JIWON to Germany: I want to see ‘GANZ LUSTIG’ Barenboim

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As for… BRITISH SIR RATTLE’S BERLIN PHILHARMONIC, including Sir Rattle’s Now-Wife,

(………)
(Updated on NOVEMBER 6-7, 2009)

MY REQUEST TO GERMAN GOVERNMENT
REQUEST-5: Waltraud Meier never plans to retire. According to Meier’s interview, the Stage-Horse wants to die on the stage. And Meier’s British fans want to honor her Kundry, Leonore, Marie, or even Fricka, until Sir Rattle retires, as much as they are thirsty for Sir Rattle’s legendary recordings on these roles. Just like late Herbert von Karajan, Sir Rattle will probably want to remain the Mastermind of the Berlin Philharmonic until or only months before his unexpected(?) death. THEREFORE, until Waltraud Meier dies, Sir Rattle should NOT work with any DIVAS but Waltraud Meier in Meier’s Repertoire, including Berlin Wagner Festival’s Fricka and Meier’s dream-role Brünnhilde. This British Female Cultural Icon, Waltraud Meier, should live the longest life as an ideal partner of Sir Rattle. So does the British Male Cultural Icon, Sir Simon Rattle. They deserve each other.

http://en.wikipedia.org/wiki/Simon_Rattle (born January 19, 1955)
http://en.wikipedia.org/wiki/Waltraud_Meier (born January 9, 1956)

http://www.waltraud-meier.com/html/e/frame_e.html
Repertoire for Waltraud Meier: L.v.Beethoven, A.Berg, H.Berlioz, G.Bizet, P.Mascagni, C.Saint-Saens, R.Strauss, P.I.Tchaikowsky, G.Verdi, and R.Wagner

http://www.salzburgerfestspiele.at/
Results of the Supervisory Board Meeting on December 9, 2008
1. Artistic Director will not renew his contract after 2011… and run to bankrupt Berlin
3. Renewal of the Salzburg Festival’s collaboration with the Salzburg Easter Festival

Easter Festival is planning a production of the opera Carmen. Artistic-Director (of Berliner Staatsoper) and Sir Simon Rattle have agreed that this production will be incorporated into the Festival’s program as well. This will be the first time since 2004 that the collaboration between both Festivals, which seems logical both in artistic and economic terms, will be possible again. Simon Rattle will also conduct an opera during the summer in Salzburg for the first time since 1999. The Supervisory Board explicitly approved this collaboration agreement.

http://www.osterfestspiele-salzburg.at/en/festival/
Between Tradition and the Modern – The Development of Salzburg’s Easter Festival
Underlying Concept: The focus of the Easter Festival, next to the extraordinary conductors, has always been the exceptional mastery of the Berlin Philharmonic Orchestra, which is responsible for both the orchestral concerts and the orchestral arrangement of the operas. This serves to underline the Festival’s uniqueness. (…) This was possible only with first-class directors, performers of the highest possible quality and lavish productions. The Easter Festival soon attracted an illustrious audience with an exceptional interest in the arts which has since become a dedicated community.
New Ventures: (…) In 2007 the Gustav Mahler Youth Orchestra again performed at the Salzburg Easter Festival conducted by Myung-Whun Chung.
Programming: (…) After “Fidelio” in 2003 (…) The production of Wagner’s “Ring der Nibelungen” will begin in 2007.
Global Activities: (…) Furthermore, thanks to the international character of the audience, co-productions (such as with London’s X, the New York Y and the French-Festival Z) and guest appearances (for example the Tokyo productions of “Tristan und Isolde” in November 2000 and “Fidelio” in November 2004), the Easter Festival’s sponsors are able to address their target groups around the world. An important factor is the coverage of the international media which regularly accompanies the Easter Festival.

Are there any problems with this request? I am just following Meier’s interview and British Wish List, which includes Sir Rattle’s Parsifal or Sir Rattle’s Fidelio or Sir Rattle’s Anything-Legendary. Waltraud Meier boasted that her voice now sounds more mature and bla-bla-bla. Should I write more? EVERYBODY in Berlin and London remembers how legendary Waltraud Meier’s Sieglinde’s Fricka sounded and looked during Berlin Wagner Festival while killing ALL the Wagnerian seedlings.

What if the British media suddenly change their tone and try to bring down commercial value of Meier’s Voice or Acting or Artistic-Standard?

Sir Rattle’s Now-Wife: ‘Promiscuity is typical of our world’ Aug 7, 2005
Classical CD of the Week: Sir Rattle’s Now-Wife Jan 16, 2005
As her private life has grown more colourful — Soprano has announced that she is expecting Simon Rattle’s love child — so her image has become more austere. (…)

Have you ever seen Sir Rattle’s Now-Wife allow her husband to play with younger, fresher, sexier, and more sensual DIVAS… since you-know-when? Already now, the Chief-Conductor and Artistic-Director of the Berlin Philharmonic is famous for his adulterous record… according to Rupert Murdoch’s Journalism. This is the most perfect performance schedule for Mr. & Mrs. Rattle’s happy family, which will eventually contribute to the happy future of the Berlin Philharmonic. (SIC!)

What if Sir Rattle threatens (again) to resign from his Berlin post?

Basically, Waltraud Meier’s VOICE works better for Sir Rattle’s British orchestras… (plural!)… Don’t worry, please.

MY REQUEST TO GERMAN GOVERNMENT
REQUEST-6: …
WORKING…

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JUST IN CASE… BARENBOIM IN MUNICH… and therefore TRASHES IN MUNICH,

(Updated on NOVEMBER 2, 2009)

MY REQUEST TO MUNICH
REQUEST-1: Waltraud Meier’s Legendary/Slave Maestros can’t be invited as Intendant’s guest conductors.

http://www.waltraud-meier.com/ last update: 21. October 2009 and then 2. November 2009
NEW characters in La Scala’s Lissner’s Sex-Scandal in Munich
1. Meier with Maestro X, who was Munich Intendant’s former working partner and rumored as his best friend.
2. Meier with Maestro Y, who was Munich Intendant’s former boss and surely wants to go to Munich after his European contract expires in 2010.
3. Meier with Maestro Z, who was Barenboim’s so-called assistant and rumored as Münchner Kulturreferent Dr. Hans-Georg Küppers’ favorite.
4. Meier with Maestro A, who insulted bla-bla-bla at ‘La Scala & Berlin’ and flew to Meier.
5. Meier with Maestro A’s B, who wants to enjoy public attention or prove his superiority to Barenboim’s impotent EAR.
6. Are there more?

(Updated on NOVEMBER 7, 2009)

Please check the dates.
Sep 13 in Berlin, Sep 16 in Milan, and then Sep 29 in Korea.

🙂 From my previous writing, LINK
Petition from Berlin to block Barenboim’s Munich contract Sep 13, 2009‎ / By Eva Wagner-Pasquier

🙂 From Italy-Belcanto > Barenboim and La Scala >
🙂 Lissner’s Meier’s NEW Maestro: Ma quel tentativo di Meier-or-Who, che ben conosceva le sua defaillance vocali, per me equivale a un attacco terroristico contro la Scala Sep 16, 2009 / By Corriere della Sera
(…) Francamente mi sono stupito che sia stato richiamato per il Requiem portato in trasferta a Berlino. Ne discuterò con Lissner alla prima occasione. (…)

🙂 JIWON: Who keeps sending me this f*cking message?
Sep 29, 2009 3:14 PM
JIWON: 그렇지… 포기할 놈들이 아니지… (…) 또 조만간 한국어로 블로그도 열거거든? 난 그래도 교수님께서 점잖으신 것 같아서 매 순간 시간도 정확히 맞춰가면서 성희롱+협박메시지 보낼 때마다 이 악물고 견뎌냈는데, 이제 보니까 뭐 이딴놈이 다 있어… 그렇게까지 주변에서 관심을 보이니까 인생이 살판나더냐… 그럼 이만 (누차 말하지만… 몽땅 다 인터넷에 올려야 하니까… 야 지금 보니까 Myung-whun Chung Family 에서 인천 다 말아먹고 내 인생 팔아서 크게 한 건 하고 싶었던 모양이더만… 제가 너무 늦게 눈치챘나요?)

