Category Archives: 02.1 DB

Struggling Beethoven, Boulez, Wonder, Ellington, and Barenboim

(Start writing from March 10, 2008, Revised on March 24, 2008) 

http://www.nytimes.com/2008/03/10/arts/music/10naga.html?ref=music (March 10, 2008) Supercharged Solo Followed by a Cosmic Energy Riot 

JIWON: 

So… Mr. Bell still doesn’t know how to solve his problem. When I heard his SF-SO, his physical problem was getting worse, mainly due to his aging body. I’m pretty sure that he still remembers his conducting moments with his orchestra members. It was a perfect marriage, but does he think it was possible without MTT’s decade-long hard working? He should thank MTT for inviting him.I tried to listen to all the performances of SF-SO, but I was too tired to concentrate. I just remember some of their performances were not enough good to prove their ability. Still, I feel guilty whenever I think of those days, during which I underestimated MTT. I feel guilty, because I told one Korean-Mehta about my judgment. I simply did it, because American students told me how much the CSO string members jeered at him. It was in Urbana-Champaign, where I heard his Tchaikovsky and followed his SF-SO. Then, I couldn’t understand why their performances in recent years were getting worse. Well… I didn’t want to make any comments, because MTT can’t save my life. Now that I give up and write what I want to write, I just hope them to keep going.

Let’s return to Bell. Was it Beethoven? I don’t quite remember, but I am now too tired to read all the stuffs again in his homepage. I should have saved what hooked me while reading them. Bell was talking about his future plan as a conductor, two instruments holder, and a dutiful father. I agreed with him. If he’s been following my writing since You-Know-When, I hope him to accept my criticism as a good advice. (Needless to say, I lost my temper when he appeared in Mehta’s Tel-Aviv after I picked up his schooling. So, was it good?)

I feel sorry, but I’ve never thought Bell was handsome. Since his life completely differs from mine, I don’t think he cares for my opinion. ^.* Even Domingo hasn’t looked handsome. Sorry, but I am who I am. No male musician looks handsome when he never knows how to fully blossom his native talent. Especially when my beauty(?) is not praised by men, I feel no need to eulogize certain males. I also think… somehow, Bell’s music lacks further education. What if his mentor, Prof. Josef Gingold, is still alive? I’m real curious of his reaction to Bell’s present music. If he wants, here are my two cents.

I don’t know why, but when I read his plan to study Beethoven Symphony, I thought it would really help him to grow more. I’m sure Bell will find himself struggling between the structure and lyrical quality.

It was real difficult to play Beethoven, and I couldn’t understand it until Prof. Nicholas Temperley (UI-UC) lectured on this. Couple of years later, I was reading the Chicago Tribune to fight with Mr. von Rhein, who was mentioning Boulez’s “Structure-Comment” while reviewing his CSO concert. I was real quick to send my answer, in which I explained my experience. (My problem is that I forgot what the specific part was in Berlioz Symphony… alas…) But I’m still sure this is exactly the same thing as what I felt while playing Beethoven. (It is another issue that Beethoven was a sonnovabich-composer for the low horns, whose favorite mouthpiece has a high quality.)

Time passed, (perhaps several years…), and I happened to listen to Ravel-specialist “studying” Beethoven-cycle. For a while, it was so horrible that I really wished him to stick to his gun so that I could listen to his Ravel-version of Beethoven Sonatas. I thought… though it may be off the Beethoven tradition, it would be worth listening to, because I know what a hard job it is for even a talented musician to build those Ravel-muscles. Then, I had to drop my jaw when he was real serious of his Beethoven-dream and treated himself as a teenage student. Then… I started listening to his struggling between the structure and lyrical quality. It was a real fun to listen to his struggling.

Am I speaking of Boulez’s “The Structure?” I don’t know.

I still feel no need to read this headache book. I just want to hear his idea through music. And I heard Boulez’s CSO’s tone poem, “Also sprach Zarathustra.” Well… during my American residency, I was never fond of Boulez’s CSO, but I didn’t know why. So, I was real curious if I could find an answer from this recording. Well… this is not the Chicago Symphony Orchestra I know. Furthermore, I was in a shock to listen to the woodwind section, in which no one was playing the pillar. Then what about the brass section? They even have no idea about the basic concept of joining the balanced ensemble. I’m not talking about the balance between string and brass or woodwind and brass, since those dumb folks will surely misunderstand what I mean. But what disappointed me most was its cheap string section sound. What they seem to need is not Boulez’s “Structure” book but the metronome. How can they play like this? However… it is still much better than Mehta’s Zarathustra, which was literally an art-of-debate in a class of inferior IQed Jewish kids. I had to respect poor Dale despite all my disgusting feeling.

By the way, what the forumite wanted to hear from Boulez’s musicians, both Barenboim and X, was Mozart. Weird…

I did write about Bell’s Beethoven, because I hope him to struggle more and more to grow into a real musician and invite Barenboim as his soloist while taking a successful conducting job elsewhere he goes. Mastering all Beethoven symphonies will not be enough for talented brain. I know he was born quite a brain. I heard him confessing his student life, during which he entered the music school to literally go through the back door to achieve the highest score. Not all kids can make it.

