German-Heldentenor (Old Posting until Sep 18, 2008)

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BELOW is part of my writings to German Government starting from Feb 17, 2008

🙂 Garbage & Sh*ts in Berlin (sic!) (Mar 6, 2009)
🙂 Waltraud Meier: Bundeskanzlerin Angela Merkel’s Mann Liebt Mich! (Jul 30, 2009)

🙂 JIWON: Masterclass at Merkel’s Bundestag (Sep 10-18, 2008).
🙂 JIWON: Dear Berlin Mayor / Israel / Palestine, FINALLY… (Aug 29 – Oct 6, 2008).
🙂 JIWON: Dear Berlin Mayor and President of Supreme Court of Israel (Apr 22 – May 15, 2008).
🙂 JIWON: Dear Richard-Wagner-Stiftung Bayreuth (Feb 17, 2008). (Part of JIWON: Dear Italian Government & Richard Wagner Foundation)

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🙂 From JIWON: Masterclass at Merkel’s Bundestag (Sep 10-18, 2008).


I just can’t understand this German system. Hence, I will call Merkel’s Bundestag.

It’s not my first time to ‘spam’ the members. They simply ignored it. Years later now, I am just amazed at the fact that all the German politicians are eager to join my mailing business and ride high. That’s good. Why don’t they take advantage of this in the most effective way? What do I get in return? This is my only concern.

Let’s call it “MASTERCLASS at MERKEL’s BUNDESTAG.” Among 614 members, how many will be able to stay awake throughout the class?

You are called German politicians. I am called Hum…. Below are the similarities or dissimilarities between you and me.
1. You don’t go to the concert of classical music. Neither do I.
2. There is no purer German blood than you. No matter what, you will never understand the value of German classical culture. Throughout my life, the only valuable thing I learned was the value of German classical culture. No matter what, I will never become a pure German blood.
3. You are weary of Berlin musicians asking money-and-money for nothing. You never know why you have to pour money into something useless. I bet more than half of those beggars are foreigners. I am also sick of those Berlin pigs stealing all my hard working, which means money.
4. When was my first mailing to the members? Since then, you’ve only chosen something that titillates your ears, whereas I was forced and forced to listen to all the dirty music and analyze it.

The most significant similarity between US is this:
Both you and I hardly know what really means Wagner. You know nothing because you don’t go to the concert. I know nothing because I hate to go to the concert. Unlike you, however, I happen to run across a legendary musician and his terrific music. Then, why don’t we study together? Let’s just call it “Masterclass at Merkel’s Bundestag.”


I wrote and wrote. That I was not the best ear wherever I went. Please check My Requests to Barenboim. As usual, I learned a lot from those terrific comments. What about YOU? The sound quality of ‘Mon coeur s’ouvre’ in Youtube is worse than my computer-recording of internet-radio. Then what about her real voice?

I hope you to follow listeners’ comments with the keywords in your mind:
1. Her warm and vibrant voice, A complete singing actress, Her body language.
2. Rapturously beautiful, The golden age of the bel canto.
3. Her fine & intelligent musicianship, Magnetic personal beauty, Mania laugh, Re-studying her vocal technique, Remarkable instrument, Various transformations in her voice over the decades.
4. Fantastic diction, Expression and word, Totally gifted interpretations with intelligence & musicality, Vocal abilities & understanding & interpretation of character, Someone with both the vocal skill & the great presence/great interpretation.
5. Great costume, Nice close camera work.
6. Speaking voice, Singing voice.
7. Donna Anna, Leonore in Travatore/Fidelio, Fricka, Sieglinde.
8. Loenie Rysanek

Time for QUIZ:
What is the similarity or dissimilarity between Regina Resnik and Birgit Nilsson? Both are equally great Wagnerian Divas, all with impeccable technique and wonderful human characteristic. But only Regina Resnik lost her high range.

♥ TIME for BAYREUTH 2008 ♥

One commenter wrote. Isn’t it a perfect description of Wagner’s Kundry?
“Resnik’s was the first reading of “Mon coeur s’ouvre” I’ve heard. Till now I think she’s one of the interpreters who got the most to convey that mixed sense of seduction, magic and danger this aria expresses. Resnik’s voice has lots of rich colours, a deep low register, vibrant higher notes, all the qualities that makes for an irresistible Dalila.”

Below is from Regina Resnik. Whose “sexy acting” do you think this legendary Kundry is mentioning?
“Regina Resnik – Most singers take Carmen too seriously in the first two acts. They think they have to act sexy. They don’t – they have to BE sexy.”

Then what about innocent public’s opinion about Meier’s Kundry?
“All Kundrys don’t have to be the bitter angry spinster :-). That said I’ve already got tickets for Parsifal in Berlin in March, never seen die Meier as Kundry.”

Please compare this comment with the original German description of Meier in Wagnerforum; Ein fauler Sopran or Hysterical Sieglinde. Has there been any change in Meier’s Wagner since then? Her only contribution has been to destroy ALL the good talents around Barenboim. I’m curious if this guy put his comment after reading My Requests to Barenboim.