NOW…
Whenever I think of this Korean sh*t, I can’t breathe.

No sooner had I reported NEW characters in La Scala’s Lissner’s Sex-Scandal in Munich on Oct 21 than Waltraud Meier updated her Homepage… again on Nov 2. Is there any change? What is Waltraud Meier’s next project after Sep 29, 2009? There must be more.

MY REQUEST TO MUNICH
REQUEST-2: Myung-whun Chung’s guest Foreign-Conductors and Chung’s Foreign-Soloists at Seoul Philharmonic can’t be invited in Munich.

http://en.wikipedia.org/wiki/Seoul_Philharmonic_Orchestra
JIWON: NO need to report the performance schedule. Myung-whun Chung’s re-contract will be expired in 2011. And RUMOR had it that Meier’s Maestro Y was desperately wanted this job but Chung made it.

http://sites.radiofrance.fr/chaines/orchestres/philharmonique/jeune/fiche.php?numero=95000037
1. Jun 5, 2009: Waltraud Meier with Myung-whun Chung
2. Oct 17, 2009: Pinchas Zukerman with his bimbo-or-wife, who earned her notorious fame through… (… how come this golden couple’s legendary performance is only getting worse and worse? Don’t they love enough yet? This couple seems to be united only during their typical big-mouth. Weird…)
3. Jan 9, 2010: Barenboim’s so-called protégé, who suddenly cancelled his Korean performance for unknown reason… but it was after JIWON: Who keeps sending me this f*cking message?.
4. Apr 3, 2010: Bashkirova or Kremer’s best friend with Myung-Whun Chung
5. May 15, 2010: Bashkirova or Meier’s Assistant Conductor, who is starting his Paris job.
6. Are there more? There will be more… since my research was during the 2009/10 season only.

Basically, this request, along with Lissner’s Meier-Conductors, should be held in the FEDERAL-Governmental level, but I decide to put this in this section. According to Korean rule, Chung’s Seoul Philharmonic is still not enough organized… in every way. How many foreign musicians have heard of the RUMOR and come to Korea for XYZ? In case of Chung’s France Philharmonic, there will be too many innocent victims, so I can’t put everybody in the same level. However, if Chung’s French or even Japanese ensembles keep stealing my computer work, we’ll see. I will update this Request-List… EVERYYEAR.

인터뷰: ‘Asia Philharmonic’ Chung Myung-whun 음악고문 Aug 2, 2007
(…) [Media – 법인을 인천에 두게 된 데는 어떤 의미가 있는가] ▲Seoul 에서 하는건(Seoul Philharmonic) local 한 것이고 Inchun 에서 하는건 International 한(국제적인) 것이다. Inchun 이 Asia 의 관문이 된다는 의미이다. 결국 Inchun 에서 서포트가 나타났기 때문에 Inchun 에 적을 두게된 것이다.

Until his Seoul-Contract expires, Maestro Myung-wh’un Chung will have to dig up as many Korean talents as possible. He will be given the best opportunity to prove his frequent interview about ‘Patriotism’ with his LOCAL orchestra, Seoul Philharmonic. Very curious. How many days it will take for the Korean audience to realize that Chung’s orchestra sound is no better than, or even worse, than his Korean rivals’? After his Seoul-Contract expires, Maestro Chung will have to finish his Inchun-Project all by himself and run his private company, Asia Philharmonic, all by himself, and make it a Cultural Icon of International City, Inchun. We’ll see if he can manage Anything-Inchun without breaking up Inchun-Philharmonic. Just in case… Seoul city’s original project to build ANOTHER opera house will be finished in 2014. What will happen to Maestro Chung, whose family members have been very busy at weighing TWO projects, one Local and one International? By then, he will have to fire ALL his orchestra members… again… to prove his international status.

What if Chung’s FOLKS prove to be real talents?

Isn’t Sir Rattle and his Berlin Philharmonic going to take care of his musicians, just as he did during JIWON: Who keeps sending me this f*cking message?? They just can’t show up in Munich and Milan. They will anyway become too famous, too busy to steal my computer work.

MY REQUEST TO MUNICH
REQUEST-3: Barenboim’s so-called protégé or (former) assistant conductors can’t be invited in Munich… unless they prove Barenboim-schooling.

http://www.waltraud-meier.com/ last update: 21. October 2009 and then 2. November 2009
NEW characters in La Scala’s Lissner’s Sex-Scandal in Munich
1-2. (…)
3. Meier with Maestro Z, who was Barenboim’s so-called assistant and rumored as Münchner Kulturreferent Dr. Hans-Georg Küppers’ favorite.
4-6. (…)

I promise. This foreign conductor has been behaving just like Korean maestro Myung-whun Chung whenever he returned or visited his home country. Internet source had it that he had already earned quite a notorious fame in his country. This is not a rumor. Right? What I feel funny is that this conductor even doesn’t show the imitative skills of Something-Barenboim. This baton-technique is more like Mehta-schooling, and therefore, was very happy whenever he supported Bashkirova’s performance schedule.
(working…)
Those FOLKS did a terrific job during JIWON: Who keeps sending me this f*cking message?. Just sick of imitation, anyway.
(working…)

(working…)
I may send another direct mail to ‘Emperor of Sueddeute Zeitung’. I didn’t want to… but may have to… about ‘What really means German sound? WHY?’ Impossible to finish this part without… I hate this work.

WORKING…

🙂 Palestine >
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This mail is part of
🙂 How many Spanish/Palestinian/Israeli Politicians are behind Widow of Prof. Said? Her name should be remembered in Palestinian history (Aug 11 – Oct ?, 2009)

Please click below to read the entire text until Oct ?, 2009
🙂 1. JIWON to Austria: Who is behind Barenboim’s Cairo-Scandal and why Meier’s Lissner is still(!) so sure of his Milan life? (Aug 12-13, 2009)
🙂 2. JIWON to Munchen: If my analysis is right, ‘Systematic Way of Thinking’ is this German’s most favorite music (Aug 13, 2009)
🙂 3. Has Mrs. Mariam Said done her Palestinian job? Is she now leading Palestinian Ba’ath Party? (Aug 11-17, 2009)
🙂 4. How many Jews know WHO brought Shalit Case into light? Do they also know how Spanish Government destroyed Palestinian mentality? (Aug 17, 2009)
🙂 5. Genius Timing for Beinisch’s Settlement-Plan. Beinisch’s Zubin Mehta will never give up (Aug 17-18, 2009)
🙂 6. Warmonger Bibi’s Greater Israel and its supporters from Spain, Germany or USA (Aug 19, 2009)
🙂 7. JIWON to Palestine: The higher your death-toll rises, the joyful Waltraud Meier’s face will look and the louder this Lip-Service will sound. She will never give up sucking all your bloods to feed her professional career (Aug 19-20, 2009)
🙂 8. JIWON to Germany: Furtwangler, Yad Vashem, Menuhin, Jewish Mentality, & Beinisch’s Jerusalem-List (Aug 21-22, 2009)
🙂 9. JIWON to Mehta’s Jews: Don’t be deluded by Munich Mehta. Choose one. Likud’s Corrupt-Beinisch or Meretz’ Hardworking-PeaceNow (Aug 21-29, 2009)
🙂 10. JIWON to Germany: Jobless German Youngsters, Self-Criticism, Israeli Supreme Court in Meier’s WEDO 2009 (Aug 26-27, 2009)
🙂 11. JIWON to Munich: German Arts Funding, Corrupt Jewish System ‘Haver Mevi Haver’, Economic Crisis (Aug 27-31, 2009)
🙂 12. This is how Beinisch’s Secret Society has treated Israeli Arabs and Palestinians. The best way to keep Modern Slavery (Aug 31 – Sep 3, 2009)
🙂 13. JIWON to Munich: Don’t ever become a PREY of Berlin Music Society. Bashkirova’s French/Spanish Oboe in Munich (Sep 1-7, 2009)
🙂 14. Rupert Murdoch to support Beinisch/Bibi’s Settlement Tricks. Palestinians should thank Mrs. Said for her magnificent(?) involvement in… ‘One-State-Solution’ (Sep 8-9, 2009)
🙂 15. WORKING…
🙂 16. BIBI in panic while FEMALES are not: A certain Female Group will have to give up, or Nobel Peace Prize Winner Obama shall change NOTHING (Oct 9, 2009)