Where should I go if I want to find trademark of full, mature sound of the Chicago Symphony Orchestra? Where should I go if I want to find all those fabulous musicians, who happened to make real music under Barenboim?

Wagner has nothing to do with my writing today. It was my mistake.

To be continued… (Too busy now. No time to make a posting in my blog.)

(Written on March 17, 2008)

I’m now ready to open my blog… But, I want to finish my mailing to Spain and Middle East first. It will take time. Thank god… the bloody nose wax, which was hurting so much for months, suddenly stopped when I resumed walking-exercise. Then, I exercised too much. It’s been years, but I’ve never experienced this physical symptom.

Hans Richter Haaser… Right, this Ravel-Specialist should have listened to this German pianist first when he opened the Beethoven-score to study. Also… this is why Boulez’s man didn’t sound enough stable during his Beethoven performance, despite the fact that Barenboim’s fan heavenly praised his Mozart concert and that his ensemble members were getting better and better during his Beethoven.

However… sometimes it is more fun to listen to struggling Beethoven than to normal authentic music. This is why I think audience loves to go to the live performance.

What is weird is that it’s not my first time to listen to Hans Richter Haaser’s Beethoven, but I’ve never thought about this. While writing my previous message, I had to remember from-Ravel-to-Beethoven, and then I heard this German Beethoven, then suddenly I was able to make a connection. Perhaps… I heard his imaginative sound during his struggling. But still, I thought that he still doesn’t belong to Barenboim-Schule… WHY? Weird…

Do you know how much it is hard to build Ravel-muscle? For a normal human being, one has to sacrifice his whole life. This is why I am so sick of Helene Grimaud’s big mouth. Recently, I heard this big mouth again. How come she can boast that different colors are found from her music? This is simply one-dimensional spread, ugly sound. When I checked her New-York-ensemble, she even had no idea about the basic concept of ensemble technique. I’ve even never heard of different colors from Boulez’s Paris Ensemble. No wonder Barenboim and Mehta were behind this big mouth. Sic! If she keeps selling Barenboim in her pro-life, I will make this posting appear in my blog.

(Written on March 24, 2008)

If I am forced to listen to Helene Grimaud as Barenboim’s protégé again and again, of course, I have more things to write.

In those days, I was becoming a troublemaker at the UM-KC. I knew that I was a troublemaker, but there was nothing for me to do. Unlike at the UI-UC, where my troublesome student life had only saved its Horn Professor’s dying professorship regardless of what happened between his favorite mouthpiece and me, my Chicago-fame only contributed to destroying Ms. Bloch’s lifelong achievement. I knew how much Prof. Bloch was appreciated by her fellow female professors.

One day, I was sitting in the corner of the hallway and a female professor of the piano department was walking in front of me. How can I forget that moment? …so much contempt in her eyes… There was nothing wrong with her private feeling against me.

Still… whenever I think of those days, I want to cry. Then, I returned to Korea to read an interview by Helen Grimaud, who called a female professor of Paris Conservatory a “French Bitch.” In the Piano-magazine, she even boasted that her opinion was encouraged by Kremer and Barenboim because it is a typical of genius. I had to think, think and think. Is my case similar to this French big mouth? So, I had to research all the possible information about her. Speechless… What surprised me most was that her troublesome kid-days were not the characteristics of genius musician but simply one of mentally insecure hysterical kid, who really need a mental therapy.

Thanks to this kind of big mouth, I couldn’t start my insulting Ms. Bloch in an open place. Time passed… and I hear this big mouth resumed her business. Perhaps… she also thought that I disappeared. What I feel funny about this female pianist is that this aggressive, even raw sound was an outcome of hours of Yoga-Practice.

I still think. Provably, Grimaud-scandal was quite a noisy, dirty issue in Paris during Barenboim-era. And I read quite a prominent male fans were supporting this female pianist. I promise. If I experienced THAT-contempt in female professors’ eyes in American music school, there must have been perhaps-more-contempt in female professors’ eyes in Paris Conservatory; toward Grimaud and especially toward Barenboim. Paris is known as a bimbo’s country, but its female professional society really differs from the BPO, where history of female musicians quite stinks. (I heard quite rumors…) It’s even higher than the standard of male musicians.

It’s been years now, and Grimaud’s Chopin still sounds less than nothing. I am still curious. Who was Grimaud’s “French Bitch” at the Paris Conservatory? Is this female professor still alive? A professor gave her student a tiny, but terrific advice, and then the student called her a French Bitch in an international magazine under Barenboim’s wing. Then she was able to enjoy her fame as a top-rated instructor in French music-festivals even after failing in winning the international competition. (That was basically why I dropped my jaw when I checked that Grimaud was leveled even above this Ravel-Specialist.) If Grimaud really wants to understand what Chopin should sound like, she should remember her Paris days, rather than her private friends or Barenboim’s Berlin. So sick of this big mouth. There is an audience, who loves wolves and wants to listen to Grimaud’s wild(?) music. I wish her a good luck in her future.