They are also talking about Bayreuth’s Kundry 2008:

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🙂 Time to check my previous writing, which is about the reason WHY the singers could NEVER ignore Meier’s VOICE while performing together on stage, and about the reason WHY only Meier has been ignoring ALL her partners and enjoying her egocentric performance:
🙂 Recording-Technique, Playing w/Meier, Kundry (Nov 6, 2006)

I wanted to check my ears, but somehow, search-button in Google-Group doesn’t work. No posting appears in New York Times Forum. So, I am just writing my personal opinion. I will quickly(!) change it when I find better comments. I trust my eyes, but I never trust my ears.

Parsifal should sound beautiful. So beautiful as Brahms should be… and I don’t know why. I just hope forumites to answer my curiosity. At the same time, I suddenly realize why German Hans Hotter should be considered as a great Wagnerian Gurnemanz.

Hans Hotter, a German Operatic Bass-Baritone:
(…) admired for the power, beauty, and intelligence of his singing, especially in Wagner operas. He worked as an organist and choirmaster before making his operatic debut. Probably his best known vocal achievement was his Wotan in Der Ring des Nibelungen. Just in time to capture him in something like his prime vocal powers, his interpretation of this character in the operas Die Walkure and Siegfried was documented as part of the first commercial recording of the cycle in the early 1960s, with conductor Georg Solti and record producer John Culshaw. His magnificent portrayal of Gurnemanz in Parsifal was preserved on record in Hans Knappertsbusch’s second live recording at Bayreuth; in his old age he switched to the same opera’s briefer, and less demanding, part of Titurel (also captured on record). A much-admired Hans Sachs in Die Meistersinger von Nürnberg, he nevertheless preferred to sing the smaller role of Pogner, because its range was better suited to his voice. He was also celebrated for his Pizarro in Beethoven’s Fidelio, of which a live 1960s recording from Covent Garden was issued for the first time in 2005. As a Lieder singer he had few peers (…)

Again, I hardly know what means Hans Sotin or Kurt Moll. I DID listen to them, but remember nothing. Too tired to start my research about them. Hence, my analysis is purely based on Hans Hotter and his LIEDER, which doesn’t have to be ‘performed’ in Wagnerian interpretation. I’ve never considered his VOICE as Wagnerian Dramatic German Diction.

It’s been years since I thought of this German music. Why in the world all the legendary Wagnerian High Voices are from foreign countries? As time passed, I started to hear German Low Voices. Something was there, and then there was no time to think of Foreign Heldentenor or his Female Partners. Unlike Wagnerian High Voices, those Low Voices were usually pure German blood. It led me to analyze more. This is how I started to write the difference between ‘speaking voice’ and ‘singing voice.’ (Please check the FrontPage of my Music-blog: JIWON: I can’t help writing… (Tristan/Scala-2007, German Sound, Wagner and Belcanto).)

Did I call a legendary Wagnerian High Voice a Vocal Technique? I would call a legendary Wagnerian Low Voice a German Mentality.

Hans Hotter… This is not an one-way voice. There is an imaginative quality in his multidimensional voice. Listen to his coloration, in which no hint of dirty characteristic is shining. Listening to his German mentality is like an additional bonus. However, it is the very basic of his interpretation of Wagner Musicdrama.

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I am sure that he used to join Diehard-Dove group. So did I. Unlike Israeli 12th prime minister Ehud Olmert, whose extreme-right-wing opinion wasn’t afraid of being isolated even in his own family, I was always scared of being isolated and saying ‘YES’ was my only favorite. Did it help my professionalism? Finally, after a lot of suffering and misgivings, I came to the conclusion that we need to butcher all those pigs… if we don’t want to see our professional ensemble collapse. We should not delude ourselves. ‘Greater Orchestra’ concept is still alive. That’s the difference between Politics and Music:
PM Olmert: ‘Greater Israel’ concept over. (“But finally, after a lot of suffering and misgivings, I came to the conclusion that we need to share the land… if we don’t want a bi-national state. We should not delude ourselves.”) (September 14, 2008)

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Is Bayreuth Festival Orchestra a Symphony Orchestra or an Opera Orchestra?

Time to think of Milan-Scandal again:
Recriminations fly as crisis engulfs La Scala (Mar 3, 2005): La Scala has edged towards offering a higher symphonic content in the programme – but Franco Zeffirelli said this decision was jeopardising the uniqueness of the orchestra. “It is born to play opera. It is the best opera orchestra in the world,” he said. (Please check the FrontPage of this blog, The Art of Criticism, and My Requests to Barenboim, too.)

Then, what is the similarity or dissimilarity between the Italian opera orchestra and the German opera orchestra?

Curiously, it is from German performer/conductor’s interview:
“In Italian opera, after every stress there is a relaxation in the music. In German opera, maintaining the sound dominates, always maintaining the same level of the note, and the sound is also more obscure. The style of conducting consists in taking this continued level of sound and this type of sound into account.”

