JIWON to Munich: Don’t ever become a PREY of Berlin Music Society. Bashkirova’s French/Spanish Oboe in Munich

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(Updated on SEPTEMBER 1-3, 2009)

DEAR MUNCHNER STADTRAT, OBERBURGERMEISTER UDE, & KULTURREFERENT KUPPERS,

Have you enjoyed checking my private mail? What about my analysis? Could you show it to your Munich Musicians, especially old folks? I promise. There are those who would applaud frantically(!) after reading my analysis aloud. I promise, too. If Mr. or Ms. You-Know-Who glares defiance at YOU, I can post everything-plus-alpha… in this open place.

Part of my private mail to the City of Munich.
1. Don’t ever become a PREY of Berlin Music Society, please. Rather… this German case-X, in which Members of Bashkirova-Gang are losing their power, will be a Music Society worth following.
2. When will all those old, impotent, deaf, legendary, and EXPENSIVE conductors die? How much did they ask to be paid for their ‘legendary(!)’ performances, especially when they introduced their bimbo-soloist to their taxpayers and abused government-fund? Can you pick up German tradition from their music? Only when they go up to heaven, this Russian whore will have to stop her prostitution.
3. What is the characteristic of this music? This is what I repeatedly wrote about German sound, which pure timbre is too weak to beat any foreign sh*ts. It is much better to watch this German music on TV/Video than to listen to it through CD-recordings.
4. I can write this in the open place, if Berlin Mayor Klaus Wowereit considers my analysis a plain analysis.

Below is one of my research during my private mail to Munchner Kulturreferent Dr. Hans-Georg Kuppers.

Theatre FESTIVALS IN TRANSITION April 06-09, 2006
(…) Munich is Germany’s richest city and has the largest budget for culture and arts. (…)

Google: We have a very interesting information on this Munich Intendant with Berliner Bashkirova…
Münchner Philharmoniker Der Paukenschlag des Intendanten Sep 26, 2003 / By Sueddeutsche.de
(…) Der Grund für meine Kündigung liegt im Umgang der Politik in der Stadt mit den Philharmonikern. Wir sind an einer Grenze angekommen, wo ich als künstlerischer Intendant nicht mehr weitermachen kann. Die finanziellen Bedingungen erlauben es nicht mehr, das künstlerische Konzept durchzusetzen, das ich mir vorgestellt habe.
[SZ: Nun muss die Stadt ja auch tatsächlich sparen.] Das ist mir vollkommen klar, das hat ja auch nie jemand von uns bezweifelt. Wir haben auch unseren Beitrag geleistet und bisher schon auf sehr viel verzichtet. Aber ich habe das Gefühl, dass das überhaupt nicht anerkannt wird. Wenn man ein nationales oder internationales Spitzenorchester haben will, dann muss man das auch bei den Finanzen wollen. In anderen Großstädten, denken Sie an Berlin, wird das gerade in diesen Zeiten gemacht. Da wird bewusst zugunsten der großen Orchester umgeschichtet. Bei uns hingegen mussten Stellen abgebaut werden. Wir mussten auf die Kammerkonzerte verzichten, auf Kinder- und das Abonnentenorchesterkonzert, auf konzertante Opern. Weitere Einschnitte stehen durch die Tariferhöhungen an. Inzwischen geht es so an die Substanz, dass das Niveau nicht mehr zu halten ist. Und in der Politik dieser Stadt gibt es offenbar niemanden, der versteht, wie so ein Orchester funktioniert. (…)

Welcome to Munich! Yes, we were busy during Kulturreferenten 2001-07’s era By Sueddeutsche.de
Welcome to Munich! Oh-yeah, we are still busy with Kulturreferent 2007-13 By Sueddeutsche.de
The Wasteland as a Utopia – Munich’s Cultural Executive and his Plans August 2009 / By Goethe-Institut
Expectations were great when the new head of Munich’s Department of Arts and Culture, Hans-Georg Küppers, took office in 2007. Despite the economic crisis, he remains committed to his ambitious plans. His first task was to clear up the debris. (…) And this was only the beginning. Küppers is implementing a process that is often more valuable than funding, i.e. that of preparing functioning structures: affordable spaces, a sleight of hand in the expensive city of Munich, spaces to reflect. And nevertheless: he has also managed to release a little additional money for the entire free scene which had suffered severe cuts during an excessive austerity programme in 2002 (…) The project is a bold one, for at present the City lacks 180 million Euro in its budget. Küppers, whose many years in the Ruhr area have given him experience in dealing with impoverished councils, does have cold feet in view of these dire straits, but he puts on a brave face. He hopes that he can shave off a little here, there and everywhere without making too much of a dent in the overall budget. Is Küppers eyeing a Utopia? He evidently has great staying power, and he says in words that cannot be quoted too often, “Utopias are the truths of tomorrow.”