If Barenboim wanted to support my troublesome student life simply because he thought that I was like Helen Grimaud and my favorite was to rebel against all the professors of American Music School, he should stick to the bitches around him. I was just a lovely toy of all the ultimate pro-musicians, who wanted to fight; a fight between the Chicago Symphony Orchestra Members, a fight between the CSO and the Northwestern, a fight between the American Music Schools, a fight between the Performers and the Musicologists (SIC!)… I felt funny when I read Barenboim’s description of du Pre as a rebel, because I think du Pre’s greatness lied in her calling her teacher a Cello-Daddy. Well… I am neither like Helen Grimaud nor like du Pre. I am who I am… just one of mere human beings, who happened to remember her previous performance and wanted to know its reason.

Returning to Struggling Beethoven…

I’m just thinking about specific notes in this Beethoven; specific notes require specific “tonguing.” I hear this same technique from Furtwangler’s Schubert Symphony. I also heard this same imagination from the former horn principal of the Cleveland Symphony Orchestra, who was struggling Rossini’s Overture. Then it was the same music when I heard the member of the Boston Symphony Orchestra playing American music, even Jazz.

All those were the same techniques, the same imagination which I never heard from the brass section of the Chicago Symphony Orchestra. Sigh…

By the way, speaking of the Boston Symphony Orchestra, I want to writhe something more. I wanted to write this for more than ten years. I really hope its former horn principal find this posting. I was in Kansas City when he participated in the International Horn Society Summer Music Camp. By then, I was damn busy at learning how the horn principal of major orchestra should sound like… and then something terrible started to happen. Finally at the end of concert, he got furious at all the situation around him and just left the Music Camp. Everything surprised me, because absolutely no one in the International Horn Society understood the reason of his anger. Then… soon, I heard his retirement. (I think it was couple of years after this Schumann-concert.)

I wanted to write the exact spelling of his long name, so I went to the BSO’s homepage but in vain… They don’t provide information about the retired members. I even can’t find his name in List of horn players from Wikipedia. What’s wrong with me or him? Anyway… I just wanted him to know that I was there and heard why he lost his temper that moment. I’m still curious… Have the members of his horn section been there or heard his troublesome performance that day? If so, do they know why? If so… they only have blessed future no matter who conduct their orchestra. Frankly speaking, I don’t think they do…

While roaming their homepage, I am in shock to find that my favorite members, two indeed, also disappeared. No wonder they sounded like the CSO…

Should I finish here? I feel like having one more writing on Music and Barenboim.

One day, I was listening to the pop music program on the radio. As usual, they were chatting about their favorite pop-music, and suddenly their subject was changing. They said that all the pop-music program hosts voted for their favorite singer and the winner was Stevie Wonder. And then they kept explaining that Mr. Wonder’s hero-or-mentor-or-idol is Duke Ellington. And they played Wonder’s “Sir Duke.”

Music is a world within itself
With a language we all understand
With an equal opportunity
For all to sing, dance and clap their hands
But just because a record has a groove
Dont make it in the groove
But you can tell right away at letter a
When the people start to move
They can feel it all over
They can feel it all over people
They can feel it all over
They can feel it all over people
Music knows it is and always will
Be one of the things that life just wont quit
But here are some of musics pioneers
That time will not allow us to forget
For theres basie, miller, satchmo
And the king of all sir duke
And with a voice like ellas ringing out
Theres no way the band can lose
You can feel it all over
You can feel it all over people
You can feel it all over
I can feel it all over-all over now people
Cant you feel it all over
Come on lets feel it all over people
You can feel it all over
Everybody-all over people

Now, compare Steve Wonder’s “Sir Duke” with Barenboim’s “Tribute To Ellington.”

Waltraud Meier already boasted that she was not that cheap and pop-music didn’t work for her. This voice(?) has been damn busy after reading my Boulez-writing. What is she going to do with this one?

In those days, despite all my miserable life, there was a fun time. I could hear all the rumors. Rumors frequently tell more than something; Beethoven and its sex-scandal at the New England Conservatory, the CSO members’ sex-tour, Cellist X’s sex-scandal, terrific sex-rumors inside the BPO, weirdest marriage inside the Julliard Music School, which male faculty really envied… When I became stuck in a computer room, it was still fun because I was able to read all the rumors while sneaking into the forums elsewhere.

Now… everybody seems to ZIP their mouth. I feel awful. I feel like destroying everybody’s fun game.

If I were Barenboim, I would secretly order Multi Orgasmic Man from Amazon and study very hard and think of various sitting postures during the rehearsal time. This is a real horrible sitting posture.