Below is Barenboim’s Meistersinger(?) at Meier’s Lindenoper. The individual sound of wind section is in fact the same as the troublesome winds at Bayreuth 2008. But then, Barenboim is a workaholic conductor and this is what public heard instead. To be sure, this is Furtwangler’s least favorite interpretation:
“JIWON: Oooops! I can’t find it now. What if I introduce this private blogger? His comment was like this… balance is not quite good, but woodwind itself sounded like a chamber music”

Then, is Barenboim lying in his German interview?
“[German Journalism – Wie ist es möglich, dass ausgerechnet das WEDO sogenannten DEUTSCHEN KLANG hat?] Barenboim – Ich glaube, daran können Sie sehen, dass dieses ganze Thema vom deutschen Klang meist zu oberflächlich diskutiert wird. Ich kann Ihnen genau erklären, was man tun muss, damit ein Orchester diesen deutschen Klang hat. Es hängt davon ab, wie man einen Ton anfängt. Nicht immer mit Akzent und nicht hart. Dass man den Ton bis zum Ende hält. Dass man während einer rhythmischen Figur den Charakter nicht ändert und so weiter. Und wenn Sechzehntel oder schnelle Achtel kommen, dass man nicht automatisch mit Akzent spielt. Ich sage immer: “Lasst Eure Achtelmaschine zuhause.” Nicht: Takatakatakataka… Solche Klangsachen sind wie Sprachen. Die kann man lernen.”

I am curious. Where did Barenboim get this information? In Barenboim, I always find a collection of good words, then I always hear a collection of trashes, thanks to all the pigs around this musician. The funniest thing in this story is that Barenboim is a theory fanatic. So do I.

Below was from Dear Berlin Mayor / Israel / Palestine, FINALLY… (Aug 29 – Oct 6, 2008):
1. Das Geheimnis um den sogenannten deutschen Klangs: Can anyone prove that Furtwangler’s favorite instruction was ‘Nicht: Takatakatakataka…’? I don’t mean to hurt Barenboim’s every word. Nor do I think this is Barenboim’s Big-Mouth. I just realized WHY Meier’s Lindenoper perfectly proved the most dirty/dull German sound while pretending to follow Barenboim’s instruction. There are more than one way to start sound of ‘Nicht immer mit Akzent und nicht hart.’ Waltraud Meier excels any other Wagnerian VOICE when she uses her neck-muscle. Meier’s instruments can also make it easy when they use their favorite equipment. They can make it in the poorest situation, while talented musicians can’t. Talented musicians can make it only when the situation allows them. Hence, whenever those pigs make their comfortable sound ‘without accent or hard,’ real orchestra members has no way but to start their sound as ‘Takatakatakataka…’ As far as I know, there was a certain word Furtwangler favored especially during his rehearsing Bruckner. It was never ‘Nicht: Takatakatakataka…’ I don’t mean to criticize Barenboim. I know what he means. But in his case, the result always have been opposite. It rather destroyed German sound, its pure timbre with attractive color.

Please check Barenboim’s German Sound from Nilsson’s Isolde under/over/with Maestro Knappertsbusch. I don’t think this is among her legendary performances, but it is a very valuable academic material. Please look at her using Air-Pressure with her lung, from pianissimo to forte. Please imagine her heydays and this incredible moment. You are sitting at the Festspielhaus. This voice will ring the entire hall. Have you experienced this moment throughout your life?

THIS IS ALL ABOUT TECHNIQUES… VOCAL TECHNIQUES… Wagnerian VOICE, which should be followed by Acting, Costume, Recording-Technique, Camera-Work, Photo-Shop, and so on… Compare this German Sound with Meier’s comical Wagner. How come this can be called a Swedish Sound when a DIVA is singing German MUSIC?

Look at the pop music world. This is a very competitive society, and there is always a strict physical rule for the singers to survive. They need to look attractive. Their unique body should sound good, too. They receive a real hard training while young, but most of them, especially females, retire when they are over a certain age. No one complains. Only classical ‘CATS’ never give up their professional dream even after they lose sexy, fresh looks, and then they suddenly start to insist that their pro-career past their prime is based on something academic, authentic, or tradition. Barenboim’s international fame always appears in their big-mouth.

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Hence, this is my message not to Maestro Thielemann but to German folks, who used to insult Barenboim as a Jewish dwarf while praising Thielemann as an arising German hero and worshiping German Diva Meier.


Creating my Knesset-blog, writing Dear-Arab-Readers was much better. It was much easier than protecting Barenboim from the attack of all the German Pigs. Then, Elena Bashkirova has stolen all my hard working. I can, I will NEVER forget this.

Please remember Milan scandal again. Let’s assume that IT happened in Germany. Can you attack your opponent with this statement? “It’s the best opera orchestra in the world.” Shame on you… Meier herself confessed, after destroying everything about Berliner Staatskapelle and its German colleagues, that she has ears to admire La Scala orchestra. Yet, La Scala orchestra still has an ability to improve.

Then again, can you boast that you have the best symphony orchestra in the world? It was long ago when the VPO lost its golden tradition, but still, real listeners consider it as the best symphony orchestra in the world. Then, what about your precious BPO and its present rank?


In those days, there was a tradition in the Vienna Philharmonic Orchestra. When Maestro X received a standing ovation, the members clearly expressed their opinion that they wanted to strangle the conductor to death. (It was in the newspaper. I read it years and years ago.) When Maestro Y was dancing on the podium, there was “Sheisse!” in the string section. I think it was from the Cello principal.

Whoever says whatever, it was a golden tradition of the VPO. How hard they worked to create and keep this golden tradition? How much they received in return? A certain amount of monthly salary, perhaps. What a fame and money those conductors could earn as VPO’s maestros? Still, audience can listen to their recordings. No one calls its music VPO’s X or VPO’s Y. They worship Maestro X’s VPO or Maestro Y’s VPO. No names of VPO members, who actually created this wonderful music, are printed on the album jacket.