(Updated on SEPTEMBER 4, 2009)

Whoa!
The city of Munich has been a place of headache!
I started this research purely out of curiosity, because I wanted to know the reason of Zubin Mehta’s active involvement in Munich Culture during Kulturreferenten 2001-07’s era. Though I failed to find anything productive, I learned something valuable from the Munich Cultural Scene. I am now suspecting if the reason of legendary but impotent, coward, and deaf behaviors of the Berlin politicians, especially Kultursenator or Kulturminister or Staatssekretär für Kultur or
whatever (SIC!) was because they feared so much… to follow the footsteps of Munich Kulturreferenten 2001-07.

THEREFORE,
How many opera/symphony orchestras exist in the city of Munich, the third largest city in Germany? Internet says that “Munich city had no problem supporting five orchestras and two operas in 2001, but the quirky, sometimes maddeningly conservative, sometimes shockingly knowledgeable public also contributed to the city’s musical prosperity”. What about NOW? Three or four? Bayerischen Staatsoper (=Bayerisches Staatsorchester), Münchner Philharmoniker, and Bayerischen Rundfunks? As far as I know, there is also a pro-ensemble called Münchener Kammerorchester. How much government fund each ensemble receives in these days? Do the Munich audiences offer standing ovation to whatever performances, including Waltraud Meier’s ‘Liebestod’?

Youtube: Wagner: Prelude Tristan und Isolde (Bayerischen Rundfunks) 1/2
Youtube: J.Haydn.Harmoniemesse.Kyrie (Bayerischen Rundfunks)

(Updated on SEPTEMBER 7, 2009)

Please look.
One participant in
DORIT BEINISCH’S JERUSALEM FESTIVAL 2009 is found here, Symphonieorchester des Bayerischen Rundfunks. This is the Spanish Oboe from Waltraud Meier’s WEDO. I don’t understand how this sh*t passed his probation year vote. Whether or not the current music director is taking advantage of my computer work is none of my business. I know how much this maestro has respected his fellow musician, Barenboim, and this was the starting point of my analysis. Yet, it was not my first time to analyze this orchestra, which had provided another shelter for one member of Members of Bashkirova-Gang, the French oboe, and then for another one, this time the Spanish oboe.

Oboe Professor at Müncher Hochschule since 2004 By Hochschule für Musik und Theater München
An Interview with Solo Oboe des Bayerischen Rundfunks (1991-?) Dec 1999 / By The Double Reed
[Q: Do you teach also in Paris?] – Only in Germany. The students who have finished their study – they are first prize of Paris, or they have finished with Hochschule – come to me just to wait until they get a job. (…) [Q: Is that also the reason that … well if you talk about the orchestras in Europe, the French do not have the biggest orchestras but they have all great solo players.] – Yeah, that’s right. That’s the point. Collectivity versus personality. [Q: Did you change your way of playing in a way?] – No, absolutely not. They say I have a lovely German sound – even more German than the Germans. (Laughter) (…)

Very interesting is that this interview took place in 1999. How the Vienna Philharmonic sounded in those days and when they decided to join my Barenboim-message? It was after the BPO members dumped Barenboim as their Musical Boss or ridiculed my Furtwangler-message in favor of Sir Rattle. How Abbado’s BPO sounded in those days? I don’t understand why this legendary oboist, along with Sir Rattle’s Bassoon, disappeared from the Jerusalem-list and deleted Bashkirova’s name from his professional resume while ‘still(!)’ travelling all over the world, especially in France, with this Russian whore as a member of Jerusalem Festival.

This French Oboe was among the original members of Jerusalem Festival. Bashkirova introduced him as a Solo Oboe from the Munich Orchestra. By then, I’ve hardly seen more inferior/disgusting body language than this French sound, hardly heard more superficial, cheaper interpretation than this French chamber music, which hardly joined in-tuned ensemble. Because of this French music, I had to create another term, Wind-Instrument-On-Free-Tuning-System, which now becomes Something-Genuine in the European music society. This French Oboe and Bashkirova’s comical body language was Educational Philosophy No.1 during the early years of Jerusalem Festival.

Of course, one can say that this French Oboe sound was a good match to Symphonieorchester des Bayerischen Rundfunks during his heydays. Who would trust my analysis, even if I write something different? In any sense, everybody said that the artistic standard of this ensemble was below that of Abbado’s BPO or Mehta’s VPO. Years later now, I find that this guy is too old/fat to dance on the stage like he did during his heydays, yet the very basic is still there and it still… and will never work for his orchestra members.