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Lost Article!!! DB – Wagner

Barenboim e Wagner      Group: it.arti.musica.classica

http://groups.google.com/group/it.arti.musica.classica/browse_thread/thread/e8d0cd8d0959ac9e/bad2eb480343c242?hl=en&lnk=st&q=barenboim#bad2eb480343c242  

Cosa pensate dell’intervista: http://www.rodoni.ch/busoni/dibattiti/baremboim.html
ed in particolare:

«Lo so, così come riconosco che c’è un modo tedesco di pensare la
musica, legato anche alla lingua, al peso delle consonanti. Ma non sta
qui il problema del fascismo, che inizia quando si dice: solo un
tedesco può capire questa musica. E poi l’antisemitisimo non è solo
Wagner. Mi sono messo a ristudiare la Passione secondo Giovanni di
Bach scoprendo che è il testo più antisemita che ci sia. Bisognerebbe
cancellarla per questo?»

Frank

http://www.rodoni.ch/busoni/dibattiti/baremboim.html

DB Has Friends… (really?), Boulez & DB, Parsifal

Originally written on Feb. 20, 2007 (Part 2) 
Dear New York Folks,This is Jiwon.

….

Let’s finish today’s work:

Has Barenboim felt lonely since du Pre’s death?

Has Barenboim felt lonely since Said’s funeral?

The world is full of human beings and friends are everywhere:

1. http://www.youtube.com/results?search_query=barenboim 

2. http://groups.google.com/groups?q=barenboim&start=0&scoring=d&hl=en&ie=UTF-8&oe=UTF-8&

3. http://blogsearch.google.com/blogsearch?q=barenboim&hl=en&ie=UTF-8&oe=UTF-8&sa=N&tab=gb

4. http://forums.nytimes.com/top/opinion/readersopinions/forums/index.html?query=barenboim&location=all&type=search&action.x=17&action.y=13

5. There used to be other forums, in which I enjoyed peeking at their comments. I found Henry Fogel’s Barenboim-comment from one of them. Now I am too tired to…

JIWON: Here goes the gold medal: (deleted…) JIWON: The world is so large, so small that it took two weeks to be answered in another place: (deleted…)

JIWON: Another medal goes for this:

http://www.youtube.com/watch?v=yp98pq8YEbM Barenboim en Argentina, Un grande interpreta a un grande

JIWON: It seems that the poster, 24 year-old from Angola, wanted to show us the atmosphere of this concert. Look at the people. BTW, this orchestra really needs more of sectional rehearsals. Playing in tune is not yet their issue. I’m surprised at their very basic, though. I know they speak Spanish, but their air is different from the Spanish ensemble. It is rather similar to the air that I feel from the Argentinean soccer performers. Soft, Warm… Weird.

JIWON: Another good comment follows:

http://forums.nytimes.com/top/opinion/readersopinions/forums/arts/classicalmusic/index.html?offset=44742 January 17, 2007) Toscanini’s commemorative concert: In the photos, Barenboim looks like he just rolled out of bed; no tux or any facsimile thereof, wearing a black shirt opened at the neck and a jacket. Yes, yes…..it’s all about the music, but Milan’s audience is still one of the most sophisticated and best dressed anywhere. Barenboim’s “attire” didn’t score high marks…….particularly after the superlative good looks and bella figura of Muti

JIWON: Now, let’s thread our way through the friends:

http://www.youtube.com/results?search_query=Barenboim+Brahms+Celibidache+&search=Search Brahms – Piano Con. n°2 by Barenboim & Celibidache

http://www.youtube.com/watch?v=D18AujwrQb4 n°2. Mov 1 (part1)

51 year-old from France: Of course Barenboïm is a great master! Beeing a master doesn’t depend on how fast you can play Liszt or Scriabin’s studies. Open your ears when listening to this concerto, or listen to his Beethoven sonatas and concertos, or to the Mozart’s ones. May be you will understand that he is much more a master than so many young asiatic pianists who can play faster than him!!!

15 year-old from Denmark: Daniel Barenboim. Sure. This is pretty good, have heard it better though, but some of Baremboims ideas of this piece are amazing. My favourite part starts at 01:54

http://www.youtube.com/watch?v=EoH9QOVSqX0 no°2. Mov 1 (part2)

51 year-old from France: This interpretation is different from the F’s one, it’s much closer to Arrau, for instance. And it is splendid.

http://www.youtube.com/watch?v=FG7F_z1xnIs n°2. Mov 3 (part1)

51 year-old from France: I find Barenboïm at least as amazing as Celibidache. His playing is unbelievably full of poetry and spirituality. He confirms once more that slow movements are his “speciality”.

http://www.youtube.com/watch?v=X-p0zDL8hFU n°2. Mov 4 (part2)

51 year-old from France: Barenboïm succeeds in making this fascinating despite Celibidache’s slow tempi. What an artist!