In these days, this X-or-Y-like conductor is rather respected by the members.

To be honest, these VPO concerts, during which the members wanted to strangle their conductor to death and during which the members spat out curses at their conductor, sound much better than ‘Fantastic Orchestra at Bayreuth 2008.’ I am not writing my opinion. I am only writing the simple fact.

What I feel funny is that all those pigs, who could prove their terrific professionalism under Maestro Thielemann’s baton, used to gather around Barenboim and destroy all the good voices of Barenboim. At the same time, the VOICEs, who should be blessed with Barenboim’s sensitive directorship don’t know where to go.

What’s more, Meier’s vocal technique basically plays a cancerous role in pure German tradition. This voice works better while paring with aggressive, dull foreign blood. Then, it was German folks who protected their sex-symbol. Time has passed. In these days, all those poor German youngsters never know how to blossom their native talent. Meier is waiting for them elsewhere they go. Waltraud Meier loves young talents, because she knows who made this entire situation.

First of all, they praise their German Thielemann like a GOD, and they worship their German Diva Meier. Then, why those two REAL GERMAN JEWELS NEVER play together? What’s their reason? Isn’t it a golden opportunity for those pure German bloods to prove ultimate form of German Music at the Bayreuth? I am a theory fanatic. Prove your theory, then I will give you all my heart. BTW, Meier doesn’t have to show up in her nude in Thielemann’s Wagner. She can decorate herself with all the colorful sexy dresses. Which Meier is better?


I clearly wrote in my previous message. If your Berlin Folks want to keep Maestro Barenboim, you should offer him the BEST opera hall and give me a LEGAL right to fire all the Berlin Pigs. Instead of planning all the dirty plans behind the scene.


The more I learn about legendary Wagnerian Voices, especially legendary Kundry, the more I suspect if Herr Wolfgang Wagner or the entire Wagner family were deaf. I can’t help suspecting because Meier was so sure of her Kundry at WoWa’s Bayreuth, in which inferior Kundry desperately needs legendary orchestra and maestro in order to be remembered as a good one. PHOTO: Katharina Wagner PHOTO: Birgit Nilsson in “Tristan und Isolde.”
JIWON: Sorry for saying this. Ms. Wagner doesn’t seem to provide her singers with singer’s costume. Nor do I think Katharina Wagner knows what means singers’ costume. Which means, this young Wagner doesn’t understand Kozima Liszt-Wagner’s request to singers’ body language. In these days, only Waltraud Meier wants to wear singer’s costume, and it looks comical because neither it looks sexy nor it explains her using RELAXED-AIR in her new style. Unlike Nilsson’s or other legendary Wagnerian Divas’ case, there is no AIR between the cloth and her skin. Please check Nilsson’s. I tried to find her uncomfortable dress, but it still looks better.

Katharina Wagners Dress Code

Katharina Wagner's Dress Code

Birgit Nilsson in Uncomfortable Dress

Birgit Nilsson in Uncomfortable Dress

3. WHAT is SIMILARITY or DISSIMILARITY between the best OPERA ORCHESTRA in the world and the best ACCOMPANIST (PIANIST) in the world?
4. WHAT is SIMILARITY or DISSIMILARITY between the second-rate OPERA ORCHESTRA and the second-rate ACCOMPANIST (PIANIST)?
(Clue: NONE of FOLKs, who joined this Bimbo-Battle made a commercial recording with Kremer’s second-ex, Elena Bashkirova.)


To cut the long story short,
Starting from Hansjoerg Schellenberger’s BPO 2002 to Matthias Glander’s Staatskapelle and Waltraud Meier’s Lindenoper, including Dale Clevenger’s CSO, what do you think is the real reason of all these happenings? (Bashkirova’s WEDO 2008 doesn’t belong to this case. They are just a group of human trashes to follow the exact footsteps of Kremer’s second-ex.)

Maestro Barenboim knows how to draw a string section sound from the orchestra. Furthermore, no conductor is more sensitive than Barenboim. This is a heaven for solo winds or singers. No matter how inferior/superior they are, the soloist wants to be supported by good orchestra sound and its sensitive conductor. Then, music director Barenboim hates anything but music-making. Is there a better opportunity for a certain musician, a mere orchestra member, indeed, to overpower his whole orchestra than employing Maestro Barenboim as his leader?

Basically, German Youth Orchestra is where Maestro Barenboim is desperately needed. If you go to major orchestras and check all those cancerous roles, they are usually alumni of European youth ensembles, in which they learned how to manage brilliant solo job in dying orchestras, where a dancing conductor has no idea how to draw a string section sound. However, if you carefully listen to individual sounds, it is easy to figure out what an attractive sound the young string members produce.

They learn this life, because they have to survive. Then my problem with them starts when they happen to play for the real conductor. Why don’t they follow this real music? (The best/worst example was when Maestro Barenboim conducts Bashkirova’s WEDO members. Absolutely NO solo wind, even NO leader of each string section, follows Barenboim’s music, and then their strings sound far inferior to their European counterparts. It rather sounds like dying professionals.) I thought it was hopeless until I heard couple of European pro members suddenly change their sound to follow music during live performance. IMHO, youth orchestra should be where those members are trained in order to prepare their professionalism. This is one of reasons why I am willing to contact all the European Governmental Officials.

