Thanks, My Friends…, My Requests to Barenboim

(Started writing from mid February to March ?, 2008)

Dear New York Folks,

Now, I can understand everything.

When I received a computer virus from VOA, and when the Google Search Engine didn’t work for the keyword, Elena Bashkirova, I knew that I should finish my work as soon as possible. But something was still not enough, and I had to search and search to find what I should find.

Some members of Bashkirova-Gang, whose only concern was to put Barenboim in their Jerusalem-resume and planned to betray their true mentor after checking my name, suddenly changed their mind and rushed to their boss. Weirdly, it was Bashkirova herself who wanted me to find this information. There must be a reason.

I resumed my work on April 12, 2005, with my writing of Leonard Shure & Tommasini, and then I’ve made regular mailings since February 26, 2006. Below are the numbers of my messages in each month:

20060200 (1), 20060300 (3), 20060400 (3), 20060500 (5), 20060600 (2), 20060700 (4), 20060800 (0), 20060900 (2), 20061000 (0), 20061100 (1), 20061200 (2), 20070100 (6), 20070200 (5), 20070300 (0), 20070400 (0), 20070500 (0), 20070600 (1), 20070700 (0), 20070800 (0), 20070900 (2), 20071000 (0), 20071100 (1), 20071200 (1),

Thanks to Mr. and Mrs. Mehta, below is what was done toward Bashkirova-Festival 2007:

DB Has Friends… (really?), Boulez & DB, Parsifal on February 20, 2007

Prof. Graffman & Lang Lang & DB, America on February 20, 2007

Mr. and Mrs. Mehta, Los Angeles Philharmonic on June 15, 2007

Now, this is what I finally found, despite the Google Company’s deliberate job to hide information about Bashkirova.

http://www.wienerphilharmoniker.at/index.php?set_language=en&cccpage=news_detail&set_z_news=514 (Concert Tour with Daniel Barenboim) On February 19, 2007, the Vienna Philharmonic embarked on a concert tour which included ten concerts in five different countries. (…) On February 24, after a 5 hour plane ride and a temperature increase of some 45 ° Celsius, the orchestra arrived in Valencia, Spain, where on February 25 the above mentioned Schumann-Wagner program was performed. (…) The tour began in Budapest with an Austro-Hungarian program… The tour was led to invitations for annual appearances from the concert agencies in Budapest and Moscow. It also provided the orchestra with opportunity to deepen our friendship with Daniel Barenboim and his wife, Elena. Their invitation to the entire ensemble to be their guests at dinner in Valencia;

http://www.danielbarenboim.com/journal_wed-salzburg.htm (August 13, 2007) Divans at Salzburg Festival: I am enormously grateful to the guest artists; all of them performed without demanding a fee out of their dedication to the project. Waltraud Meier, who sang several performances of Beethoven’s 9th Symphony with us last year, returned to sing Wagner and Schumann songs. (…) Several politicians from the Middle East and Europe joined us for a brief but intensive period of discussions. (…) These days, the musicians of the West-Eastern Divan Orchestra want to find out through discussion and dialogue with world leaders what changes must take place in society for a solution to be found, what their visions are for the future of the region, and how trust can be built between the two sides of the conflict. In the last days of our residence in the Salzburg Festival, we gave three workshops entitled “the School of the Ear.” … ‘Sound and Thought’ … ‘Listening and Hearing’ … The third workshop, led by Pierre Boulez, called ‘Sound and Structure,’

http://jcmf.org.il/EN/program-old3.asp (August 31 – September 12, 2007) Bashkirova-Festival with Kremer, or without Barenboim.

http://www.festivalcity.hu/btf2008/?k=kamaraestek&l=en (March 26, 2008) Budapest Spring Festival 2008: After Dmitri Bashkirov’s enchanting concert last year we are curious to see whether it is true, as they say, that talent runs in families. This year his daughter, Elena Bashkirova is coming to Budapest. The pianist – the wife of Daniel Barenboim – is appearing together with excellent chamber music partners, all regular guests at the famous Jerusalem Chamber Music Festival. And the creator and driving force behind the festival is none other than Elena Bashkirova.

http://shortstoriesfv.blogspot.com/2007/11/08-temporada-mozarteum.html (October 27, 2008) El Mozarteum Argentino anunció su temporada 2008, que se llevará a cabo íntegramente en el Teatro Coliseo y que contará con figuras de primerísimo nivel, entre ellas los argentinos Daniel Barenboim, que esta vez vendrá al frente de su Staatskapelle de Berlín. (…) mientras que el Jerusalem Festival Chamber Ensemble debutará con la pianista Elena Bashkirova el 27 y 28 de octubre. El Ensemble está integrado por instrumentistas de la Filarmónica de Berlín, entre ellos Guy Braunstein (violín) y Micaheñ Sanderling (chelo).

