My Requests to Barenboim: The MEMBERS of ‘Bashkirova & Co.’, including DIVANS

PART of My Requests to Barenboim

3. The MEMBERS of ‘Bashkirova & Co.’, including DIVANS:

(Updated on October 8, 2008).
🙂 Dear Spanish Government Officials, (Regarding Government Fund / Spanish Culture / Barenboim’s Involvement in Spanish Politics, Aug 5-13, 2008)
🙂 Dear Italian Government, (WEDO in Italian Wagner Festival, Aug 7, 2008)
🙂 Dear European Countries (WEDO in Europe, From Aug 13 to Present)
🙂 Dear Berlin Mayor / Israel / Palestine, FINALLY… (Aug 29 – Oct 6, 2008)
🙂 Masterclass at Merkel’s Bundestag (Sep 10-18, 2008)
🙂 Dear Palestinians, (Concerning Barenboim’s Divan-Project, Sep 25 – Oct 8, 2008)
🙂 When is the best time to join FACEBOOK? (Regarding my Legal Business with Yeheskell Beinisch, From Aug 6, 2008 to Present)
(Please check Mail-Recipients.)


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When was my mailing to Spain, a headquarter of Bashkirova’s West-Eastern-Divan-Orchestra? Dear Middle Eastern Music Society & Spanish Government (Apr 3, 2008). When was my mailing to the president of Supreme Court of Israel? Dear Berlin Mayor and President of Supreme Court of Israel (Apr 22 – May 15, 2008). If the Israeli court didn’t take my serious writing as a mere joke, the story already ended there. Why should I write more? (Please check Mail-Recipients.)

I know who are innocent victims. I’ve followed Bashkirova’s performance schedule with my ears, eyes, and brain. How can’t I fail to know? I was supposed to accept all of them. Bashkirova knew my willingness, and then, what happened to me? Everybody went too far. As a matter of fact, collecting all those Eurotrashes and their innocent victims has been the only concern of Kremer’s second-ex while traveling all over the world as a Jewish Muse.

Did this b*tch plan the Divans’ Party in Berlin after reading my Mehta-writing? Mr. and Mrs. Mehta, Los Angeles Philharmonic (Jun 15, 2007). (Please check My-Previous-Messages.) Then, I have to fire ALL the participants. Did Barenboim teach those so-called Divans how to accompany Waltraud Meier’s sickish voice? Then, I have to fire ALL of them. Who planned Bashkirova’s CNN interview in Divan-Program? Then, I have to fire ALL the members.

How many times should I write that my problem with those youngsters is not their performance schedule with Barenboim’s Angels but their happy faces while proving hilarious, bottomless failing during their b*tch-performance?

Just think about music. What means sound? What means interpretation?

Should I fix all my broken computers to find all Barenboim’s OLD interviews about his original fantasy, ‘Divan and Peace’? It was not from the noisy media but directly from Barenboim’s big-mouth. Was I the only one who constantly pointed out his Jewish-Pigs never cared for Barenboim’s Peace-Project? Barenboim is now calling it a ‘Project Against Ignorance,’ and wants to find a peace from this safe word.

A Project Against Ignorance? Then why ‘Ignoring Ensemble Partners’ is the sole criterion for those youngsters’ successful pro-business? (Please use the search button. I am not the only one, am I?)

OF COURSE, there are real Divans, and not surprisingly, their interviews, whoever they are, wherever they are, and how low/high their professional level is, always remind me of practical concern of Tania Tamari Nasir, the wife of former President of Birzeit University, and of the Real Mideast Music Society. Barenboim has never known, never heard of them, because they are too poor to be accepted in ‘Secret Society’ of Bashkirova’s Jewish-Pigs, and therefore, never appear in Barenboim’s working place. (Please check Dorit Beinisch’s ‘Secret Society’ in Dear-Arab-Readers in my Knesset-blog.)

The real divans never cause trouble like this ensemble-team; Barenboim slams Israel after musician blocked from Gaza (Dec 17, 2007). They don’t invite Barenboim, who knows nothing about Legal Rules between Israel and Palestine, into their private affairs. (Please check how real divans manage this same problem. They don’t behave like ‘Barenboim-Rules-Everything,’ or ‘We-Are-Over-Law.’)

Barenboim’s West-Eastern-Divan-Orchestra should exist for the educational purpose. It never means that it is a third-rate music school, in which the only beneficiary is fourth-rate teachers, who can’t make living without having X-rate students. Its festival ensemble should prove real pro-level if the members want to play pro-music, whether Mozart or Wagner, under the baton of maestro Barenboim. Those pro-musicians should prove real pro-ensemble business, if they want to boast their relationship with Barenboim after returning to their own music society. PERIOD.