Then why German youth orchestra? I just can’t understand the happenings in German professional orchestras. The members can boast the purest timbre in their string sound, but never know how to survive whenever foreign power swarms around their weak purity. When the conductor, whose deafness is famously well-known, encourage the members to ‘sing,’ the entire ensemble collapses.

In sum, it was in quite recent days that I started to think of this project. I want to start Barenboim’s Divan-project as a youth ensemble for a mixture of German and Palestinian youngsters, for various reasons. Both for German and Palestinian reasons. (No Jewish pigs will be included, sic. First of all, those Jewish members are always far superior to any of human species. They don’t need further training outside Israel. They only need a job and Mehta knows where they should go.) I want to see the Mideastern music society watch this happening with their green eyes until they welcome Barenboim’s invitation with their full hearts.

But then, everything is up to Barenboim, again. Is his WEDO a youth orchestra or a professional ensemble consisting of multi nationalities? There should be a clear distinction.

🙂 From Dear Berlin Mayor / Israel / Palestine, FINALLY… (Aug 29 – Oct 6, 2008)
🙂 Dear Palestinians, (Concerning Barenboim’s Divan-Project, Sep 25 – Nov 17, 2008)


I was/am not interested in Thielemann’s Bayreuth. Then what is the reason of this writing?

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All their concern was to aggravate my anger and made me write my open analysis of Barenboim, who will play FOR them in all the planned events. This is why I had to request Barenboim to fill his Staatskapelle with the members of Bashkirova’s WEDO before his departure, or to FIRE ALL BASHKIROVA’s MEMBERS.

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I think…

I think I DO love MUSIC of Wagner. But I still prefer MONEY. What about YOU?
I am now thinking to bother Jewish politicians, especially Mr. Netanyahu, everyday about Wagner performance in Israel. What about starting my favorite Sex-Clinic right next to Festspielhaus?
🙂 From Dear-Arab-Readers
🙂 Collection: May I watch Bibi’s Porn-Video? Please… (Sex, Lies, Videotape, & BIBIGATE)

To be honest, I lost my interest in Wagner performance in Israel since Simon Wiesenthal Center never plans to answer my idea. (Please check Dear Israeli Government & Simon Wiesenthal Center (Feb 17, 2008).)

I am just going to focus on my Wagner project in Palestine, with the Palestinian Orchestra.

I want to bother Israeli Knesset MKs everyday on another issue.

THE REST OF THIS WRITING, Wilhelm Furtwaengler & Yad Vashem / Righteous Among the Nations, WILL BE FINISHED IN
🙂 Dear Berlin Mayor / Israel / Palestine, FINALLY…

Sincerely yours,

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🙂 From JIWON: Dear Berlin Mayor / Israel / Palestine, FINALLY… (Aug 29 – Oct 6, 2008).

(…click this for the full text…)

Time to read it again. Just pick up Karajan’s BPO’s Solo Horn, GERD SEIFERT, from this writing, please:
🙂 Dear European Countries (WEDO in Europe, From Aug 13, 2008 to Present)

Years later now, I start to learn how to listen to Karajan’s BPO. It started from Solo horn’s Wagner, then I heard the same-sound-but-not-perfect-interpretation-because-of-pigs-around-him of Beethoven. What if he was allowed to make Brahms with this same quality of sound? Brahms… I heard that his voice was very unique. Then, this male voice can never like the present German DULL sound of Brahms. I promise. Russian Maestro Mravinsky knows what I mean.

How many concerts was this German guy, GERD SEIFERT, able to make it? Usually, the legendary performer remembers all his moments. I’m afraid that his numbers won’t exceed TEN. After picking up this German moment, something started to happen to me. Suddenly, I could analyze many things at the same time while listening to Karajan’s BPO. Then, something another was there. Not only GERD SEIFERT was the right sound of the entire orchestra, but also his horn section was the best to lead Karajan’s BPO. It was days ago that I realized… that I didn’t like it because, in most times, they were not allowed to lead the whole ensemble.


It was not my first time to write this, but it was before I learned this simple fact when I wrote this in My Requests to Barenboim in order to explain Barenboim’s BPO just in case Furtwangler’s instruments in Rattle’s British BPO want to make Barenboim a real musician; the fact about the Soul of Karajan’s BPO, GERD SEIFERT’s HORN SECTION. One surely knows that I am NOT going to write the relationship between those two.

Of course, the fate of GERD SEIFERT is not the only case in European orchestras. There is another one or perhaps many… But this another case is not simple; “combination of new conductor, power of Mehta’s instrument, foreign involvement, and so on. I already have too many enemies.”


The first thing I wanted to do was to find and collect real comments from Germany, because this is where I found the exact description of Meier’s vocal technique, ‘Ein fauler(?) Sopran’ or ‘Hysterical Sieglinde.’ It was in Wagnerforum. Now, I am suspecting if it was Meier herself, who was able to defeat all the terrific German comments with professional article from America, the New York Times. In those days, I never thought of this, but now… I can’t help suspecting. Because neither Meier nor I, but Daniel Barenboim was the very first one who was interested in Forumites’ place and posted his bratwurst-joke in Wagnerforum.