http://www.mozarteumargentino.org/ingles/funcion9.html (October 28, 2008) Jerusalem Festival Chamber Ensemble: Under the artistic direction of renowned pianist, Elena Bashkirova, the Festival earned enthusiastic reactions in Israel and abroad from its inception. The dedication of the participants created a familial atmosphere, with each artist generously contributing his free time and appearing without remuneration.  Participants continue to include such luminaries as Daniel Barenboim, Lang Lang, Maxim Vengerov, Julia Fischer, Miriam Fried and Emmanuel Pahud as well many other distinguished artists from Europe, North America and Israel. (…) Festival ensembles tour Europe and the USA, performing regularly in Berlin, Frankfurt, Geneva, Paris, Madrid, Lisbon, London, Vienna and New York. They are also regular guests of international summer festivals such as Lucerne, Rheingau, Menton, Bad Kissingen, Schwetzingen, Stresa and the Schleswig-Holstein.

http://www.mozarteum.at/upload/Mowo09.pdf (February 1, 2009) BARENBOIM / BASHKIROVA, Salzburg, Mozarteum: Pierre Boulez and Matthias Pintscher: During the Mozart Week 2009 two composers of our time will be featured who will be here as guests: Pierre Boulez and Matthias Pintscher. In one of the main concerts in this series the Ensemble intercontemporain conducted by Pierre Boulez will perform works by Carter, Pintscher and Boulez. Works by Mozart will be included in other concerts. (…) Daniel Barenboim, Elena Bashkirova will perform piano music by Mozart and Boulez. (…) This programme featuring composers of our time will be rounded off by discussions with artists.

JIWON:

Now, I realize how much my last writings hooked Barenboim’s Angels:

DB Has Friends… (really?), Boulez & DB, Parsifal on February 20, 2007

Prof. Graffman & Lang Lang & DB, America on February 20, 2007

Mr. and Mrs. Mehta, Los Angeles Philharmonic on June 15, 2007

Has any human being experienced sweeter honeymoon than Barenboim’s recent private days with his Angels? Barenboim was hungry for more…

No wonder Barenboim’s VPO concert after Bashkirova-party was X% : Y% : 0% of performance, according to my Google-Rule. It was in fact (70+5+x)% : (20+5+y)% : 0% of performance. I need to get the list of members’ name, who enjoyed having a chat with Elena Bashkirova. After Bashkirova’s Boulez concert, more and more listeners will think the classical music sounds dirtier than boring. Honestly speaking, I’ve never thought Boulez was fun to listen to…

Now, I can understand the real reason of Bashkirova-Festival 2007, which was deliberately planned after receiving detailed instruction from Zubin Mehta and Matthias Glander. Not only members of “Meier & Co.,” but also all the members of Bashkirova-Festival were supposed to rush toward Barenboim’s Nobel Prize, appearing in Divan-Concerts without demanding a free. Then, Barenboim has to fill his performance schedule with those names while conducting all his major orchestras.

The B*tch’s red-dress while playing with Kremer in front of Barenboim really hit home, by the way. (Festival 2006(?)…, I mean.) Even some female divans seemed to realize how to behave if they wanted to develop their pro-career under Barenboim’s wing. Speechless…

Did Barenboim want his Divans to learn something from his workshop? Whenever they appear in various forums, with whom or about whatever they are chatting, I’ve never heard of their talking about the content of Barenboim’s teaching: “the School of the Ear,”… “Sound and Thought,”… “Listening and Hearing,”… and Boulez’s whatever, not to mention the conflict between Israel and Palestine. Whenever or wherever I find those Divans, their only subject has been their professional career or some sentimental opinions about their music business. ZERO opinion was found as long as Barenboim wants to realize something with his Said’s WEDO. (I find forumites call Barenboim’s Divan Ensemble WEDO.)

Of course, the WEDO members don’t have to verbally express Barenboim’s favorite subject. But then, I would/should have listened to those ideas from their performance. I heard nothing. Rather, the opposite things were heard from their so-called SOUND. Am I wrong?

Curiously, forumites start reporting more detailed information about Barenboim’s WEDO. If it is true, the story is getting dirtier and dirtier. (Please go to Sic! and find Divan (Sic!).)