Basically, this writing is part of
🙂 LINK will be added

(Updated on SEPTEMBER 28, 2009)

DEAR MERKEL’S GERMAN GOVERNMENT,

ACCORDING TO THE RULE OF THIS BIMBO-BATTLE,

(… please click this for the entire text…)

ACCORDING TO THE RULE OF THIS BIMBO-BATTLE,
NO ONE WILL GIVE UP. EVERYBODY WILL GO FURTHER and further…

(Updated on SEPTEMBER 29, 2009)

Claudio Abbado: A life in Music Aug 8, 2009 / By Guardian

My request to the German Government is based on this article. No less no more…

(… please click this for the entire text…)

I had to follow this article. If Abbado’s wish comes true, his Italian woodwinds will likely become another French Oboe from München, then I will have to OVER-work… sic. Though Abbado himself confesses that his orchestra members are getting better and better… I can’t trust him… yet. Anyway, I want to start My Request to German Government with this article.

Claudio Abbado: A life in Music Aug 8, 2009 / By Guardian
(…) “Money is not the problem. My Orchestra doesn’t receive a penny from the government, but it’s working.” (…)

Please check
🙂 From Section: Italy-Belcanto > Barenboim and La Scala >
🙂 JIWON: Dear Mr. Silvio No.1’s ALL friends and foes, (Music & Politics) Dec 29, 2008 – Feb 24, 2009
(FEBRUARY 21, 2009)
JIWON: Anyway, this is Zubin Mehta’s Haaretz (Israel) interview on Oct 21, 2008. As I wrote in In sum, I will travel ALL over the world and plead Palestinian Right to Targeted Killing of DORIT BEINISCH, it was Mehta’s secret message to Dorit Beinisch that Daniel Barenboim will anyway behave under his detailed instruction:
1. In Israel, 1/3 population can’t afford essential food items (Mar 31, 2008).
2. ‘In Israel, One in 5 needy considers suicide’ (Dec 10, 2008).
3. Zubin Mehta: In Israel, Money is endless. I have a list of people who can pay for ‘Renovation.’

Please don’t get me wrong. Unlike previous cases, I posted Mehta’s interview for a pure reason. Abbado’s private-funded orchestra is not the only case. Mehta’s wealthy Jewish sponsors is not the only case. There are other cases, too, and I find that WEDO members quickly joined this kind of professional business. Unlike poor orchestra members, ALL those L-E-G-E-N-D-A-R-Y maestros, (plural!), have an ability to find well-organized private-funding system. I believe… there should be a clear distinction between the state-funded and the private-funded opera/symphony orchestras.

Reith Lecture 2: The Neglected Sense Apr 14, 2006
AUDIENCE: Do you think growing up and wanting to be a musician and pursue a career as a musician is a good job choice? (…) 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 Chicago Symphony, 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?
DANIEL BARENBOIM: Well… (LAUGHTER) Let me start from the beginning! (LAUGHTER) 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. (…) Well you know, Mozart didn’t consider himself a professional, neither does Pierre Boulez. (…)

Robust Preseason for Ailing American-X (Big-Five) Orchestra Sep 25, 2009 / By New York Times
More Orchestras Cutting Costs Sep 25, 2009 / By Musical America

Please check
🙂 From Dear-Arab-Readers >
🙂 JIWON: Dear Arab Countries (Short Web-Mail) (From Jan 3, 2009 to Present)
(Updated on JANUARY 13, 2009)
JIWON: (…) The more I collected information about the real situation of Mideastern Music Society, the more I could understand all the reasons; how Spanish/Berlin pigs were able to boast their huge success, no matter how its contents stink, how they were able to collect so many volunteers despite my official mailing to each government, and how the members’ trashy behaviors were getting louder and noisier despite my constant warning. This has not been a Syrian case only.
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. (…)

Please check my previous writing
🙂 JIWON to Germany: Jobless German Youngsters, Self-Criticism, Israeli Supreme Court in Meier’s WEDO 2009 (Aug 26-27, 2009)
Credit Suisse Says German Election Outcome Hangs on Joblessness Aug 21, 2009 / By Bloomberg
The Qatar Philharmonic Orchestra Is Assembled Feb 28, 2009 / By New York Times
A new orchestra was forming from scratch. The catch was the location: Doha, Qatar, a place where few of the young professional musicians from Berlin and Vienna and Budapest and Moscow thought they would end up. But some 2,400 musicians from around the world auditioned, 101 were accepted (…) The members come from 31 countries, with most of them, 21, from GERMANY (…)
JIWON: My Barenboim-message was always same. It always made an issue of how to save your dying German youngsters, or how to work for your German orchestras, which are becoming full of foreign sh*ts or Waltraud Meier’s slave-musicians. (…)

(… please click this for the entire text…)

(Updated on OCTOBER 15, 2009)

ANYWAY, NOTHING FROM DANIEL BARENBOIM?
THEN, WHAT ABOUT THIS?

Please let me start with this article. Why don’t you compare this Cultural Scene with that of Berlin? In the Bankrupt City of Berlin, the audience needs ONE Porn-Shop rather than THREE Opera Houses. Or they can’t sell the tickets. And I still believe… whether a Porn-Shop or not, it should be top-rated and this company is not… because this kind of photography works better for Meier-like females. Waltraud Meier should be in this scene… and it should be hair-nude. (I’m not talking about Nudity. I’m talking about Photography. I think American style works better to catch divas’ beautiful moments. So does Singers’ costume in Berlin. It only works for Meier’s vocal techniques.)

Year in Focus 2007 – Entertainment
PHOTO: Jules Massenet’s opera ‘Manon’ at the Staatsoper Berlin on April 24, 2007

Jules Massenet's opera 'Manon' at the Staatsoper Berlin on April 24, 2007

Jules Massenet's opera 'Manon' at the Staatsoper Berlin on April 24, 2007

Generalmusikdirektor-X: Unser blaues Wunder Oct 14, 2009 / By Zeit, Florian Illies
Zentrum der Kultur und des Bürgertums: Warum Generalmusikdirektor-X verständlicherweise nach NO-Berlin geht. Es war diese eine Minute, die alles entschied. (…) In genau dieser Schweigeminute für die Schönheit der Musik, am 13. September in der Staatsoper, hat sich Generalmusikdirektor-X vermutlich entschieden, als Chefdirigent nach NO-Berlin zu ziehen – und München zu verlassen. Nicht nur wegen des Orchesters also, sondern auch wegen des Publikums. Was Generalmusikdirektor-X in dieser Minute erfuhr, war die Präsenz eines Kulturbürgertums, das sich in Deutschland vielleicht nirgendwo so rein erhalten hat wie in jenem inoffiziellen NO-Berlin Milieu, (…) Der Umzug eines Künstlers taugt eigentlich nicht zum Leitartikel. Doch die Entscheidung des begehrtesten deutschen Dirigenten für Dresden ist – zwanzig Jahre nach dem Mauerfall – ein Akt von nationaler Symbolik. (…) Worin das Geheimnis der NO-Berliner Selbstsicherheit liegt (…) Es gelingt NO-Berlin immer wieder, in unser aller Köpfen ein Traumbild von sich selbst zu erzeugen. Auch in dem von Generalmusikdirektor-X. Und als er dann auch noch merkte, dass es die Staatsoper und das Kulturbürgertum tatsächlich gibt, da war es verständlicherweise um ihn geschehen.