JIWON: In general, it was a wrong relationship. Celibidache’s concept doesn’t work for Barenboim’s pianism. I wonder what makes Barenboim think of Celibidache as his mentor. To be sure, Barenboim learned many things from his conducting techniques and I read Barenboim’s saying about his slow tempo. I know what Barenboim means. But frankly, this style simply doesn’t work for du Pre’s Barenboim, who wants to conduct Furtwangler’s “Little Republic.” While reading this thread, I found interesting opinions, explaining Celibidache’s sound theory, and his tempo as a question of acoustics more than speed. There was nothing wrong in their postings. The problem was that Celibidache seemed to be chained by rehearsal room sound. Whenever his members play for the concert, he was killing their instinct and the moment. It was opposite to Furtwangler’s case. Or Celibidache must have favored a very special kind of acoustics, instead of Furtwangler’s favorite one that is same as mine, even in the recordings. Boring Brahms, in general.

http://www.youtube.com/watch?v=rIGfz2GPd0Q Barenboim – 50 years on stage

31 year-old: I’ve known and followed him since 1966. Never could figure out why he stopped piano, but personal reasons I guess. Brilliant pianist.

http://www.youtube.com/watch?v=7w17MamPY7A Parsifal Act I Prelude_1

JIWON: When this fucking brass section is going to play in tune???

http://www.youtube.com/watch?v=LnG8HDDrY4w Parsifal Act I Prelude_2

JIWON: Will they answer that they just can’t ignore the holy wood winds playing in the wrong ground? It is a result of years-long chamber concerts, isn’t it? No wonder the folks rushed to Jerusalem. When I started reading articles from Berlin, the first thing I found was like this: “Barenboim touring with his Berlin ensemble – the maestro prefers to sit with the members instead of finding himself in the first class. One member approached him and grabbed his hands or hugged him and said bla-bla-bla…” This article made me plunge into Barenboim’s Staatskapelle, and how many fucking days had I wasted to support this hopeless ensemble? Years later, I saw that same instrument playing for Bashkirova, and I was speechless. I now know his reason to say bla-bla-bla. Did I work for this trashy bin and their concept of chamber ensemble? The more time I think of my lost life dedicated to those jerks, the more… Firing them will not be enough. One should break those necks, which have no concept of playing chamber music, nor have an idea of playing in tune as orchestra members. So, who is going to be the first member in Milan approaching Barenboim, grabbing his hands or hugging him, to say bla-bla-bla?

http://groups.google.com/group/rec.music.classical.recordings/browse_frm/thread/75bff829d0bc7f82/ee84e9e2bc622a3e?lnk=st&q=&rnum=2&hl=en#ee84e9e2bc622a3e

http://homepages.ipact.nl/~otterhouse/ Childish Downloads: à 45RPM’s by 12 year old Daniel Barenboim

http://groups.google.com/group/rec.music.classical.recordings/browse_frm/thread/2ad52ff801b3a1b1/1bbdb6c0e3ef7b20?lnk=st&q=barenboim&rnum=2&hl=en#1bbdb6c0e3ef7b20 A REAL Great Recording of the Century

Forumite: You forget that I have been around this pasture for longer than I like to think. I bought that item on LP the month it appeared. DuPre, good as she is, in one of her more wayward moments, in my opinion. She was always a taffy-pull kind of musician. I heard her dozens of times in person. Captivating on the stage. On records, well, you need to be rather selective. I continue to favour the Barbirolli version on EMI, which was her first recording of the Elgar, over this later one. Barenboim was head over heels in love with his wife at this time and she could do anything she wanted and there’s the rub. She wants to do too much. The “in person” version I heard in Toronto was unforgettable, but that exists only in my memory, alas. I don’t remember the conductor, but it was probably SO. Just can’t remember. The vision of Jackie. with a smile on her face right out to the ears, swinging her priceless cello over the heads of the TSO violin section is just one of those things one doesn’t forget. What followed was just one of those precious memories.

http://myrightword.blogspot.com/search?q=barenboim Forumite: Do You Know (Of) These People? You don’t? You are not in awe of them? You have no respect for them and their talents and accomplishments? Their wisdom, individual and collective? Oh, well. In any case, here’s what they wrote and what was published in their names in today’s NYTimes:- [Impassioned Pleas in the Mideast] – But there’s no one from Lebanon. So, I sent off this letter to the paper:-

JIWON:

This guy is the one who wrote “Boom Boom Barenboim.” I didn’t know that he is a Vice Chairman of Israel Media Watch and THAT headache participant in Barenboim’s Reith Lecture in Jerusalem. Here is my problem. I don’t understand either this guy’s spoken music or Barenboim’s answer. What a headache… Anyway, I am now thinking to open my blog in his neighborhood. Cool! ^o^

While searching for more friends, something hit my eyes. I remember one Google Forumite, who was claiming to be Barenboim’s devoted fan appearing many times to defend this failing conductor, yet I never saw his involvement in Barenboim’s Wagner debate nor sending his comments to Meier forum. So, I used to think that his interest in Barenboim lay only in his instrumental music until Ms. Varnay passed away. Now, I start to find his Wagner postings.

http://groups.google.com/group/rec.music.classical.recordings/browse_frm/thread/8d8313ab15f363e9/e2557fa91a0b763b?lnk=st&q=barenboim&rnum=3&hl=en#e2557fa91a0b763b (Feb 13, 2007) Re: Which Ring cycle to get – Solti or Keilberth?