I realized how to answer Bashkirova’s grand plan without sacrificing my own character after reading professional resume of American young members, who survived all the politics in their local community and was finally able to join real pro-leveled ensemble. It explained what meant pro-musicians. There was something common in their resume. Technical perfection was only the starting point. Even if I take all those so-called Divans as innocent victims and accept them in my life, they won’t survive after all. Then, I have to show my decision NOW, or it will become too late for them to start their another, more practical life.

In Israel alone, for example, there are 41 music conservatories. (Why 41? The Haaretz article didn’t count Ashkar family business.) How many music students can find a job after graduation? How many Jewish Divans-or-Pigs are sticking around Barenboim, with no intention of flying freely high in the air without Barenboim’s international fame?

Of course, there are musical souls, who are too pure to count politics in their professional life. Barenboim explained how his pure Divans would manage their practical life. They will prove it. Please compare four different viewpoints regarding music, job, and life:
1. Guardian: Bridging the gap (Jul 13, 2008).
2. Jerusalem Post: ‘Israeli artists are fleeing the country’ (Jun 22, 2006)
3. NPR Music: Classical Syrian Musicians Struggle to Find Work (Oct 7, 2006)…There are only about 200 jobs in Syria’s top orchestras, and students often have to compete with their own professors for the same jobs. …
4. Reith-Lecture2: The Neglected Sense (Apr 14, 2006): [Q: Do you think growing up and wanting to be a musician and pursue a career as a musician is a good job choice?] BARENBOIM: If you want to play music because you think it’s a good job, I think you will find easier ways of making a living. If you love it, and you want to spend your life in it and with it, you have a good chance of making a very good living. [Q: I’ve talked to many professors at American Conservatories and I asked them, you know, they are turning out so many students today, there’s obviously not gainful employment going to be available for all of them, they all aren’t going to be able to win er jobs at the CSO, and what… so why do they keep on teaching all of these students? And the answer that I’ve always gotten is that the diligence and work ethic that they hopefully have instilled in them will serve them well if they decide to be a doctor, a lawyer, a teacher, whatever. Do you see this as symptomatic of the cheapening of er classical music in this society, that it could be used as a tool to help somebody do something else?] BARENBOIM: Well you know, Mozart didn’t consider himself a professional, neither does Pierre Boulez. Music has to use professionalism in the sense of the discipline that is required… (bla, bla, bla that has nothing to do with the subject…).

The British writer wrote this Guardian Article, Bridging the gap without visiting this blog? “F*C*U.” It was years ago when this British newspapers received my official mail. Since then, they’ve frequently mocked me, played games with me, pretended not to know me, and so on… I am sick of all these and those dirty happenings. So… was it painful when I insulted British Pros that it was none but their dull, aggressive music, which killed du Pre, and not du Pre but either Bashkirova or Meier is their ideal music? Now, Bashkirova’s Divans sound emotionally sweet to their British ears, don’t they?

Let’s assume that this British journalist never heard of my computer work. If so, all his previous report about Bosnia’s war, 911 Terror, Iraqi war must have been as superficially eloquent as this report from the Mideast.

Whatever his reason is none of my business. What is he going to do if Barenboim answers my requests? Just in case… After finishing this part, I’m supposed to visit all the public places and let the participants know what’s really been happening in Israel, Palestine, and to Barenboim. Then, is he going to write another article, in which he reports all the details of Banana Republic, Kangaroo Court, Beinisch’s Jerusalem Festival, and Bashkirova’s WEDO 2008? What is he going to do with these two blogs, The Art of Criticism and Barenboim Loves Knesset? Damn curious… (Please visit Barenboim Loves Knesset to check what means Banana Republic, Kangaroo Court, and Beinisch’s Jerusalem Festival.)

Who hired this journalist to write this article? Dorit Beinisch? His conscience? British Superficial Journalism? If his favorite Beinisch’s West-Eastern-Divan-Orchestra 2008 can make my favorite ensemble business, I promise… I can offer my soul to him. Please check the program. The story already ends there.

Dec 31, 2008 VPO’s Silvesterkonzert with Barenboim
Mar 6, 2009 JCMF Ensemble with Bashkirova and Braunstein (BPO’s TOP)

Below is a plan by Palestinian National Music School. So far, this is the only event, which Barenboim, both as UN Peace Envoy and former Music Director of the Chicago Symphony Orchestra, should use his international fame to realize:
The Edward Said National Conservatory of Music: In 2008 the PYO hopes to realize a long-term goal – to perform in Jerusalem

What I feel funny about in Spain is that this is the only valuable stuff I want to take: “For Edward Said, ‘what we are talking about is a process in which the audience, the public, can absorb something that is fairly COMPLEX, whether it is referred to as music, literature or history’.”