Basically, the starting point of Barenboim’s Divan workshop was not quite right. When the CSO joined this project, it required its employees extra works. In this system, no one can ask them to work for Barenboim for more than a year. The only beneficiary was the CSO’s inferior member, who could collect more students to secure his professorship in Chicago area. Years later now, what’s the difference between Spanish local pro-ensemble and Barenboim’s WEDO? Do the WEDO employees receive their monthly salary for this job? In any case, Barenboim has been the cheapest-paid-conductor, who has nothing to do with his friendship with late Edward Said.

My Barenboim-message is supposed to travel all over the world. Does Elena Bashkirova feel miserable about this happening? I promise. She rather welcomes this international event. This legendary pianist used to interview that, despite the fact that she still missed her beautiful Paris days, she’d finally become a real musician after her life being isolated(?) in Berlin, that her professional career had nothing to do with Barenboim’s international status, that her Jerusalem Festival differs from Barenboim’s Divan Workshop in many aspects, and that bla-bla-bla…

The game should be fair.

This time, not only she can prove her real pianism and find her real fame as a legendary soloist and accompanist, but also she can count how many real friends she are blessed with and count how many female juniors want to imitate her life-style. Countless human beings will join Bashkriova, for I already find that some female Divans want to follow her footsteps.

Many musicians, including Matthias Glander, didn’t betray their friendship and sacrificed their pro-life to support Bashkirova, in spite of all my insulting. Why there aren’t those names in her Festival-resume? Where are legendary CSO musicians, who rushed to Jerusalem to make fun of me? I’ve never seen this kind of Jewish pig, who never knows how to thank her real friends. When has Maxim Vegerov been involved in her Festival? Is he going to play this year? This one should be recorded. Emmanuel Pahud joined Bashkirova-Festival in the hope to prove his worldwide generosity. Thank god, he quickly lost his golden youth after that and this is now no more than a shimmering solo-sound of the second-rate orchestra. When is he going to make his commercial recording with this legendary accompanist? I’ve been waiting for it.

Does Barenboim feel miserable about this happening? Simply because a guy met a girl and this was also the girl, who Barenboim met at the prime of his life, and he still cares for his Elena even after his love changed into a real friendship?

The only subject in my B*tch writing has been MUSIC. It has never been Barenboim’s whatsoever love affair. We’ll see. My B*tch writing will eventually help his girl to find her own fame.

It will also help his Divans to find their home somewhere in the professional music society. Even if some innocent human beings happened to join Bashkirova and be injured by my insults, there are so many terrific pro musicians, who could function as their mentor. They will learn. They will improve. They will survive. By then, neither Barenboim nor those Divans, but I will be hungry for inviting those fames into Barenboim’s professional and private life.

Neither Barenboim nor I but my mail receivers will decide what Music should sound like after reading my Barenboim-message. They will support what they expect from the classical musicians, whoever they are.

I am an expert in psychology. My professional job was not to play music from-Mozart-to-Wagner, but to play the notes of only couple of chords in a place where no one wanted to play in-tuned; Do-Mi-Sol, Do-Fa-La, Sol-Si-Re… I soon forgot French 6 or Italian 6. I just had to memorize every each moment to follow every each different tuning system to play couple of notes in basic chord, and then my another job was to simultaneously read more than ten members’ faces on the order of my late Korean teacher, in order to figure out who will vote against my re-contract and why.

May I read Kyril Zlotnikov’s mind and explain what caused his big mouth and trashy behaviors? Being allowed to play du Pre’s instrument is not the only reason. It is in fact just a tiny part of it, because if it were his main reason, he would have listened to his baby very carefully while communicating with his ensemble members, while drawing his oily sound and superficial interpretation from du Pre’s instrument, especially when he was imitating du Pre’s performing posture.

His hearty relationship with “Bashkirova & Co.” caused more. If he had a real talent to play du Pre’s instrument, his face must have been more than miserable while being forced to play ensemble with those pigs. However… what caused his big mouth the most was his evaluation of Barenboim’s son. Should I write more? I can prove loads of paper work on this subject, because this is my only reason why I can never forgive K-professor, who reported my foul personality to my mother. I can never accept this sonnavabich even in my next life, because I was the only one, who used to protect his academic mind when everybody questioned his DMA-degree and insulted his private life, when his own students insulted his behaviors in music-camp, even when his Zlotnikov-like juniors held him in scorn behind his back while chatting with the students in America after receiving Korean professional help from this rich guy.

