before the coward Jewish hearts are simply waiting for the last Holocaust Survivor disappear from their music business?

I wrote every reason WHY, including pure musical reasons why Wagner should not be played especially in Barenboim’s Israel. It is the only way to protect the young Jews, whose naïve talents have been wrecked by “Bashkirova & Co.” You don’t have to worry about your Jewish audience, who desperately wants to listen to its live Wagner-Performance. Sooner or later, professional orchestras in Palestine will master all the Wagner-techniques, and its Wagner concerts will be held under the auspices of its government. Their theme will be: “Nowadays, Hiltler’s real Nazism dwells in the eyes of Israeli soldiers.” How much do you think your Jewish audience can pay for it, and how long do you think it will take for them to drive from their Israeli home to Palestinian concert hall? Everyone knows that sooner or later, free route between Israel and Palestine should exist.

Could you please revoke Barenboim’s Israeli passport? If YOU say that “there was no legal basis for revoking Barenboim’s citizenship,” YOU also say that “Israeli law permits revoking citizenship of anyone who becomes the citizen of an enemy country, though the PA doesn’t have such a designation.”

Besides YOUR Wagner problems, I also wrote all the reasons WHY you’d better take away Barenboim’s Jewish identity.

Please use the search button.

Keywords in case you want to know; Prime Minister Sharon, Yossi Talgan, Holocaust, Simon Wiesenthal Center

All my life, the Jewish identity was my dream character, and I’ve never imagined this shit-like situation when I first joined Barenboim’s Furtwangler dream. I thought I finally became a real friend of ALL the Jewish brains and hearts. I was not. I was dreaming an impossible dream.

Whoever I am, whatever happened between Barenboim and ME, I still want to be a friend of real Jewish hearts. If I am forced to join “Bashkirova & Co.” as a friend of all those Jewish Pigs, I prefer to see Barenboim without Jewish Identity. He doesn’t deserve it.

One week later, I will start my mailing business to all the possible human beings all over the world. Part of them will ignore my scribble. Part of those who have been interested in Barenboim and real Music, will finally know who the real Barenboim has been for more than ten years. Whether Zubin Mehta or Daniel Barenboim caused this entire shit-like situation, I don’t care. My life has been more than miserable. It will be hopeless.

If… if you happen to be willing to support my mailing business, please let me know.

Since I used to receive a shit-only from the Jewish Pigs, I have nothing to ask you. But I did ask Italian Government and Richard Wagner Foundation to support my mailing business, in case I contact Orchestras, Opera Houses, and Music Schools. They will leave a message if they don’t allow me to use their fame. If I win their vote, well… you’d better join the club. Even if I fail to get what I really want from Daniel Barenboim, it will help most music institutions, which “Bashkirova & Co.” believes is inferior enough to follow their big mouth. Already now, they are hunger for traveling all over the world, and I only hear their making a shit. Most of outsiders believe that those are the real Jews.

Could you allow me to start my mailing business under YOUR auspices?

Thanks for reading my hopeless life.

God Bless Your Jewish Land and Your Real Judaism.

No matter what, I was happy while falling in love with you. (While writing this, I wanted to know the difference between Zionism and Judaism. What the heck! So long…)

Sincerely yours,


P.S.: If I were an Israeli citizen…: I’ve never joined any party. I don’t know how to start my interest in those headache groups. It’s been a waste of my time. But my vote would always go to the extreme rightist Rabbis. In my view, they should be elected as a true leader of Barenboim’s Israel. They should travel all over the world and pray to God for an answer how to deal with their religious relationship with all kinds of real hearts, who had had nothing to do with Talmud. It was just one political opinion… Thanks♥

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