Barenboim-Fan: [>I just saw that the Boulez Ring Cycle is available on CD. Price comparable to the Bohm.] – Although one really should be warned that Miss Jones’s voice is in complete tatters in the Siegfried, flapping like a torn flag in the wind, and very nearly so in the Goetterdaemmerung while the Siegfried has the sophistication of an awkward bull. (Jones fares rather better in the very different music for the Walkuere Bruennhilde, although we’re not talking Frida Leider’s technique in any case.)

Barenboim-Fan: Just about the only Keilberth performance I know is the live Arabella on DG with Della Casa, Rothenberger, and Fischer-Dieskau: the comments of B and others have made me curious to hear at least the Siegfried from the Keilberth Ring. In the opinion of the perfect Wagnerites, what are the relative merits of the live Bayreuth Ring’s with Keilberth, Knappertsbuch, and Clemens Krauss: not of the singing or the quality of the recording but of the conducted performance?     I haven’t heard the Solti Rheingold in years, but, for what it’s worth, I’m much less enthusiastic about the Solti Walküre and Götterdämmerung than the Siegfried. I normally don’t think of Solti as the most distinctive of micromanagers when it comes to phrasing, but, even at the level of the tiniest individual motive or gesture, his shaping of the Siegfried strikes me as extraordinary, both his surprisingly refined shaping at the level of the motives and the way he projects the broader sweep of the thing. (Solti’s elastic handling of the prelude to Act I and the beautiful way he delineates the individual motives, for example, are not to be believed.) I don’t feel the same way about the Walküre and Götterdämmerung at all:  he muscles his way through Götterdämmerung one disjointed episode after another.  Not that there isn’t a lot of pleasure to be derived from the raw energy and gorgeous playing, but this is not exactly first class music making.

Barenboim-Fan: [>In fact, I would say that there’s something attractive with opera recordings in historical sound. Maybe, I feel some of the singing in some of the more modern recordings can be a bit over-whelming. I really like the old Maria Callas stuff, so maybe I will have the same relationship with Wagner?] – AH! Then you ought to hear Miss Callas sing “Dolce e calmo” from Tristano ed Isotta both on the 1949 Cetra recording and at the Athens concert from 1956(?). Votto’s conducting in Athens is very fine. (I’m much less of a Parsi-phile, but there’s also the Kundry under Gui.)

JIWON: His Kundry posting prompt me to search more…

http://groups.google.com/groups/search?q=kundry&hl=en&enc_author=QtCabRMAAAAvh3yhlVQQ5Ott-qOeK5eaWMj6vob75xS36mXc24h6ww&qt_p=Search+author%27s+posts

JIWON:

Wow… If his postings are like this, what about other respondents’? One wrote, “It is certainly not Kundry who redeems Parsifal, but Parsifal who redeems Kundry.” So I went to his Meier-posting and this is the one: “But shouldn’t her name come before Meier’s? I assume she sings the title role, with Meier as Sieglinde…”

While reading his postings, I found something more interesting. So, I went further.

http://groups.google.com/group/rec.music.classical.recordings/browse_frm/thread/5812146a5a56e82b/a97c7264d1a16069?lnk=st&q=kundry&rnum=9&hl=en#a97c7264d1a16069 (Nov 4, 2003) Re: Parsifal discography, old and new

Barenboim-Fan: [>Shouldn’t there be more warmth?] – People charge Boulez with a lack of warmth and often attribute the lack to his interest in (a presumed) heartless, soulless “modern” music. It is in fact a matter of temperament and culture, and the charge misses–misunderstands–the target. There is a whole century and a half long French tradition that is given the creeps by the hot sweaty bear hug of late German Romanticism. (Manet, Monet, Degas, Rimbaud, Debussy, etc.) “Do you never weep in verse, Monsieur Mallarmé?” “No, nor blow my nose.” (”Non, ni me mouche.”)  Debussy and Boulez are also French/secretive. They believe the secret emotion is the real one, not the one on somebody’s sleeve. They prefer inference to making explicit.  Argue that the Frenchman is therefore temperamentally unsuited to conduct Wagner–but Wagner is one of the composers that Boulez is in many respects the very best suited to–but don’t simply say that Boulez is “cold.” And Parsifal is a different kind of opera from the other nine canonical Wagner operas: it’s not essentially a love story. There is a lot of volupté in Parsifal and a lot of “religious” “purity.” The volupté and purity are right up Boulez’s alley. I’m also surprised that G doesn’t see from the Boulez essay how interested in Kundry’s psychology Boulez is.