🙂 Masterclass at Merkel’s Bundestag (Sep 10-18, 2008)

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🙂 I HAD A DREAM. 🙂 When Yad Vashem, the Holocaust Martyrs’ and Heroes’ Remembrance Authority, was established in 1953 by the Knesset, one of its tasks was to commemorate the “Righteous among the Nations”. The Righteous were defined as non-Jews who risked their lives to save Jews during the Holocaust. (…) In Germany, there are 455 Righteous among the Nations, including Oskar Schindler, perhaps the most famous of the Righteous among the Nations.

Had Furtwangler gone into exile, he could have enjoyed more brilliant, luxurious life as a German musician. Without Furtwangler, not only Berlin Philharmonic but Vienna Philharmonic could have proved more effective instruments of propaganda as Hitler’s culture organization. This German maestro had to protect the VPO at the request of the members.

Still, all the inferior human species, who want to take advantage of Furtwangler’s life for their private business, don’t want to read detailed, exact story between Hitler’s Nazi party and Maestro Furtwangler. It is still OK. This is basically their business. Wherever you go, you can’t butcher all the pigs. Please look at all those disgusting humans, who claim to be professional journalists but still enjoy violating Barenboim’s privacy and killing his son’s future, despite all my pleas. Ignoring them or violating their privacy is the best policy.

Then, what about this?

How many Jewish musicians Maestro Furtwangler risked his life to save? He was penniless when he finally fled Hitler’s Germany. How many Jewish musicians tried to pay off their debts? How many appeared at his Denazification Trial to help their German Maestro, who saved their lives? Please check all the JEWISH PIGs at Beinisch’s Jerusalem Festival and Bashkirova’s WEDO.

Schindler’s List is not the only thing. Furtwangler’s List should also exist. One should make a list of all the names. One should also make a list of ALL the JEWISH PIGS, who never appeared in Furtwangler’s place to help their dying mentor, who risked his German life to save their dying Jewish life. I read that part of their reason was purely professional. That they didn’t want to share their foreign market with this Real-Talented-German-Musician. I read that there were quite stories behind the scene at Furtwangler’s Denazification Trial. I want to read all the detailed stories and organize them. I promise.

If you compare those TWO lists of Jewish Pigs, Furtwangler’s Berlin List and Beinisch’s Jerusalem List, you will find no two differences but one human character. Is it so characteristically Jews? Or is it just the main characteristic of being an inferior human species?

Whose country is Israel? Whose place is Yad Vashem in Jerusalem? Is there a German musician, who was recognized as Righteous Among the Nations at Yad Vashem? If German Furtwangler and his Jewish musicians can’t meet at Yad Yashem, who can?

I am NOT interested in Israeli cultural scene as long as Beinisch family rules the Jewish Music Society, which will then have to be determined to wipe out Mehta’s musicians.

However… I will bother Israeli Knesset MKs everyday on this issue. I PROMISE!!!

🙂 DEAR GERMAN PIGs, by the way, 🙂

🙂 Masterclass at Merkel’s Bundestag (Sep 10-18, 2008)

Sincerely yours,

There are things to be added in Dear European Countries (WEDO in Europe, From Aug 13, 2008 to Present): I was too tired to think of… or I was a fool. (…)
I can openly write this because the present German orchestras sound like Spanish string section, or Russian/Yankee brass, or Colony-German dull/dark, British interpretation, or simply Euro-trash. So sick of it. Where are all those legendary German sounds? Gunter Wand’s purity… In Germany, only string section in public schools told me they are Germans. (I saw one docu film. It was not a music school. They just played for fun, and there was a German pure sound. I thought it was due to German language. This sound is in fact very weak. It can’t beat all those foreign aggressive sounds; Spanish, British, Russian… Shame on you.)

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🙂 From JIWON: Dear Berlin Mayor and President of Supreme Court of Israel (Apr 22 – May 15, 2008).

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Funny… for more than ten years, I’ve been writing about music and my writing, which is merely a restatement of the only way to join Furtwangler’s Utopia, has not been answered. I’ve been writing for Barenboim only, and Barenboim was the only one who failed to prove his own interview; there is no compromise in MUSIC.

It’s been couple of months now, and what is happening to Barenboim’s Israel? It’s not the first time the While House is involved in my Barenboim-message, then why, unlike years ago, everybody is suddenly interested in my mailing business? Still… Barenboim’s Angels care nothing. Neither do I.

Dear those who he believes are Barenboim’s true friends,

I’ve been doing this job for more than ten years. Now, can you understand how Elena Bashkirova has been stealing all my hard working? Can you now imagine what kind of miserable life I’ve been managing?

Even after sending my previous mail (Apr 17) to Knesset, I didn’t want to update my Knesset-blog with the information about Rabbis’ poor girls-or-prostitutes. So, I started my mailing to American Jews without this. Then, Bashkirova upgraded Jerusalem Festival 2008, so I had to decide something.