No matter what, he was, is and will remain as a brilliant technician. Hadn’t he joined Members of Bashkirova-Gang, this woodwind could have been just one of European Legendary Soloists, whose soloistic perfection had nothing to do with my life and therefore I never had to mention/criticize/insult in public. One can also say that this French Oboe is not a problem anymore, since he left his orchestra anyway. Then, why in the world… how come the oboes in this city/state or Munich/Bayern sound just like his students and never work for the local ensembles, which anyway sound like German orchestras? This is still my problem, as long as this Russian whore and Members of Bashkirova-Gang want to take care of ALL the youngsters around Barenboim and then elsewhere across the universe.

Thanks to this French oboe, I used to think that Symphonieorchester des Bayerischen Rundfunks was a German local orchestra. It was after I found European Top Ten List and more analysis from one anonymous American critic, who explained the long, legendary history of this German orchestra. Then suddenly, I remembered what I heard from the radio. I’ve frequently heard its historical recordings. I’ve NEVER heard this kind of oboe sound from any of them. All those legendary oboes sounded just like that of Furtwangler’s German Music.

This is how I had to add more assignments in ASSIGNMENTS for DIVANS. How many so-called DIVANS wanted to fulfill their responsibility? NONE. How many so-called DIVANS wanted to play just like this French and then Spanish Oboe? ALL.

Now, compare his present performance with his successor, the Spanish Oboe from Bashkirova or Meier’s WEDO. Does he sound like a member of orchestra? The more his orchestra is heading toward the Pure-German-Sound, the cheaper this oboe sounds. Not only it never matches to his fellow musicians, his free-tuning-system and typical-body-language also destroys all his ensemble partners’ concentration. Not only his presence ignores the entire ensemble business and destroys it, this sh*t even tries to lead his ensemble partners, all of whom are his seniors.

Both came from ARD International Music Competition, which has produced legendary soloists and therefore the worst Eurotrashes in the world of ORCHESTRA. And this Spanish case even differs from the French one. This Spanish Oboe has been the Missionary of Music in Zapatero’s Spanish government and a symbol of WEDO. What has been Barenboim’s favorite WEDO-motto? ‘Orchestra without Ignorance?’ F*CK-U Those Spanish Divans can’t win ARD International Music Competition, not because they are now on the right track but because their performance still lacks Dancing-Body-Language-Affected-By-Rabies-Virus and Self-Confidence-In-Technical-Perfection. To achieve what they want to achieve, they still need to ignore their ensemble partners more.

Clearly, Symphonieorchester des Bayerischen Rundfunks sounds different from years ago, and under the normal circumstances, this oboe can’t survive his probation period. I am pretty sure that my open insulting rather helped him to secure his job… under the current music director.

DORIT BEINISCH’S JERUSALEM FESTIVAL 2009 Please check the Artists-List.
(NOTICE: WE advised part of our core members NOT to join this 2009 event. WE want to protect their professional career. NO need to worry, since Waltraud Meier is always quick to find another victim.)

Please check this Spanish Oboe’s ensemble partners in Jerusalem. Unlike Munich, there has been NO problem for his ensemble business. Unlike Munich, every participant praises this music with a firm belief that this is Barenboim’s most favorite wood wind player. Then, imagine his worldwide members/friends’ disgusting behaviors when they return to their working place or during their international tour.

This is exactly how Members of Bashkirova-Gang have been destroying EVERYTHING in the world of classical music society. How many so-called first-rated orchestra members are found here, starting from Sir Rattle’s Jewish Concertmaster and Wind Players? I’ve NEVER seen more inferior chamber music festival than this Jerusalem one. How many major and minor orchestra members joined for FREE or for a very specific and professional reason? Yet… ALWAYS… ALL of them were those who used to play the cancerous role in their working place. Then, NONE of them mentioned their music directors while destroying everything in their working place. They just behaved as Something-Barenboim.

Is this French or Spanish Oboe the only one from the Munich Music Society? A HALF-EGYPTIAN DOUBLE-BASS, who joined Sir Rattle’s BPO after winning ARD International Music Competition and then mastering WAGNER at Meier’s Staatskapelle, but was dismissed(?)-or-resigned(!) from the BPO after being able to join Müncher Hochschule in 2007… perhaps due to my open analysis. (Please check Tristan-2007-Scala.) Presently, this sh*t is travelling ALL over the world as Barenboim’s WEDO’s mentor and touching ALL the youngsters elsewhere across the universe. Isn’t the job of WEDO’s mentor is to teach ‘Art of Orchestra’, which never means ‘Art of Soloists’? Of course, teaching job is not enough for this legendary soloist, he wants to start his CONDUCTING career, as well… just like Sir Rattle’s Ex-Solo Clarinet, whose Jerusalem participant proved another epitome of Wind-Instrument-On-Free-Tuning-System, Dancing-Body-Language-Affected-By-Rabies-Virus, and the most superficial musical interpretation.

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