Am I going to find real musicians from “Bashkirova & Co.”? I promised her NEVER to steal any of her Jewels. How many MAESTROS joined this bimbo-battle to steer the members of “Bashkirova & Co.” into Furtwangler’s Utopia? How many poor conductors decided to join my club? This huge group easily beats mine.

Do those Divans promise to sound like Venezuelan Simon Bolivar orchestra? I promise. They will NEVER sound like them.

Those Venezuelan youngsters sounded better when they had no fame. In Venezuela, they sounded perfectly amateur-level, but I’ve hardly heard more terrific ensemble business than the members in this young group. How long did it take for the local leaders to make this terrific ensemble? Now in Europe, they sound like neither the amateur nor the pros. They sound headache. Perhaps, part of reason is that some start losing their purity and thinking of fame and bigger house, or that some start feeling the acoustics of the concert hall, or that some start fighting with more aggressive partners, who suddenly want to play the cancerous role during the international tour.

Who do you think is destroying those pure souls?

Too tired. I hate this further writing.

When I was a kid, I always heard that string quartet is the most difficult among the chamber music ensemble and internationally famed ensemble members are doomed to fight because it’s very hard to achieve in-tuned or balanced moment. I heard how their fighting looked like; they throw their chairs…

Decades passed, and I had to learn that, thanks to Bashkirova’s Jerusalem Festival, not only wind-ensemble but also string chamber group can perfectly prove out-of-tuned ensemble. It sounds very comical. (According to my frequent writing, my only favorite chamber music is Beethoven’s string quartet during his late period. I only like the string section sound, and still hate going to chamber music concerts. But I had to listen to ALL the concerts of Chamber Music Society of Lincoln Center 2006-2007 to check if all the contemporary(?) string ensembles play like Bashkirova’s… SIC.)

Do forumites know that there are two names to remember in Bashkirova-Festival 2008?
1. One possessed a great talent, but his performance has always sounded worse than my disappointment. Nor his music was appreciated by audience. Hence, it will be terrific if they could record his performance with Bashkirova so that I could analyze the reason of his failing in this public place.
2. Another one… One of the Worst Eurotrashes, which shimmering characteristic is equivalent to brilliancy of Hansjorg Schellenberger. How much was I waiting for this European fame to return to Bashkirova’s Jerusalem? I happened to mention his name and Bashkirova was in a hurry to invite him to make fool of me. True… that he has been enjoying such a huge fame that I was scared. But whenever I hear the recent performances of MOST youth orchestras, I just can’t help feeling disgusting. Now, I care nothing. This writing will be read by all the music students in the Mideast and South America. In China, perhaps. It will help them.
3. The rest of them, from the bony voices, which is the best survivor in Meier’s Lindenoper, to Meier’s brother German diction, which showed no hint of Hans Hotter schooling and earned a big fame while Meier was ruling WoWa’s Bayreuth, but which was in trouble to follow normal vocal ensemble under normal conductor and always returned to Bashkirova’s Berlin with Meier’s German diction, but no matter what which was never appreicated by Meier herself, are nothing special. But even those so-so mortals have played the cancerous role when they returned to their hometown, only because Barenboim’s international fame was believed to be behind their music business.
4. Part of real members don’t join Jerusalem Festival 2008. Bashkirova wanted to protect them.
5. When Matthias Glander is going to join Clevenger’s clarinet section in Chicago? Right after Bashkirova’s Chicago concert, I found that they needed a new principal clarinet. Hasn’t he remembered how his chamber-performance was welcomed in Chicago? Everybody, who joined this bimbo-battle, should prove their Bashkirova-project with this clarinet sound.


if Music Director Barenboim cares so much for those Divan members, why doesn’t he replace Staatskapelle musicians with them and just leave Berlin? This is a fair game to EVERYONE; from Berlin mentors, who deeply care about their students’ professional future, to Mideast students, who miserably want independent pro-careers. Including Berlin Music-Critics, who desperately wanted to see Jewish dwarf out of their favorite German diva, Waltraud Meier, and their favorite German clarinet sound, Matthias Glander.

By the way, the solo horn, who set up Meier’s fan club, already reserved position of horn principal of the Chicago Symphony Orchestra. Dale Clevenger is soon going to retire. The members said so. The horn sound represents a spirit of its orchestra. If he can’t make it, who will? Meier’s Lindenoper should promise him extra payments.

(Updated on August 3, 2008).
Please see below… at the end of this writing.

Now, you are reading my report and listening to their concert. A Spanish local ensemble, aging from 12 to 30… Who are real members from the Middle East? All professionals among them, mostly brilliant soloists, play the worst, most cancerous role when they return to their working place. If you were in my shoes, what are you going to do?

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