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Finally, I found out what I wanted to find for years. Now, I can understand why I couldn’t find more information after that troublesome Beinisch-article from the Jewish newspaper. By then, I was checking couple of times a day to find Beinisch’s legal condition but nothing appeared except open statement by Jerusalem Symphony’s new music director, who strictly refused to become embroiled in JSO politics. Anyways, my work had nothing to do with my willingness to update my Knesset-Jokes. Bashkirova upgraded her Jerusalem Festival in this getting-dirtier situation and I needed the exact information about why. So, I went further to search more, because there were unknown names in Bashkirova-Beinisch article. Since I’ve been daily reporting this work to New York Folks, heaven knows that there is no political editing in my writing.

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Now, it’s your turn, dear Jewish journalists,

Did you receive the draft of my message? Thanks for your article, really, and please let me believe in your professionalism. Now, I can understand the reason of incomprehensible behavior of Haaretz, the left-wing media, who suddenly supported Bashkirova and didn’t mind destroying Barenboim’s everything while calling me something-vermin. (I have to find this article from my computer file…). After sending the draft, I thought I finished my research until something hit my brain.

1. Beinisch brought a libel suit against the IBA.
2. Couple of years later, Beinisch’s Bashkirova appeared as IBA’s heroine, not only in entire Israel but also in Chicago. I now know it was to congratulate Dorit Beinisch on becoming the president of banana republic. (But then… what a fun it was to real the Jewish souls’ volcanic insulting Barenboim after this happening! A terrific country.)
3. Not only Bashkirova-Gang totally destroyed music of Barenboim’s CSO, but also Barenboim himself finished his Chicago era with his thorny relationship with the administration and most of orchestra members. (In this story, different opinions from all viewpoints should be published, because their subject deals with music and I know how to explain their each different reason.)

4. Even after Barenboim ended his career in disgrace, Bashkirova was able to plan her further appearance in Chicago’s main performance schedule, and Chicago is where German pigs can be praised as a German fame, simply because they never heard this sound before.
5. After sending the draft, I couldn’t sleep with so many thoughts and woke up with heavy brain to find out something more. I just wanted to work for Barenboim’s music-lovers at La Scala, then Italian Muti, who has been the subject of their political uproar, suddenly joined Mehta’s IPO. It was months ago. Then, I found out that Barenboim’s enemy started to support Muti’s CSO. And then, Muti was CSO’s choice right after reading the draft of my Beinisch-writing. I am speechless… how come everybody, whether politicians or musicians or even forumites, is quick to read my message, though a draft, when I only send it to a mere, powerless musician? I know all my private e-mail is under the watchdog, but are they hacking even my USB stick?

6. Meanwhile I found out that Bashkirova appeared as a special guest, even in this situation, with Radio-Shalom, which is a radio station in the Canadian Jewish community. Still, there is no hint of guilt in this voice, with a firm belief in Jerusalem Festival 2008, which also means WEDO 2008. She even expresses her wish to run or direct a theater. It was after my sending Barenboim-message to American Jews and right before sending the draft of part of this message, Beinisch-scandal. It was also one day before Muti’s CSO.

Anyways… Still, whoever’s CSO is none of my business. I just want to know who has been supporting Bashkirova’s performance schedule in Chicago. They must belong to Beinisch’s Branja. I tried to search more, but whenever it comes to Beinisch, the information is sealed and I now know why.

I’ve hardly seen a dirtier shit than Yechezkel Beinisch. He has known me ever since his picking-up Bashkirova as his Artistic Director. They have been enjoying my battle with the participants, who joined Bashkirova to make fool of Barenboim. Did you read his interview? I dropped my jaw… what a shit!

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Do you think I wrote about my willingness to fight with Beinisch’s power to dominate Israeli/American/International music society? If you always bear Beinisch’s personal relationship with music sponsors, who usually belong to Jewish Branja, in your mind, you will find a better way to exercise your professionalism with the information you already collected and come up with the best solution how to solve the present political situation Israel is facing. This is one thing I know about your future professionalism. You give me all the information about who’s who. I will figure out who are real members and who are innocent victims. Already now, I know who is an innocent victim among the Supreme Court Justices. There will be more. Thanks.

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Dear President of the Supreme Court of Israel,
Dear Government Officials of the Banana Republic,

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Honestly speaking, the first thing I want to do is to find a legal way to put Bashkirova into jail. Why… how come this b*tch is born to destroy Barenboim’s everything, especially his Jewish patriotism?

Please… I have other requests, too.

1. (July 2007) The Strad: Beinisch recalls: Elena and I decided that since we both have so many friends who are musicians we should try to merge them. We asked our friends to come to Israel to play, just for fun, for ourselves ?private concerts. She brought her friends and I brought my friends. It was a very nice bunch of people that liked each other and it took off from the first concert.?Those friends include Gidon Kremer…
2. Program 2005-2007

I totally lost my words while reading this big mouth. Who are their friends? Most of them came to Jerusalem to make fool of Barenboim. Why is there no program before 2005? Those so-called real friends appeared during the early period and never returned to Jerusalem. This is why I was supposed to spread my Barenboim-message all over the world so that Bashkirova’s real friends should hurry to join Beinisch’s Jerusalem Festival for another decade. I promised everyone that I will take care of Bashkirova’s professional career until and even after her death. Hence, it would be better if you give me the list of exact members, who are Bashkirova’s friends and who are Beinisch’s friends.