Barenboim-Fan: [>Do anyone know the Boulez Parsifal?] – I do. At least I know the DGG recording. Several friends who are more interested in Parsifal than I am believe that his best performances of Parsifal took place in his first Bayreuth season rather than in 1970 when DGG finally got around to taping him, but I’ve never heard the earlier performance made available by, I think, Melodram. In any case, I think Boulez is the best thing about the DGG set. There are many aspects of Wagner’s writing to which Boulez is extremely sympathetic, including Wagner’s conception of orchestration, an orchestration that changes “like clouds,” as the composer put it.  (Debussy admired it for similar reasons.) Boulez is obviously enchanted with Wagner’s orchestration, presenting it with a very radiant clarity and purity. Rarely have Wagner’s textures been presented so lucidly, seemed so pellucid, rarely have brass instruments sounded more gleaming, etc. etc. I’m not convinced that Boulez’s pure but comparatively thin (in a non-pejorative sense of the term: thin as opposed to beefy) string sound–its light-weight-ness–is echt Deutsch, but Boulez is undeniably responsive to Wagner’s colors. Second, Boulez is fascinated by more than one aspect of Wagner’s continuum. (The older he’s gotten, the more he’s found to admire in Wagner and Mahler.) One is its seamless but flexible continuum. (Actually, such a continuum is not invariably as characteristic of Parsifal as of Tristan and the later Ring operas. I’m thinking of those choruses in Act I that sound a bit more like Kurt Weill than I like.) Boulez is extraordinarily attracted to, deeply responsive to, a seamless, supple, and flexible continuum of this kind. At the same time, he’s an absolute master of Wagner’s long line, and these two sensitivities are indispensable for Wagner, although it’s very hard to put your finger on the tangible results of my second more platitudinous compliment. (I do believe in–can hear–what I’m writing about, intangibility and platitudinousness notwithstanding.) Boulez is also interested in the kind of “timelessness” that Wagner attempts to create at certain points in the opera. “Der Raum wird hier die Zeit”: “Here Space becomes time,” as Boulez, revealingly quoting Gurnemanz, entitled the essay he wrote for the Bayreuth program booklet the first time he conducted the opera. Boulez’s own music is fundamentally based on a kind of writing that is richly developmental and yet, paradoxically, not Beethovenian/dynamic but “timeless”/spacious/hovering/floating. In short static: characterized by stasis. To the extent that this kind of conception is already found in Parsifal, Boulez is very sensitive to it. Finally, he is also extremely responsive to the voluptuous writing for the Flower Maidens. In the end, though, Boulez is “Parsifal for people who hate Parsifal,” as somebody wickedly put it. Or at least the Parsifal that has come down to us in some performances within the work’s performance history. Boulez’s orchestral sound is lighter in weight, leaner, more pure, more shiny bright, than Wagner himself ever imagined.  Where Wagner painted with thick rich oil paints, Boulez is all French “son et lumière.”  Boulez’s conception of phrasing is also not entirely echt Wagnerian. Boulez’s responsiveness to Wagner’s subtly fluctuating tempi and long line are utterly Wagnerian, but his conception of phrasing, a phrasing based on a seamless conception, although a post-Wagnerian development, differs from Wagner’s at the most immediate level. Wagner’s continuous phrasing, his “unending melody,” was rooted in a more old fashioned conception of phrasing, a conception based on series of explicitly shaped gestures at the immediate level. Wagner took these old fashioned phrases and swallowed them up within a more seamless continuum, but those constituent gestures and phrases are still there. Phrasing involves (in part) the creation of the dynamic envelopes that envelop the harmonic/rhythmic “sentences” or phrases that constitute the building blocks in the larger form. Boulez’s very subtle and refined envelopes with their narrow ambitus, Boulez’s continuous phrasing controlled as if by rheostat, downplay the individual grandiloquent gesture, subsuming the whole within a kind of seamlessly unfolding pure filament of sound. To the extent that Boulez is Wagner’s future, he conducts Wagner’s future. But the immediate gestures are comparatively slighted in a manner Wagner could never have foreseen. All too few people are aware of how extraordinarily refined an ear this guy has. Misapprehending what he’s about as a composer, they imagine failings in his performances that simply aren’t there (or, when they are, attribute them to the wrong causes). Far from being a heartless and clinical machine, Boulez is all suppleness and nuance and understatement and weightlessness.  But Wagner is all flexibility and gesture and grandiloquence and weight. I’ve presented both sides of the argument about Boulez’s performance, the utterly Wagnerian and the unconsciously revisionist, because they’re both there in his performance (although this post badly needs re-editing and reorganization and clarification, but there you have it.)  If you want to hear Boulez’s very special sensibility responding to a work that deeply interests him, you’ll hear some very interesting and fundamental aspects of Wagner in his performance. For certain other kinds of expressivity, and particularly the kinds of expressivity that depend on a much more muscular and distinctive sense of phrasing, a phrasing using larger and less refined gestures than Boulez likes, go somewhere else.  (Boulez’s faster than usual tempi are not at all un-Wagnerian: his tempi are slower than Levi’s at Bayreuth in Wagner’s lifetime.)             P.S. I’m not wild about Boulez’s singers. Not that they’re a total disaster. You’d be hard pressed to find a Parsifal as good as James King today, but I still don’t think he’s the second coming. His voice is not as fresh at the beginning of his career, and there is not enough interpretive insight to make up for the loss in freshness. Gwyneth Jones’s voice is not yet completely torn to shreds, certainly not to the extent that it will be in Boulez’s Siegfried, but it’s already hard to take anywhere above the staff. Too bad. She’s an intelligent singer.