Then what about Munich?

(Updated on OCTOBER 16, 2009)

(… please click this for the entire text…)

Busy Females around Color-Blind Barenboim (CSO's bimbo doesn't have to be in RED)

Busy Females around Color-Blind Barenboim (Alice Clevenger in Chicago, Dorit Beinisch in Israel, Elena Bashkirova in Jerusalem, Waltraud Meier with WEDO, Sir Rattle's Now-Wife in Berlin. BTW, CSO's bimbo doesn't have to be in RED)

I feel funny… whenever I turn on the radio. I hear that Orchestras all over the Europe making an improvement… AGAIN. It’s been more than a DECADE that I’ve been openly insulting Gidon Kremer’s Second-Ex and Members of Bashkirova-Gang. Why in the world ALL the European Orchestras sounds like IMPROVING whenever I pray this Russian whore to go to hell? How many FEMALE musicians still want to follow the footsteps of Elena Bashkirova?

MY REQUEST TO GERMAN GOVERNMENT

Anyway, ALL my requests to the German Government is based on…

Please check
🙂 Facebook-Blog > DEAR BARENBOIM’S FANS
🙂 Barenboim, Flagstad, Beethoven, Wagner, WEDO, Imitation, and Interpretation (Jul 27-28, 2009)
JIWON: (…) Wasn’t it the Jewish Education System or from TALMUD?
“Give your kid a fish, he eats for a day; teach him to fish, he eats for a lifetime.”
There are other quotes:
“When you teach your son, you teach your son’s son.”
“Who is a wise man? He who learns of all men.”
“A quotation at the RIGHT moment is like bread to the famished.”

Where did Barenboim learn how to interpret his favorite Music? When did he start learning? Wasn’t it after his father taught him all the basics about music? Listen to Furtwangler’s performances during his late years. His interpretation is becoming icy and icy, or less and less romantic, and more and more direct. Yet he hardly allows out-of-tuned ensemble techniques. Why do you think so? Until he faces his death, he is training his members. Just sick of all those trashes.

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As for… BRITISH SIR RATTLE’S BERLIN PHILHARMONIC, including Sir Rattle’s Now-Wife,

(Updated on OCTOBER 23, 2009)

This is London: Sir Simon Rattle admits affair with 30-yr-old Soprano Jul 22, 2004 / By British Media
(…) The couple, who are both married, have moved to quell speculation about their private lives by issuing a joint statement to the Evening Standard. (…) Rumours of the relationship have circulated in the world of classical music for a year and entered the public domain last weekend. The couple worked together on a production at last year’s British festival. Until now Soprano has been based in Paris with her husband, French baritone X. Sir Simon is believed to have left his second wife in the last few months. Her father told a newspaper: “My daughter told me that Simon has left her for Soprano. She is distressed.” The couple have been married for eight years. He added that some time after Easter: “She told me she had been dumped by Simon. It made me sad because he has become my friend. I wish him well, but I wish this had not happened.” Sir Simon, 49, divorced his first wife, a SINGER with whom he had two sons, in 1995 after 15 years of marriage. (…) Soprano has been dismissed by some commentators because of her striking looks and willingness to pose for glamorous pictures. However, she receives star billing at the world’s most prestigious opera houses and has just been shortlisted for a Gramophone award as one of the six best classical artists of 2004.

Sir Simon Rattle: Time for Britain’s greatest living conductor to face the music? Jul 24, 2004 / By British Media
(…) With the death last week of the mysterious Carlos Kleiber, Rattle edges ever closer to the crown of “world’s greatest living conductor”, his only rivals to the title being A and B. Both are considerably older and both have had health problems. (…) Rattle met Soprano at British festival. She has said, of their working relationship at least, that “this is heaven”. But facing the music will be less than heavenly for the media-averse Rattle. “It’s a disaster for him,” says Consultant-Editor of BBC Music Magazine. “He’ll now get press attention and that’s what he really dislikes. He’s never flirted with the press, and hates the media.” He deserves better. (…) Rattle is one of the very few world-class artists Britain possesses. According to Consultant-Editor, his peers “C, B, Barenboim are all brilliant conductors, but they don’t do the different things Rattle does. He takes people into areas they would never normally enter”. (…) But it is with the music of Wagner that Rattle’s true greatness may lie. He is planning his first Ring Cycle for Lissner’s French Festival. Anticipation is high, and justifiably so. His 2001 Covent Garden performance of Wagner’s valedictory opera Parsifal, despite an indifferent production, was one of the most sublime musical events of recent years, displaying complete mastery of the strange, sickly score. The audience left the House on those dark December nights in silence, as if sedated by the beauty of Rattle’s reading. He took up his position in Berlin in 2002, three years after his election by the players who preferred him to the venerable Daniel Barenboim. A man from “das land öhne musik” had become the guardian of Germany’s unsurpassed musical tradition, a Scouser in the shoes of Furtwängler and Karajan. He performed his first concert as head of the BPO on 7 September 2002, the programme pure Rattle. (…) Inevitably, considering the prominence of his position, Rattle has had his critics in Berlin, though the £500,000 salary he receives from the city probably helps cushion the blows. His greatest foe has proved to be AXEL BRUGGEMANN, a critic with the newspaper Welt am Sonntag, who, in an article headed “Simon von Rattle”, accused the conductor of being “TOO DICTATORIAL” (probably the first time the charge has been made by a German of a Briton), of rehearsing the musicians too much, and of putting the orchestra on autopilot. “While Rattle romps expressively on the podium,” Bruggemann writes, “the Philharmonic musicians sometimes tend to play as if they were a wife reaching to the fridge to get a beer for her husband.” Ironically, in view of later events, he described the relationship between conductor and band as “a marriage that is not working out”. (…) The worst of the criticism seems to have passed, and most German concert- goers seem pleased with their new man, backing him in his funding battles with the city fathers, (…) Perhaps all that is lacking from Rattle’s CV is one truly classic recording, a benchmark account of a major work. Think of Kleiber/Furtwängler/Klemperer. Rattle’s recent cycle of Beethoven symphonies with the Vienna Philharmonic fell short of this mark. But there is time. Such a recording – Parsifal, perhaps – will suffice to call him great, his personal life (with Soprano) left just as a sideshow.

I clearly remember Sir Rattle’s interview, in which he explained his happy life with his second wife, a Journalist, and explained why his first marriage with a Musician, especially a Singer, didn’t work out. The article No.2 also pointed it out, but I read Sir Rattle’s ‘direct’ opinion about his wife being a Singer when the BPO members mocked my Furtwangler writing. In fact, it was minutes ago that I found the article No.2. SO… EVERYBODY HAS BEEN VERY BUSY. RIGHT? So, this is how those British media used to write for British Sir Rattle while functioning as the cheapest tabloid to put Barenboim’s ‘everything’ under their subject, Sir Rattle.

Curiously, I find this German name again, AXEL BRUGGEMANN. Very interesting… because this was my analysis of Sir Rattle’s BPO recordings. I thought… that I was the only one, as usual, who heard this music sound ‘Charismatic’ rather than ‘Musical’.

Youtube – Sir Rattle’s Now-Wife: Kommt, ihr angefocht’nen Sünder April 1, 1999
Youtube – Sir Rattle’s Now-Wife: Piu non si trovano January 15, 2002

When I first found out these video clips, I couldn’t believe my eyes. Clearly, it takes TWO to tango and who do you think seduced whom… and why? No matter what… who was Sir Rattle to this female musician? Just a married maestro, without whose operatic conducting skill her HEART/ VOICE couldn’t breathe and speak? Or simply a promising future of the BPO’s new leader? This is my only curiosity.

