Boulez, Tchaikovsky, Tradition, & Mentality

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My Behind-Scene-Messages to the READERS

August 21, 2008
I was supposed to finish ALL my work before Waltraud Meier’s Lindenoper concert on August 30 / September 06. If this SHIT still wants to ignore My-Request-to-Barenboim, even after this sickish Milan-concert, yearly income, 2007-2008, of both Meier+Barenboim is mine. Surely, money was not Meier’s concern when she boasted her love of music in public interviews elsewhere. Sexism-Acting , Concert-Dress, and her training WEDO was the only concern. And Spanish Government still have money to pour over all Meier’s WEDO plans. PERIOD.
This time, you are not going to say that New York Times suffered technical problem ‘again’ and didn’t receive this message. I will anyway finish my mail to Berlin Mayor before this Fidelio concert, in which any female diva can perform better than this sh*t.
Do you know what this e-mail address means? I’m even not sure if I can control my temper when I face this b*tch. I might shot this sickish face with my gun.

August 19-20, 2008
From Private Blogger: “I don’t care at all for tradition,” said Boulez in the interval interview on Radio 3. “I like to establish my own tradition! . . . A tradition is just an accumulation of mannerisms and. . . imitations. The real approach is just to take the score, a personal relationship with it, and try to give that to the audience.”

Time for Break.
Long time no see.
Do you know why the entire Korean fell in love with Jang-Mi-Ran (Weightlifting gold medalist)? This is how her name means…
1. Jang-Mi-Ran: The rose is…
2. Jang-Mi + Ran: Rose + Orchid
3. Jang + Mi+Ran: FamilyName + Beautiful Orchid

This is her interview. “I feel very sorry when I wake up. My couch gave me night-food, and I ate and ate, but when I realized that I lost my weight in the morning, I felt sorry for my coach…”

No one asks sexy girl to win this gold medal, and everybody says she is beautiful. Then, why only Wagnerian Music drama needs comical, bony actress?

I have actually one more Quiz in my blog. But who will be interested in this? I feel no need to post it:
“What is a keyword in this sequence? It is combination of two words, actually. This is why I wrote to Italian politicians that tradition is important. This is also why Boulez said that he doesn’t care at all for tradition. Interestingly, there can be one more example between 4 and 5. Many times, famed German maestro’s American ensembles (plural) sound DUHHHH. But this keyword doesn’t explain this example. If you are really interested in this Quiz, I recommend you to read Szell’s biography. (I just read one article, but don’t remember the source. Then, it must be in his life-book.) With du Pre, I’m afraid that I almost gave you an answer.

P.S.1: Based on this theory, I was following one American young orchestra member, who deserve better…

P.S.2: Puccini at 150, Still Capable of Revelations
Puccini…: So what? He was not today’s guy. Someone’s private life should be judged by HIS standard. The most sickish debate in Google-Group was when they compare Furtwangler’s private life with Mehta’s dirty one. How come those can be called similar lifestyle?

August 21, 2008
And then… my problem with Mentor Boulez is exactly with his own comments. This is exactly what I hear from his disciples; “his own tradition… mannerisms… imitations…” Then again, I never heard Boulez, who is famous for XYZ, mention this awful situation.
Well… one of poorest horn player I’ve ever seen was from Boulez’s IRCAM during its Chicago tour. Not surprisingly, he looked nervous, but he did survive the whole concert with no missnotes. I know there is no lie when he explains the characteristic of his conducting technique. That’s Boulez. Then why do you think Boulez’s VPO, which hooked your attention and eventually made me accept your invitation, didn’t sound like Boulez’s BPO or Boulez’s CSO? In case of Maestro Boulez, everything is up to individual instrument and the balanced relationship between the whole ensemble. This is why only Boulez’s VPO got you to hear the members create the synergy. I bet… you still didn’t figure out the reason of you own article that moment years ago, did you? Now that I am soon going to quit this work, I don’t mind giving you a clue to answer your own question. If you still have no idea… that’s your problem. SIR!
I want to finish “Dear-Arab-Readers” first. But I need to organize so many unposted stuffs, which I happened to save in my draft notes. Everything got messed up. I am almost done. Just… it seems that my sore eyes are covered by a thick cloud. Bye.

August 22, 2008
Continued… (It was not a planned writing.)
This is why only Boulez’s VPO got you to hear the members create the synergy. This is why his VPO’s horn section had to imagine another world of music and then miss the notes even though maestro didn’t ask them to play the notes with better sound. (It is not the same mistakes during their Metha-Brahms performance, during which Mehta’s instruments destroyed their music business.) This is also why Boulez’ other ensembles never worry about technical mistakes. More inferior, more satisfied with their own achievement. This is why I always wonder…
I am just thinking. What if maestro Boulez is more interested in composer Tchaikovsky? (There is Boulez’s another interview about Tchaikovsky.) Why doesn’t he take Tchaikovsky the same way he treats Bruckner or Berlioz? Composer Boulez doesn’t have to like Tchaikovsky-orchestras, whose only aim is to destroy Tchaikovsky’s imagination. Once upon a time, I happened to chat with composing/musicology student, who joked that there is a homosexual element in his music. No way to ask HER more about it. Nor have I a chance to meet HER again. Still, I never understand what it means. I assume that she misunderstood aggressive+dull sound as a male, muscular characteristic, especially in performance area. (She never seemed to hear that some females make more aggressive/thorny sound than most males…) I bet… if maestro Boulez happened to understand composer Tchaikovsky as all the colorful, imaginative qualities rather than as boring, simple, and third-rate pop-like melody, composer Boulez will have a real hard time to find his favorite performers, who are willing to play Boulez. What a difficult piece Boulez is…
Anyway, my problem with Boulez is not Boulez himself. Is there better musician than maestro Boulez who has an ability to ‘remember’ how to ask all the details from his members? His disciples? I don’t go to their Boulez-concert, whether they appear as maestro Boulez’s soloists or composer Boulez’s performers. My only problem is neither Boulez himself nor his disciples, but his treatment of those big-mouths. Because he was famous for XYZ… especially in France. Innocent public adores those big-mouths, mainly because of Boulez’s notorious fame as Mr. Sharp-Mouth. And I still prefer Tchaikovsky to Boulez. (…sorry…) Then, I hate to listen to both Tchaikovsky-band and Boulez-performers. I’m pretty sure maestro Mravinsky knows what I mean. (I still want to read ALL the behind stories between maestro Mravinsky and his members.)
Then, Barenboim’s recent VPO, including blogger’s comment on their Proms 2007, tells ms something again.