This is the same reason why I want to make the list of Jewish pigs, whose dying life Furtwangler saved using all his money and Nazi-fame, and who never paid off their debts when penniless Furtwangler lived in exile. I read that some of them were even discussing(?) that they didn’t want to share American market with such a talent as Furtwangler in case of political asylum. Who appeared in denazification court to defend their German maestro Furtwangler? I’ve never seen the dirtiest human species like those Jewish pigs.

I read quite a lot about how much Kyril Zlotnikov supported Elena Bashkirova behind scenes. Now, he’d rather plan all his projects to support his mentor in public places. If… if Bashkirova’s Zlotnikov appears on the stage with du Pre’s instrument without ever mastering du Pre-like techniques, I will break this instrument. Jacqueline du Pre will prefer my decision. I promise.

My late Korean teacher succeeded in all his plans, manipulating my life for more than 10 years in order to prepare for his family members’ safe future. But then, he failed in one thing. He had to fail in what he really wanted in his life; educating his own son in a right way.

I am now curious if Daniel Barenboim wants to follow the footsteps of my late Korean teacher. I’ve never seen the poorest youngster like Barenboim’s son. Let’s say that all the old guys can take care of poor Jackie’s poorer Danny’s poorest Elena. Then, what about Barenboim’s youngsters, including his own son, ALL of whom this b*tch wants to take care of and then destroys. How are they going to solve this problem? Everybody’s Elena is not a normal b*tch. What’s the reason of Matthias Glander’s ensemble with Barenboim’s son?

Daniel Barenboim should answer me in this open place. Or… I can’t help thinking that Barenboim himself is so sick of his foul life that he now wants to ignore everything. The most important thing in this story is neither Barenboim’s whatsoever feeling nor Bashkirova’s whatsoever pride, even nor my whatsoever opinion about this youngster. Nothing but Barenboim’s son himself counts here.

Has Barenboim read my report that day? What is he going to do when I find a real musician, who could function as a terrific mentor for his son?

In fact, I already found one, who not only is a real member of Barenboim-Schule, but also has ability to teach Daniel’s son more or less than everything that Enrique’s son learned from his mentors. Of course, there are more. It will be more exciting for the youngster to learn same things in a different way. I know how to beg them to accept Barenboim’s son as their student, and only those who don’t share the same imaginative sound with me will suddenly change into noisy pigs.

I am also not sure of this musician, because while roaming from forum to forum, I read many comments by pro-musicians about how much they detested Barenboim after actually playing with him; they pointed out Barenboim’s ridiculous ego and his weird habit of manipulating phrases. I know what they mean. They were talking about when Barenboim was playing Staatskapelle-Version-of-Schubert-or-Beethoven Plus… (One of these places is in fact where I found Henry Fogel’s opinion about Barenboim. One member quoted Fogel’s word.)

Hence, I started my research purely due to my curiosity, and I couldn’t believe my eyes… Not only this musician’s favorite word was Boulez’s “Structures,” but also he openly praised Barenboim with heavenly words. What’s more, it was a real surprise to find one concertgoer, who picked up just two names, “Barenboim & This-Musician,” and compare two different characteristics while waiting for his tickets to attend Mozart concerts. There was nothing wrong with his opinion.

I found all these in the Google Web, and wanted to know more about this music; too tired to enter the Google Group. So, I directly went to New York Folks. There was one. Hum…

Just in case,

What if those two Boulez’s pianists play together in this very-academic concert? It’s been since September of 1993 that I’ve heard Barenboim’s hopeless music business and studied Barenboim’s whole (sic!) life. I know Barenboim did meet this musician sometime during his life, somewhere in his life. Curiously enough, he still didn’t fully blossom his native talent…

Anyway, I am going to accidentally include this musician in my mailing list, so that he could find my Boulez writing and eventually knows who real Barenboim has been.

I don’t remember if it was in America or in Korea. I was watching something. I think it was Mehta’s docu-film. Barenboim was there.

There, Barenboim looked like a mentally ill patient. Then suddenly, his eyes twinkled while counting something practical (numbers?). Now that I hardly remember anything in that film, I only remember Barenboim’s tears.

Barenboim was talking about his days with du Pre, and I couldn’t believe my eyes. Barenboim was in tears and there was a deathly loneliness in his eyes. I’ve never seen that kind of tear from any human being, especially from a man. What surprised me more was that Barenboim never allowed this tear trickle down his cheek. He refused it. To my eyes, it was like that he was refusing himself.