This is London: Sir Simon Rattle admits affair with 30-yr-old Soprano Jul 22, 2004 / By British Media

Sir Simon Rattle: “Karajans Zeiten kommen nicht wieder” Feb 8, 2008 / By German Media
(…) [Media: Sie haben in den letzten fünf Jahren drei Dinge hinzugewonnen: ein Orchester, eine Frau und ein Kind.] Rattle: (…) Unser Leben wird sicher komplizierter werden, wenn Kind-X in die Schule kommt. WIR machen an der Metropolitan Opera – das wird sicher das erste und einzige Mal sein, dass wir so weit weg in der Oper werden zusammenarbeiten können. Andererseits sind wir beide sehr, sehr gern in Berlin. (…)

Youtube – Sir Rattle’s Now-Wife in RED… with help of Beinisch’s 42-year-old-Sopran Apr 27, 2008
YOUTUBE: Barenboim cares nothing, whether single or married or pregnant, whenever she appears in RED… Anyway, EVERYBODY was busier in 2008.

(Updated on OCTOBER 26)

Time to check Rupert Murdoch’s British Media.
When I started this writing, I was supposed to finish it with comments of the Fan-Club of Mr. and Mrs. Rattle. Now, I change my plan. Do I want to harm professional career of the British-Cultural-Icon or Legendary-Diva, Mrs. Rattle? Certainly not…

Rupert Murdoch’s British Media: Please use the search button… Rattle & You-Know-Who
Rupert Murdoch: Sooner or later, our journalism will be well paid…

Rattle and soprano stir opera gossip July 18, 2004
Although several people in the music world have known about the friendship between Rattle and Soprano for some months, they have kept a discreet silence. Neither Rattle nor Soprano, who married the French baritone only a few months before meeting the conductor, could be reached yesterday. (…) Lady Rattle declined to comment on the friendship between her husband and the singer, but her father was reported in a TABLOID NEWSPAPER as confirming: “My daughter told me that Simon has left her for Magdalena. She is distressed.” Rattle’s first marriage — to the singer — ended in 1995. She blamed Rattle’s “obsession with music” for the breakdown of the marriage. (…) Those who have met Soprano describe her as “very cautious and careful” in what she says. “She’s not very spontaneous,” said one critic. Soprano has already been likened in professional terms to “the next A”, one of the world’s best known opera singers. Despite her beauty, Soprano is wary of using her looks to further her career. “Sometimes I am not deciding how they do these things and often I don’t like the result,” she said in an interview last year. (…) But she likes ringing the changes. “I don’t like doing standard things over and over,” she said. “I get bored.”

Profile: Sir Simon Rattle: Orchestral manoeuvres in the dark, with blonde Jul 25, 2004
Superficially, Soparno could not be more different from Rattle’s wife. For Lady Rattle it was all over when the lissom lady started singing. Gramophone magazine described her singing as “one of those voices that seems to go straight to the heart . . . her technique seems impeccable”. In other words: shake, Rattle and roll? Rattle apparently fell under her spell. (…) Rattle hinted publicly that it (First-Divorce) was their mutual dedication to music that led to the split, but she (First-Wife) accused him of adultery. (…) Finally in 1999, the members of the Berlin Philharmonic invited Rattle to replace A. It was an honour that he could hardly refuse, although by then he could have had a top job practically anywhere in the world. (…) It was not just the orchestra’s musical dynamics that Rattle found diverting. “There is more eye contact and flirting going on in this orchestra than you would see at a teenage party,” he said shortly after his arrival. It was obviously catching. (…) where his wife was found when she was accosted by reporters last week looking for confirmation of her husband’s adultery. For her it must seem like a particularly poignant “da capo”: this was where she came in.

Proms: A good night out in the company of some talented Bohemians Aug 1, 2004
Perhaps the most surprising fact about Soprano’s appearance at Albert Hall was that it didn’t sell out. (…) My other Proms was less eye-catching, but there was still plenty to stimulate and rattle — no pun intended — the ears. (…)

Birthdays Jan 19, 2005
Sir Simon Rattle is enjoying an enormous success this month in Vienna conducting Wagner’s Parsifal. He has been chief conductor of the Berlin Philharmonic Orchestra since 2002, an experience he recently described as “exciting and turbulent. Big temperaments, big personalities.” (…)

Classical CD of the Week: Sir Rattle’s Now-Wife Jan 16, 2005
As her private life has grown more colourful — Soprano has announced that she is expecting Simon Rattle’s love child — so her image has become more austere. (…)

The voice that goes straight to the heart Aug 7, 2005
These revelations, and the manner in which her private life was reported, have upset the singer. “I was shocked,” she says. “I didn’t expect the British media to be so intrusive and unpleasant.” (…) News of their relationship broke last summer. “The decision brought a lot of unhappiness, fear and guilt,” Soprano said at the time. “But Simon and I are very serious about each other. You must really want to do something like that in order to go through all the difficulties.” What surprised Soprano most about the reaction to her affair was that people thought of the classical music world as staid. “For some reason classical musicians are not considered to be normal human beings, maybe it is because we perform music by dead people,” she laughs wryly. She has spoken about her love for opera’s colourful social scene and has been quoted as saying: “Promiscuity is typical of our world. In opera, you work with the same people for two months, you play together, touch, spend all your time together and you create a world of your own where all these little affairs take place. I know very few colleagues who can be faithful for all their life.” Events tend to bear her out. It may have a staid image in some quarters, but the world of classical music has had its share of sex scandals and lurid headlines. (…) She might be reluctant to admit it, but Soprano’s relationship with Rattle has done her career no harm. Her profile is higher than ever, she has bookings until 2009 and is enjoying a happy life with a wealthy, talented man and a beautiful son. (…) Soprano says she is very happy. “You are so much in the public eye in this profession. I am grateful I have a strong family to keep me balanced. It is a stressful life, but the rewards are enormous.”

Some enchanted evening Dec 9, 2007
In 2005, their son was born, and Soprano suddenly had to juggle a high-profile international career as a concert and opera singer with life as the mother of a small child. Soprano can be a frosty interview, especially when her private life is the issue. But she lightens up and relaxes visibly on the subject of motherhood and family life, (…) At present, her family commitments mean that she plans to do no more than two opera productions a year, and she has become picky about what she will accept: “I don’t very much like revivals. (…) A lot of singers love it because they have a short rehearsal period, and make a lot of money. I don’t like that.” She had made an exception, of course, for Covent Garden, because, she says, she had heard the production of La cenerentola had been a big success when it was new. Next April, too, she will make a rare operatic appearance under Rattle’s baton at the Staatsoper in Berlin. “We don’t do much opera together, partly because Simon has had his hands full with Wagner’s Ring recently, and I don’t sing Wagner yet. But I am going to do Chabrier’s L’Etoile – a piece I love – with Simon in Berlin in April 2010, and before that my first Oktavian, conducted by Bashkirova’s Jewish Conductor. I have to sing at home sometimes!

The 20 best classical divas Mar 27, 2009
Who will be the new Maria Callas? Here we rate the leading ladies.
9. Sir Rattle’s Now-Wife:
Mrs Simon Rattle has many things going for her – not least the headline-friendly story of how she lured the frizzy haired maestro away from his second wife. On her own merits, she was already a star before she met him. And since? The song recitals have impressed much more than opera, where the mezzo can be gawky and mannered. That’s a quandary she hasn’t yet resolved – although she’s a great vocal actress, it doesn’t seem like she’s fully harnessed those skills to a great staged production.
17. Waltraud Meier: Legendary In Germany, elusive elsewhere, Waltraud Meier is a powerhouse mezzo who on a good day will blow your socks off as Isolde or Kundry. Trouble is, it’s a small body of roles that her potent dramatic prescence can do justice to, and she is already moving into the character parts that signal a great singer’s twilight years. Still a force to be reckoned with, mind – but Meier has no truck with celebrity. Watch Waltraud Meier sing Beethoven’s Fidelio

Ravel: Soloists, Berliner Philharmoniker, cond Simon Rattle Mar 29, 2009
The new Lady Rattle, Soprano, is on loan from DG as (…) Her Enfant is beautifully sung and characterised, but she is let down by Rattle’s casting of the supporting roles with famous names, now well past their best. (…)

THEREFORE,
According to Rupert Murdoch’s British Media, which called its twin media a TABLOID newspaper,
It was British Sir Rattle, who planned EVERYTHING… to put both Gidon Kremer’s Elena Bashkirova’s Berlin Philharmonic and Waltraud Meier’s Unter den Linden under his power. And then, the British Media has been acting from a sense of duty to protect their Legendary Diva and her husband’s professional future by making Waltraud Meier sticking around Barenboim. Am I wrong?