Yundi Lee…
His favorites: Liszt, Brahms, Beethoven, Mozart, Ravel, Prokofiev…
Right, I know what he means… I saw his Chopin competition and know the real reason of his Gold Medal, but this name started to hook me when he received a real cruel criticism from New York Critics, who always preferred to protect all the pigs around Barenboim. Since this pianist is not a studio-musician, I don’t know the reason, honestly speaking. In his case, his mentality rather than his technique is more decisive for his improvement. He reminds me of young Barenboim. Argerich was right when she firmly supported Igo… (don’t remember his name…) This guy could have proved a real member of Barenboim-Schule musician. Perhaps, you know better than I do in his case. (I know nothing about his life story. I just read that he had a hard time with the Philadelphia Orchestra, then I happened to hear his recording, in which he really needed more steps to go.) Usually, it’s very dangerous for FAMED musician to openly support youngsters, whether talented or not. I’ve never seen them improve after receiving this open support. Calas was right when she supported her junior diva and then sharply criticized her foul-performance. Public rather misunderstood this real-criticism as Calas’ jealousy.) Anyway, if Yundi Lee keeps failing to prove his improvement, he might follow the footsteps of this pianist.
This will be my last message today.

August 23, 2008
My Two Cents for Yundi Lee…

August 25, 2008
Things to be added.
Argerich was right when she firmly supported… Calas was right when she supported her junior diva and then sharply criticized her foul-performance. Critics/Pigs rather misunderstood this real-criticism as Calas’s jealousy.

Do you know what Calas’s criticism was? When she introduced her junior diva, Calas’s main reason was her talent. Then, Calas watched her performance, in which she behaved as a prima-donna, though her part was not, and destroyed the (vocal) ensemble on the stage. Calas almost insulted her. When I insulted Meier’s outsinging her female-partner in Milan, no one sided with me. Not long ago, I even collected forumites’ comments about Astrid Varnay, and their opinion why her performance is still missed so much. Then I compared this Wagnerian Diva with Meier’s sickish sexism. No one sided with me.

Did you watch the Closing Ceremony for the Beijing 2008 Olympic Games? Domingo was there. Do you think he did a good job? While Domingo was still chained to Meier-like stage acting, this Chinese female singer proved far superior stage manner. Domingo had to follow her and concentrate on his singing. It’s my first time to watch this Chinese singer and I wouldn’t say that her singing is my favorite. In Internet, she is usually introduced as Chinese folk singer. Well, this is neither traditional music nor folk music. In China, Korea, and Japan, this kind of music is classified as a specific name-or-genre. Another kind of pop-music. Though they earn fame and money, intelligent human species shows no respect of this pop-musician. Their social level is usually below the one of westernized pop-musician. I’m not sure of this Chinese woman, but this is what happens in Korea. I’ve heard that she is the most famous figure in this area in China. Of course, their vocal technique is different. And acting or body language usually follows vocal techniques. However, I’ve never seen better stage-acting than hers in recent years, and this was exactly what I saw from the Divas in Classical Music in those days. Look at her eyes and her singing posture while enjoying her performance with male partner. What’s the difference between Classical Diva and this Chinese Folk Singer? Shame on Domingo…

You know what? What Yundi Lee, a Chinese pianist, lost during his German study was this. He didn’t lose his sound. The basic characteristic of his Chopin-Competition-Sound is still there. He just lost this Chinese mentality, and then he was losing the major characteristic of his sound.

Time to read Edward Said’s book, “Orientalism.”

I was supposed to write this in my last mail, “Dear Berlin Mayor, FINALLY.” But I lost my temper while watching inferior Domingo in Beijing. I didn’t play the game with anyone while writing sickish sexism of Meier’s Wagner or even Bashkirova’s disgusting pianism. No one sided with me. When you decided to support this shit in Milan, I wanted to quit this mailing to you. Still, I want to. I just had to keep… because (1.) I didn’t want to find another pig, who wanted to join this bimbo-battle only to draw public attention, and (2.) I was curious if you ever figured out how to answer your own question about Boulez’s VPO. Of course, there is another reason. And then, I am not the one, who will give you everything. I already wrote too many clues, from Boulez to Tchaikovsky. I can give you one more keyword; Melody.

Basically, this is what I constantly wrote while insulting Barenboim’s Angels. No one sided with me.

This shit lacks the basic vocal techniques, the basic acting skills. Want to feel pity on Meier? Still OK. But then, you should write fair critical articles for ALL the young female singers. Did you do this? I’ve already read too many cruel articles, which existed only to kill young female musicians’ dream, their future pro-careers. Shame on you.


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