Then, I heard a rumor between Barenboim and Meier. (It was long before Korean Wagner Society lectured on Barenboim’s sex-life.) So, I wanted to know more about Barenboim’s tear in those days. The only thing I found was Bashkirova’s re-relationship with Kremer while Barenboim was pairing with Meier in Paris concert, and then Meier’s internationally busy schedule instead of her sincere life with Barenboim, and then a deathly loneliness in Barenboim’s eyes…

Hence, this Barenboim was what I was keeping in my mind while working for this dying maestro, despite all those comically manipulated writings, photos, and so on…

Now, I don’t think this is real Barenboim. Those Jewish opinions were right. Barenboim has changed.

In those days, the only concern of Kremer’s second wife was stealing Barenboim’s sperm from dying du Pre. In these days, this B*tch’s prime concern while enjoying my miserable life has been to steal du Pre’s everything, from her private belongings to her so-called friends. Everybody joined this shit, except Itzhak Perlman and Yo-Yo Ma. Curiously, Perlman was the only one, who was happy to follow everything about du Pre’s music in Barenboim’s Trout Quintet, in which Zukerman hardly listens to du Pre except when she played melody, and Mehta, who never knew how to listen to du Pre, was just too happy standing on the stage.

Not surprisingly, Perlman was the last to betray du Pre, perhaps-the-only-musician to take care of Danny’s dying Smiley until her last moment, while all those pigs were damn busy at changing their sex-partners and encouraging poor Danny to find hookers.

I’m not interested in the VPO’s whatever concerts. I had to analyze them to prove my sanity. I’m sick of all the happenings around me when

1. all the trashy musicians never gave up showing off and forced me to remember their talent(?), while whenever I found my favorite musicians and wanted to listen to their music, they suddenly blushed and their missing the notes was the only thing I heard. What’s wrong with me?

2. the VPO members missed the notes while Mehta was destroying their moments.

3. the VPO members missed the notes whenever whey were forced to play my favorite imaginative sound. Whether I watch them or not…

4. Am I qualified enough to win their audition? I’m not interested in where I don’t belong to. Or my jealousy will eventually kill me. I only want to learn how to play their instrument. I’m sure Herr Gunter Hogner can help me to find a good one.

Gunter Hogner: At the Northwestern, I’ve missed one question in the listening test, and I couldn’t understand why. It was not what I knew about the BPO’s usual sound and I clearly heard Hogner’s characteristic. Later, I figured out that the right answer was Gerd Seifert, though no one told me the answer. Since then, I had to ponder and ponder upon why. Now, I know its reason, and respect Gerd Seifert more, because I know how much he had to sacrifice his physical health to follow his instinct, which was not allowed in his working place. At the same time, my gratitude for Gunter Hogner is beyond description, and he knows why. I’ve just heard his imaginative sound and wanted to join him. Hadn’t he resigned from Bashkirova’s Ensemble-Wien-Berlin, what would have happened to me?

André Cazalet: “Dear my friend… How much should I thank you? You know why. Concerning your situation in your working place and your physical ability, you could have earned more fame, if you had joined “Bashkirova & Co.,” which had been busy manipulating concert programs to prove how many holes were found in my analysis. Hadn’t you given a clue with your real-uncomfortable voice, “Barenboim is great…,” I couldn’t have prepared myself to fight with all those shits. You should have given me full detailed information, because Barenboim-story toward the end of his CSO era reminds me of his Paris-scandal. I promise. The Parisian-politic or Bassoon-scandal was not the only reason. This B*tch’s more-and-more-trashy behaviors after du Pre’s funeral also contributed to Barenboim’s dismissal. Guess what? I still remember your Tchaikovsky. How can I forget that moment? Honestly speaking, I still don’t understand why it was difficult for you while Bruckner was easy. There, I heard your imaginative sound, which was very similar to Gunter Hogner’s. Well, I’ve never heard this same imaginative sound from Dale Clevenger, who was just busy at producing many different sounds, which, however, were coming from one single huge body. I still believe you need a better mouthpiece, which your ensemble members however don’t deserve. Know what? That Berlin boy still doesn’t know what music means. It’s been years, and how many notes have he played? I only heard his couple of notes, because he missed them. Now that I am too weak to hold my instrument… (I feel dizzy and my instrument is still in my closet for fear that my family break it,) I rather envy his easy life. Yeah… life is tough, but I don’t want to lose you during my lifetime. Please, please eat less chocolate and cigarette. P.S.: This country now sounds like as I predicted. P.P.S: I feel real weird when I can’t find younger talents from France. Is it just a situation in your country or also a politic happening, in which Bashkriova’s musicians are involved in?