(Updated on OCTOBER 27)

This is a performance schedule of Sir Rattle’s Wagnerian Singer, who (intentionally) filled Barenboim’s performance schedule and then (pretended to) be ill so that Waltraud Meier was able to boast her triumphant return to Barenboim’s working places elsewhere, from Berlin to New York. Of course, she was, is, and will be very healthy throughout the year.

1. At Lissner’s Paris Festival… with Sir Rattle’s Berlin Philharmonic
2. In New York… with Maestro Levine’s Met
3. In Berlin… with Sir Rattle’s Berlin Philharmonic
4. In Paris… with Waltraud Meier or Elena Bashkirova’s Assistant Conductor, who starts his Paris job. What did he learn from Barenboim’s interpretation, from Beethoven to Wagner? I know nothing about his Wagner, but in case of (simple) Beethoven, I hear imitation and imitation… without changing any of his native sound or with no hint of imagination. Of course, Paris Opera naturally became Waltraud Meier’s NEW headquarters, and therefore, was able to offer her slave musicians another performance schedule of Wozzeck. (Sep 17 – Oct 2, 2009)

Youtube: Rattle + You-Know-Who
Youtube: Rattle + Berlin

Until now, I’ve never been interested in Sir Rattle’s Berlin Philharmonic, which was getting Cultural Missionary of The Great Britain… in terms of Music and Sound. Now, I am speechless. Has this conductor been developing showman-ship skills instead of baton-techniques? Whatever you click, there is an instruction: “Complete performance available at http://www.berliner-philharmoniker.de/dch. More at the Digital Concert Hall of the Berliner Philharmoniker.”

At the Digital Concert Hall, anything will work, especially for the Fan-Club members, unless it is used as the teaching materials for music students. The conducting professor never teaches this kind of baton-techniques. The BPO’s Digital Concert Hall has nothing to do with what I learned in orchestra class, which conducting professor received his training in Europe. I am now curious if the German music students study this kind of baton-techniques. I am not talking about conducting students but performing students, who should respond to a specific baton-techniques. And I have to mention this basic stuff, because I can’t find any communicative skills during the live-performance.

I am also curious if this golden couple, Mr. & Mrs. Rattle, regarded Berliner Staatsoper as their private property, which is surely inferior to British Covent Garden, and were supposed to plan anything they wanted at anytime they wanted. If you click one of their video clips, which captured their rehearsal, it’s easy to figure out what means “Promiscuity is typical of our world”. I am curious, too, if Mr. & Mrs. Rattle wanted Japanese concertmaster, instead of Bashkirova’s Jewish one, to sell more recordings in Japan/Asia.

Still, Whoever’s Berlin Philharmonic is none of my business.
Still, whether or not this kind of Academically Zero Music has received and will receive the Grammy Award is none of my business.

Still, I don’t think it is a good idea for Sir Rattle’s Berlin Philharmonic Members to follow my analysis after hilariously mocking my Furtwangler writing, and then achieve commercial success despite this poor Grouping Mentality-or-Ensemble-Technique. They should go on their own way and prove their own professionalism. Still, they will have to get over lots of obstacles to reach their own destination. Thanks to Passionate Love-Story of their British Boss, the members seem to slightly wheeled around, deviating from the British course, but I can still see where their final destination is located. Take a shortcut, instead of going back and forth, back and forth while following my analysis and being lost. If they truly want my advice, I will give them the detailed instruction how to get there as fast as possible, and I will do this in this very OPEN place. I promise.

Still, I don’t think it is a good idea for Sir Rattle to steal Barenboim’s musicians and take advantage of his hard working. His only mistake was that Sir had NO ears to recognize “Garbage & Sh*ts” around Barenboim. Or is he going to insist that he is nothing but a mere employee and his Jewish group took over EVERYTHING, including Audition-Process?

Now that ALL the European orchestras are making improvement… is the Real Boss of Berlin Philharmonic going to steal Barenboim’s REAL musicians again and again? This is called Bimbo-Battle and the game should be fair. And the bottom line is that Sir Rattle’s Berlin Philharmonic will receive the Grammy Award no matter who plays with them or how they play. They will be able to enjoy top-rate commercial fame no matter who plays with them or how they play.

(Updated on OCTOBER 28, 2009)

MY REQUEST TO GERMAN GOVERNMENT
REQUEST-1: Get rid of Bashkirova’s (Jerusalem) Members from Sir Rattle’s Berlin Philharmonic.

Please check
🙂 From Dear-Arab-Readers > Egypt-Normalization > Barenboim’s First Visit to Egypt on April 16, 2009 >
🙂 Barenboim’s First Visit to Egypt: Part 3D (May 20 – Jun 3, 2009)
(Updated on JUNE 1-2, 2009)
JIWON: (…) They are still busy… Have those Jewish Pigs already started their NEW plan, JERUSALEM FESTIVAL 2010, in the name of Daniel Barenboim? For the first time in my life, I am waiting for the phone-call from this Korean sh*t. (…) As I wrote in My-Request-to-Barenboim, I’ve never allowed this Jewish Pig in Barenboim’s BPO concerts, but I’ve never wished his ousting from Rattle’s BPO. I needed them, because this is the best way for Barenboim to beat the British musician, Sir Simon Rattle, in Berlin. Have I ever mentioned their NEW bassoon, which is also from Bashkirova’s ‘Jewish’ WEDO, during my open analysis? I never did… and why do you think so? (…)

Please check the date. It was written on JUNE 1-2, 2009. What happened TEN days later in Berlin? Last night, Sir Rattle’s comical/disgusting conducting skills gave me such a shock that I wanted to know more.

http://www.youtube.com/results?search_query=BERLINER+PHILHARMONIKER

Jesus Christ!
How come they have fallen into such a situation like this? This is much worse than my expectation. Even X was having a hard time. I think they should fire all those German fiddlers to finish their business. I am in awe, literally speaking…

It was on September 21 that I found Sir Rattle’s Big Mouth, Sir Simon Rattle: “Karajans Zeiten kommen nicht wieder” (Feb 8, 2008), and completely lost my mind. Since then, I couldn’t start this writing, because I never wanted to make Sir Rattle’s BPO a better instrument.

Now, I find that this musician has avoided conducting those sh*ts. Just like Elena Bashkirova and Waltraud Meier, who share the exactly same music and plan everything together but never play together. Then, I can ask whatever I want to ask. The rest of Sir Rattle’s members are none of my business. I just want those human trashes out of what is called ‘The-Most-Famed-Orchestra-in-the-World.’

Please look. I think I found 7 performances led by Bashkirova’s Jewish Concertmaster. (1, 2, 3, 4, 5, 6, and Barenboim’s June performance.) Whoever conducts his strings and their winds and brasses, there is NO hint of German purity in its timbre.

Youtube-Strauss: Don Juan / Barenboim • BPO Jun 13, 2009
Youtube-Strauss: Till Eulenspiegel / Barenboim • BPO Jun 13, 2009

It will be interesting to compare two performances, which took place on the same day. Of course, those sh*ts completely ignored my warning and even brought their (WEDO) friends. (Some members don’t look like pure BPO members.) What’s more, it was one month before this performance or one week before La Scala’s Lissner failed in Salzburg on May 19, 2009 (… after failing in Berlin…) that they hurried to block Barenboim’s BPO contract the moment my computer work joined this Berlin-War…

Barenboim started his performance with Don Juan and finished it with Till Eulenspiegel. In another word, Barenboim started his performance with Sound-A and finished it with Sound-Z. Lots of happenings between A and Z. It takes time for this Jewish Concertmaster to find himself and lead his ensemble during Till Eulenspiegel. Then, the performance ended with terrific DULL + DEAD sound. Is this a German orchestra? Even Sound-A doesn’t sound enough qualified. Why do you think so?