Secondly, could you help me to create a certain law to rule the music society?

It was originally from one American orchestra member, who, after being fed up with his colleagues’ sickish performance which existed only to destroy his ensemble life, openly wrote that there ought to be a law. Couple of decades passed, (if my memory is right about the date of his article,) but there is still no change in his kind of ensemble situation; here, there and everywhere. Rather, it’s becoming more and more serious, and then Bashkirova’s Jerusalem has become headquarter of this sickish performance. The more prominent the participants are in Bashkirova’s Chamber Music Festival, the more cancerous role they play when they return to their original place. I want to create a law to handle this. (I have to listen to the performances of Chamber Music Society of Lincoln Center 2006-2007 to check if all the string chamber ensembles play like Bashkirova’s. Speechless…) Help me please.

Private Blogger: Comment on Mussbach and Barenboim (Apr 18, 2008).: Anonymous said… “you have missed the point of this opera, you don’t know your luck. You have never seen a cast like this one, everyone… and the performance can only benefit from Asher Fisch’s interesting and energetic leadership. Pape has fellow singers who are worthy of him here, and Baremboim may be fantastic, but he’s not the only conductor who is.

This is perhaps the last request in this mailing. I may add more in my next one, please. The comment above is what appeared in the world of Internet. The employees resumed their job as I did my computer work, and in recent days, their appearances are regular in various forms. As Berlin politics is in progress, there will be more, the dirtier things. Please… let’s make it simple. Whether Matthias Glander or Asher Fischer or Bashkirova herself, it is definitely from the participants in Beinisch’s Jerusalem Festival. Could you please figure out who’s who? Bashkirova will pay you, if her love of Barenboim has been the only thing that caused her betrayal of Kremer. Beinisch will pay you, if his respect of Barenboim has been the only thing in his professional mind while inviting Barenboim’s only-enemies into his Jerusalem Festival. I’ve been wondering… Bashkirova used to boast that all the participants come to Jerusalem for nothing, and then why so many sponsors are needed in this two-week-long event?

Anyways, no matter what Bashkirova does and will do in Beinisch’s Jerusalem Festival is none of my business. I just want to fire all the members of “Bashkirova & Co.” and take care of my musicians. This is the only way to protect the real pros.

May I add my two cents? Articles about Beinisch and Friedman on Google

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Finally… Dear Herr Wowereit,

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Could you please read my posting, Mussbach-Barenboim, in my Music-blog? Don’t you think I did a terrific job with the president of Supreme Court of Israel? Mussbach-scandal? It is only starting. As a matter of fact, it already started with a forumite called ‘Beth’ in Google-group or Wagner-forum. This time, more things will appear in various forms. They will become much dirtier.

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Could you review Sir Rattle’s BPO’s performance schedule 2009 with the information I provided above? I now start suspecting if even Berlin mayor, who is one of members of the board of trustees in the BPO, is in fact among the German politicians, who will be supported by Jewish Beinisch-Branja. Are you?

Sincerely yours,

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🙂 From JIWON: Dear Richard-Wagner-Stiftung Bayreuth (Feb 17, 2008).

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3. In those days, I had to remember all the names of German parties in order to protect Barenboim from all kinds of comical attacks. Now, I hardly remember any name. What a headache… Soon I became curious who is present Kultur Senator Berlin, the poorest guy who happened to hate music during his hopeless job. Is there NO Kultur Senator in Berlin in these days??? Did You Give Up?

Dear Sir,

Let’s face the fact. Whether or not you care for too-many ensembles in Berlin is none of my business. Your troublesome Unter den Linden, which is too expensive to save, too small for Wagner Performance, is only worth a Museum for legendary Zombies. My Barenboim-message is supposed to travel all over the world. So… If you allow me a proper concert hall and a Legal-Right to fire ALL Bashkirova-Musicians, I will work for you. Basically your Berlin ensembles really need a Re-Audition. I’ve never seen such a headache situation like Berlin music scene. Tradition and quality…, I mean.

I know no one will listen to me. Hence, this is the real reason of my message today.

Waltraud Meier wants to rule the Bayreuth, and I am sure some of you already know this.

This is part of my message in My Blog: The Art of Criticism: JIWON: I can’t help writing… (Tristan/Scala-2007, German Sound, Wagner and Belcanto):


They, La Voce del Loggione,” are talking about German sound. But what really means German sound?

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It is just a tiny part of my Barenboim-message. Please compare my writing with Waltraud Meier’s interview. Your German soul made this interview after reading JIWON: I can’t help writing… (Tristan/Scala-2007, German Sound, Wagner and Belcanto), especially Boulez & DB, Parsifal on Feb. 20, 2007. Don’t you think it sounds a bit…? Is this what you call German intelligence, a symbol of Wagner? Shame on you.

One week later, My Blog: The Art of Criticism will open to public, and then I will start my mailing business; from Orchestras, Opera Houses, Music Schools, Journalists, Professional Singers, and Wagner Societies all over the world, and all the possible Wagner-Lovers in the world of Internet.

I will ask ALL Wagner lovers if there is something wrong with my Wagner-writing. I will ask ALL of them to join me and to participate in the history of Bayreuth.

(…click this for the full text…)

No matter what,
God Bless Your REAL German Sound.

Sincerely yours,


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