The Cleveland Orchestra Members: When they play notes, I had to listen to… so many moments of these pros’ real-ensemble. When I heard their personalities, I had to cry the entire night. Then, I was able to keep my writing. What kind of cursed life I’ve been blessed with? Wherever I went, I was in a trash-bin… Dale Clevenger didn’t have to be my teacher… All I needed was my instrument and its proper mouthpiece, through which I could express myself in the name of music… The only thing they need is just to open the door, which will lead to another world, where they can find another door to another world. They might want better equipments… I hope the members achieve what they want to achieve, what they can achieve, and what they have to achieve; including fame and money… (While crying, I was suddenly curious of their audition process. Why?)

Keep thinking of other names: Too tired…

Yo-Yo Ma: He never knows how much I felt guilty whenever I had to compare his ability with du Pre’s. I had to do, because there were no other choices whenever I had to insult those pigs, who boasted their big mouth as another Jacqueline du Pre. I only believed in his generous mind. I hope his longer life with his lovely Davydov Stradivarius. I really hope.

Itzhak Perlman: To cut the long story short… He was getting overweight, and I’m worrying about his health. I don’t think a normal way for a fiddler to keep his health works for him. My present (computer) life is very similar to his wheelchair life. No matter what kind of methods I tried to keep my healthy body as a musician, it only worked for only a limited time. I’m still thinking of other ways, but at least, I don’t think getting fat is good for an aging musician. I really wish Mrs. Toby Perlman’s longest life with her healthy husband.

Members of Barenboim Version of Simon Wiesenthal Center: Thanks. It was real terrific to read their insulting Barenboim especially after Bashkirova appeared as a Jerusalem Queen in nationwide broadcast. It would be more terrific I could read full detailed information about Mehta’s Bashkirova in those days…

Finally, New York Folks:

(Still Writing…)

NOW, these are my requests to Barenboim.

http://www.mozarteum.at/upload/Mowo09.pdf (February 1, 2009) BARENBOIM / BASHKIROVA, Salzburg, Mozarteum: Pierre Boulez and Matthias Pintscher: During the Mozart Week 2009 two composers of our time will be featured who will be here as guests: Pierre Boulez and Matthias Pintscher. In one of the main concerts in this series the Ensemble intercontemporain conducted by Pierre Boulez will perform works by Carter, Pintscher and Boulez. Works by Mozart will be included in other concerts. (…) Daniel Barenboim, Elena Bashkirova will perform piano music by Mozart and Boulez. (…) This programme featuring composers of our time will be rounded off by discussions with artists.

JIWON:

This one should be recorded. I want to supervise this recording procedure. Then, I need to half-finish my mailing as soon as possible and contact

(Still writing…)

Barenboim can’t join WEDO 2008, which is run by www.barenboim-said.org/. They already have a month-long performance schedule and know how to organize those concerts with their favorite musicians, diva, and conductors. I was regularly checking this sickish company and waiting, waiting, and waiting. Then, it was too late when I realized this organization was actually being operated by Bashkirova. (Check “Board of Trustees.”) I even suspect if this group is abusing Government fund. Why doesn’t she keep this organization as one of her private belongings? It will be remained as Spanish Branch. Sooner or later, Barenboim’s Argentinean Branch will open its grand door. Maestro Barenboim will join his Divan ensemble only when the members speak the contents of Barenboim’s Lecture through MUSIC. I just hope to do my favorite work with Argentine musicians, who are willing to join the club. (I know Barenboim wants to do this in his birthplace.) This kind of project should not run by outsiders, and it should contribute to its national culture first, and then they can think of outsiders. Basically, I just can’t understand what’s going on there. Education Program should be a long term project, but everything in this place is a showing-off. They are just spreading too much stuff without every proving a real project, either for Middle East or Palestinian People. If things are going like this, they’d better run ONE huge ensemble and its music school; a Pro-Orchestra in a real sense. Already now, they look like this, and it looks like a shortcut to produce trashy musicians. How long will it take for this Spanish group to realize the greatness of Alicia de Larrocha? Wasn’t she a great pianist inside her birthplace? Sooner or later, I will contact Syria, Lebanon, Egypt, Jordan, and Spanish Government (Andalucia (?)) on this issue. So, Barenboim doesn’t have to worry about its aftermath.

(Still writing…)

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