What if those are born legendary musicians but I’ve just become blind by jealousy?

Don’t worry, please. They have a place to go. The Jewish members are not German Jews. They are Israeli Jews. They will return to their home and make Zubin Mehta’s Israel Philharmonic superior to Sir Rattle’s Berlin Philharmonic. I am not sure of Jewish Concertmaster, though. It seems that this musician has already started his SOLO career. Basically, his position should have been allotted to the German fiddler. Who was his predecessor and why did he resign?

What if whoever’s Berlin Philharmonic needs a certain number of Jewish members (to attract Jewish sponsors)?

Please check
🙂 From Palestine >
🙂 How Long Will Mrs. Mariam Said’s Multinational Politicians Remain the Chief Obstacle to Palestinian Unity Government? (May 6 – Oct 20, 2009)
Analysis: Hamas and Fatah face a forced marriage Oct 15, 2009 / By Jerusalem Post
(…) The two rival parties abhor each other so much that the Egyptian mediators had to send them each a copy of the agreement by fax (…)

Don’t worry, please.
Just like Korean Myung-whun Chung, whose most competitor is Korean conductor,
Just like Palestinian Hamas and Fatah, who enjoy the most disgusting relationship,

NEITHER Palestinian NOR Arab even NOR German musicians BUT (Diaspora) Jewish musicians are those Jewish members’ greatest rivals. And then, those Jewish Pigs are the Guardian Angels to protect Dorit Beinisch or Her Husband’s Criminal Record.
Israel is where more than 40 music schools are found. Younger Jewish Talents play BETTER. Please imagine in case ALL of them are trained in a better way. Isn’t’ it terrific?

Who wants to insist that without their SOLO FLUTE, they can’t sell the tickets?

Then, this is my answer. If this Son-of-B*tch dedicates the rest of his life to Pianist Elena Bashkirova, releasing ALL his commercial recordings and travelling all over the world with this historically legendary Pianist/Accompanist, I can accept his membership. To be honest, I can’t understand folks’ claim. Just close your eyes. You can’t tell which one is which one. Perhaps, this one will sound harsher/sharper and project more. When its strings start sounding pure, you should open your eyes. You will be in shock to find the inferiority of this Flute sound, who lost his talent long, long ago while enjoying his life in Jerusalem. In his situation, Sir Rattle’s strings should remain inferior so that his performance sounds like brilliant SOLOIST.

http://www.youtube.com/results?search_query=RATTLE+BERLIN
http://www.youtube.com/results?search_query=JUGENDORCHESTER

Just in case, this is for those who still want me to analyze how inferior ‘The-Most-Famed-Orchestra-in-the-World’ sounds like. Please compare the TWO string sounds. Sir Rattle’s BPO certainly sounds inferior to those amateurs, because his conducting keeps failing to lead his ensemble. Only when this Jewish Concertmaster and his Group joins Sir Rattle, he will be ‘elicit’ his true sound from his string section. If he fires all the German fiddlers, his strings will work better. Already now, his winds and brasses are ready to fit into this situation. It was already months and months ago that Forumites pointed out and wondered why NOT Berlin Philharmonic BUT Berliner Staatskapelle worked better under Sir Rattle’s conducting. Isn’t that interesting?

Of course… I can accept EVERYBODY’s membership if the BPO members invites Elena Bashkirova as their OFFICIAL Pianist/Accompanist and train the ENTIRE members’ chamber music with this legendary pianism and release ALL their commercial recordings under this name whenever possible. Why not? In this scenario, too, ALL the German members will eventually have to be fired.

Of course… I can accept EVERYBODY’s membership or ANYTHING if Sir Rattle’s Berlin Philharmonic decides to receive NO Government fund.

MY REQUEST TO GERMAN GOVERNMENT
REQUEST-2: Michael Barenboim will have to join Sir Rattle’s Berlin Philharmonic… for the sake of the entire classical music society.

Please check my previous writing
🙂 From JIWON to Germany: Jobless German Youngsters, Self-Criticism, Israeli Supreme Court in Meier’s WEDO 2009 (Aug 26-27, 2009)
http://www.youtube.com/results?search_query=BARENBOIM+DIVAN+2009
JIWON: (…) Very interesting is that those old members, or the very-professional members of the WEDO, especially Meier’s favorite instruments, start showing the typical/natural symptoms of their native talent. We’ll see how many can end up their pro-life in the major/minor professional orchestras only to destroy their ensemble partners’ music business. This ensemble is where all the members can boast out-of-tuned ensemble techniques without hurting any of partners. Why don’t they return to their old good days, during which the audience and all the so-called music critics admired their brilliant techniques? It’s not good to tense their muscles to prove in-tuned ensemble business.
BY THE WAY,
Who is that FEMALE violin sitting behind Sir Rattle’s Jewish Concertmaster? Isn’t she from the Rattle’s BPO or Bashkirova’s Jerusalem Festival? When did she change her identity into something-Arab or WEDO-faculty? She claims to be Karajan’s first female appointee and also Bashkirova’s real friend. Please look at her comical body language. Please ask her if her boss Karajan had ever asked her to play in this posture. This is the musician, who returned to Sir Rattle’s BPO and blocked Barenboim’s BPO contract.
Please ask her who instructed this voting. Elena Bashkirova or her Jewish Concertmaster? Bundeskanzlerin Angela Merkel or Berlin Mayor Klaus Wowereit and his fellow politicians, who were not only among the members of the board of trustees of Berlin Philharmonic but also in charge of all those bankrupt opera/symphony orchestras in the city of Berlin?
(…) Now, I find that it was FOUR days before La Scala’s Lissner failed in Salzburg on May 19, 2009 (… after failing in Berlin…), whereas it was FOUR days after IT when Merkel lädt Stars (Waltraud Meier) zum Konzert am Brandenburger Tor on President-Election Day. Everybody was very busy during the week. Then, this event, Waltraud Meier heads for the Proms, was to prepare Judge Appointment Committee to meet to appoint Beinisch’s picks on Aug 21, 2009. I just realized this relationship.
Anyway, Elena Bashkirova always tried to show that this Berlin musician is another mother for MICHAEL BARENBOIM. Please check victorious smiles from her and her Jewish boss. Are they now trying to show that WEDO 2009 are their adorable kids? As I wrote in DEAR BARENBOIM’S FANS (Jul 28, 2009), she is toward her retirement and her position should be reserved for MICHAEL BARENBOIM. When is she going to announce her retirement? I can openly write about her early(?) retirement, because I can openly compare her comical body language with that of female members in French orchestra in old days. People never watch French docu films and never remember that there were female members in the French orchestras and their superiority can beat any female members in other ensembles elsewhere today.

PERIOD.
Please check this performance by Karajan’s BPO. This first female member appears at 5:00. She was originally a bimbo-character. Or why her body language doesn’t match with the rest of Berlin members? Then, does she look/sound superior to her male partners and leading them into better place? Does this female musician now want to stay away from her real friend? We’ll see.

(This part will be deleted… I know this young Barenboim-sh*t will still have to waste his life at Staatskapelle Music School, which professor is presently teaching him a wrong concept of German sound… especially after I pointed out how Guy Braunstein and Elena Bashkirova destroyed this fiddler… This is none of my business, anyway… Just sick of the endless list sticking around this rising human trash… This part will be deleted.)

(Updated on OCTOBER 29, 2009)

Beinisch: Government turns blind eye to illegal settlement construction Oct 29, 2009 / By Haaretz
Supreme Court President Dorit Beinisch accused the government on Wednesday of ignoring illegal settlement construction in one of several barbed remarks that could presage a first High Court of Justice decision ordering the demolition of illegal housing in the West Bank. (…) Ofra representatives said they have documents proving the land has been purchased, and argue that the ownership of the land should be contested in a Magistrate’s Court, as with any property dispute, not in the High Court of Justice. However, Beinisch said such land deals were illegal. The justices said they would rule on the matter shortly.

Very funny is that Dorit Beinisch is quick to check this computer work… AGAIN. Whenever I ‘poke into’ her ‘secret society’, this female jurist suddenly becomes busy. Speechless…

Now, I know this Legal-or-Illegal debate itself is a Bullsh*t. Everything will be up to the Palestinian State. If this land belongs to the Palestinian State, it will become Palestinian property. If not, it will have to be under Jewish control. Is this Jew a settler? This is my only curiosity. This Jew says that he paid his Palestinian-Seller Enough-Money. If it’s true, it’s the end of the story. I think this is not the first time to read this kind of story. Now, I have a feeling that some Palestinians sell their lands to the Jews and get money and then go to the court to insist that this is still their property. From time to time, I read Palestinian President warning his people NOT to sell their lands to the Jews.

Of course, I know how hard Palestinian life has been. However, business is business and there is nothing for the Seller-or-Buyer to do after finishing the deal. The only thing left in this story is that… if this land becomes Palestinian State, the Jewish owner will have to decide his future ownership. If he has a hard time, he will have to sell it to the Palestinians and the price will go down. If not, the price will go up, up, and up, and he will still have to enjoy his ownership.

IF… if Ahron Barak’s bimbo, Dorit Beinisch, was so sincere in her ideology and so serious about protecting those poor Palestinians, she must have developed a systematic structure inside her Supreme Court while she was enjoying her heydays as a Princess of Ahron Barak. Now, everything is a mess, and what the hell is she doing whenever I mention something-Beinisch-or-Trash? She must be very tired now.

Anyway, when is this Female Jurist going to resign for the sake of Pure Jewish Branja System?

AFP: Simon Rattle to stay at Berlin Philharmonic til 2018 May 13, 2009

Please check
🙂 From Palestine > Spanish PM Zapatero Announces Foreign Tour to Help Advance Peace Talks (Jul 20, 2006 – Oct 18, 2009)
Spanish PM to Israel: We’ll do anything for peace Oct 15, 2009 / By Ynetnews
Jordan to Spain: Jerusalem is a “Red Line” Oct 18, 2009 / By ISRIA
Visiting Ramallah, Spanish PM Calls On Israeli To Freeze Settlement Activities Oct 16, 2009 / By International Middle East Media Center
(…) Zapatero stated that a full freeze of all settlement activities is a fundamental issue, and that his country wants to ensure the resumption of peace talks between Israel and the Palestinians. (…) There are nearly 500.000 Jewish settlers living in the occupied West Bank and in occupied East Jerusalem. After evacuating the settlers from Gaza in 2005, Israel relocated most of them into West Bank settlements.

NOT MY REQUEST, though…

This is not my request to the German Government.
Rather, it’s my advice to the Fan-Club of the German Generalmusikdirektor-X, who has a lifelong dream to succeed British Sir Rattle in 2018.

Please check the number of Settlers in Barenboim’s Israel. Even now, the numbers are increasing and every each member has a perfect right to vote for their ideal leader. Who do you think they will vote for? An advocate of ‘Two-State-Solution’ or a guardian of ‘Greater-Israel’?

The same goes for the Berlin Philharmonic members. It’s been years that Sir Rattle has been giving a generous injection of his favorite ‘sound’ into the BPO’s veins whenever he is ‘sober’. Already now, the member-changes look significant and THOSE members know that the inferior conductor is better for their survival. (Please check the members’ face whenever Barenboim tries to lead his strings into the purity of German sound. THOSE look very uncomfortable.) This is the year of 2009, and already now, the number of THOSE members are increasing. Please imagine the number of THOSE members in the year of 2018. What’s more, they will become more and more aggressive, duller and duller.

THEREFORE,
I say…
IF… if this German Generalmusikdirektor-X is ‘truly’ keen on preserving his favorite German Tradition,
If the Fan-Club of German Generalmusikdirektor-X is ‘truly’ able to capture the real beauty of German Tradition,
I say… ‘GOOD LUCK!’

(Updated on NOVEMBER 5, 2009)

MY REQUEST TO GERMAN GOVERNMENT
REQUEST-4: Sir Rattle can’t work with NEW concertmaster, whose identity will be either Jewish or German and whose musicianship will definitely prove superior QUALITY to that of Gidon Kremer or Elena Bashkirova’s Jewish Pig.

Sir Simon and Berlin Extend Through 2018 Oct 29, 2009 / By Musical America
(…) Extends contract as both chief conductor and artistic director (…)

Just in case…
In case the Berlin Philharmonic will be led by NEW concertmaster, especially the REAL German fiddler, Sir Rattle will want to steal my computer work again and again.

Conductor Simon Rattle to stay with Berlin Philharmonic through 2018 Oct 28, 2009 / By LA Times
(…) A spokeswoman for the L.A. Philharmonic said that the Berlin Philharmonic concerts were among the bestselling concerts of the season. Rattle, 54, has strong ties with Los Angeles. (…) In 2003, Times music critic interviewed Rattle. You can read the entire interview here.

Interview with the BPO’s NEW boss: The eyes truly have it Nov 16, 2003 / By LA Times
(…) These are, of course, the kind of things a conductor says, but not necessarily with Rattle’s tone of glee or the sparkle in his eyes. He laughs as he notes, “Look, they just chose, one after another, the two conductors in the world who conduct with their eyes most open after this conductor who conducted with his eyes shut.” (…) He too threatened to quit if Berlin’s bankrupt government cut funding, as it had insisted it must. He also threatened to resign if the orchestra didn’t find a new administrative structure that would unite its lucrative media wing with the regularly functioning orchestra. The existing structure had led to musically compromising projects. “It was really important to keep the pressure on the politicians,” Rattle maintains. “I refused to let the orchestra be a political football, so yes, I would have resigned. And what I said to the orchestra is that, ‘If you want me to come, we have to be all in one boat.’ I fought for them with the city, but I also fought them, insisting that you can’t have power without responsibility.” But Rattle insists he is not fighting any of the battles he expected with players and audiences for making the musical changes he envisioned. (…) Last season, the orchestra recorded Beethoven’s opera, “Fidelio,” (…) “Fidelio,” however, demonstrates that Rattle cannot be pinned down. His Beethoven is not one style or another but a combination that nods to both history and modernity. And Rattle claims that this flexible approach is slowly winning adherents in Berlin and within the orchestra. (…)

Of course, there are things that I really wanted to quote, but I don’t want to be called ‘…politically manipulating…’. I didn’t know that there was a specific nickname circulating among the BPO members. ‘Planet X’? Then, I myself must have earned a special nickname from Sir Rattle and his Berlin members. Was it ‘The B*tch’? I know how fast THE RUMORS spread among the musicians. Then what about the nickname for Barenboim? Was it ‘Meier’s Dildo’ or ‘Meier’s Vibrator’? Thanks to their Female-Leader’s interview, Sir Rattle’s Now-Wife: ‘Promiscuity is typical of our world’ (Aug 7, 2005), the Berlin Philharmonic has to behave more intelligent. Then was it ‘Meier’s Hitachi Magic Wand’? Or What?

Weird that, nowadays, Sir Rattle never threatens to quit no matter what…
And the Chief-Conductor and Artistic-Director of the Berlin Philharmonic will never want to resign even after 2018… even after Berlin’s bankrupt government cuts ALL the funding.

Brahms, Marvelously Considered Nov 2, 2009 / By San Francisco Classical Voice (blog)

No matter what kind of MUSIC they produce, Sir Rattle’s BPO will remain ‘The-Best-Orchestra-in-the-World’. THEREFORE, I strictly request Sir Rattle to make as many legendary recordings as possible with his ORIGINAL members and Waltraud Meier.

MY REQUEST TO GERMAN GOVERNMENT
REQUEST-5: …
REQUEST-6: …

WORKING…

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