Barenboim-Fan: [>Perhaps this means I’m not really “in tune” with traditional notions about Wagner’s musical world, but that is fine with me. I guess I’m glad that somebody–Boulez in this case–can intrepret Wagner in way that does a lot for me.] – Thanks for the kind words concerning my remarks on Boulez. Appreciating Boulez doesn’t necessarily mean you wouldn’t like the Wagner of Furtwängler or Knappertsbusch, of course. They aren’t slow pokes in this repertory, either. (The RIng, that is.) At the most immediate level, their phrasing in Wagner is at the antipodes from Boulez’s, and not to be believed. I’m not sure I’ll ever recover from hearing Knappertsbusch’s canny pulling of the strings at points in the Götterdämmerung on Testament, although the performance overall is underrehearsed, the ensemble occasionally sloppy, the singing less than spectacular. Boulez, by the way, is a fairly recent convert to Knappertbusch in late German Romantic repertory. One thing we are undeniably missing these days is big fat gorgeous Wagnerian voices, the Leider’s, Flagstad’s, Traubel’s, Lehmann’s, Melchior’s, and Schorr’s. I do hope you get a chance to hear some of these old timers one of these days. Gwyneth Jones at the end of her career is really not the same thing. One place to hear what Boulez can really do with phrasing is a live BBC SO Mahler 6, the scherzo. His use of tempo rubato there and the manner in which he delineates each statement of the various motives are really spectacular. Virtuosic technical control.

JIWON: Now, this is an answer to his posting:

Forumite-A: Until quite recently, any Wagner outside Tristan was foreign territory for me, aside from a few orchestra selections (Overtures, Preludes, etc.) I’ve heard F. and Kna. in those, and appreciated it. I think I’m only know getting to a point in my life where I can truly appreciate Wagner; previously (excepting Tristan) it’s seemed largely moribund and excessively, otiosely German to me. But…I think I’m starting to get it. I’ll spend some more time with F. and Kna.’s Wagner as per your recommendation. – [>One thing we are undeniably missing these days is big fat gorgeous Wagnerian voices, the Leider’s, Flagstad’s, Traubel’s, Lehmann’s, Melchior’s, and Schorr’s. I do hope you get a chance to hear some of these old timers one of these days. Gwyneth Jones at the end of her career is really not the same thing.] – Indeed. I have heard some of these singers you mention, but only, I’m sad to say, in excerpts. But, WOW.

JIWON: Here is another one:

Forumite-B: My God…what an insightful post. As I grow older (60+) I find myself drawn to ‘Parsifal’ more with each passing day. Wagner really did outdo himself in this opera. So much so that I don’t think even HE realized how very much that is so. I agree about the ‘Kna’ readings…really old school Wagner. I must grab a copy of the Kubelik. I worked with Jim King in the LOC production of ‘Carmen’…one of his last. He told me he just wanted to see if he could still do it. He could!! But what a heldentenor! And I don’t think I will ever hear the likes of his ‘Frau ohne Schatten’ ‘Emperor’ Very nice….

JIWON: His Boulez posting finally made me realize why Barenboim was always eager to work with him. Honestly speaking, I never liked Boulez’ CSO. It was after I “heard” Boulez’ BPO that I started pondering if he was a maestro. Then I “watched” Boulez’ VPO, and I could answer all my reasons. Then I read Tommasini’s Boulez article in the New York Times, and accepted their invitation. This poor guy still doesn’t know the reason of his article. ^o* A long story… So, I became curious. He was originally Boulez’ man, rather than Barenboim’s devoted fan. Then, how much this American loves Barenboim?

http://groups.google.com/group/rec.music.classical/browse_frm/thread/7afc542cb044b4ec/33048cc466642702?lnk=st&q=barenboim&rnum=8&hl=en#33048cc466642702 (Aug 21 2006) God Bless Daniel Barenboim

Barenboim-Fan: [Yes, God bless Mr. Barenboim.] – It may well be that his young orchestra brings out the best in Barenboim. Let’s hope so. I love the guy because I’ve heard him give unassailable performances in repertory that I’m passionate about, but something like 80% of the time, nothing much seems to happen.

JIWON: Is he lying?

http://groups.google.com/groups/search?q=barenboim&hl=en&enc_author=QtCabRMAAAAvh3yhlVQQ5Ott-qOeK5eaWMj6vob75xS36mXc24h6ww

JIWON:

I am tired. I must stop.

If I dig in this group again to find one more poster and read all his partners, it will only take more time to finish my work. Without changing anything in my life…

When I was in American music school, where I became everybody’s toy, I had to learn all kinds of dirty language, because it afforded me a great mental pleasure. I still want to learn more. I didn’t know that it was another myself until I picked up du Pre’s biography to read her dying life. Then, I happened to study Furtwangler. While searching for the stories about this tragic maestro and his utopia, I was able to forget all the politics around me. I could just concentrate on myself. When I took a flight to America for my further study, I never planned to study so hard like this. I just wanted my foreign degree, which could make me free from my late Korean teacher and end my slave life. I was a diligent student because there was always nothing wrong in teachers’ teaching, but I’ve never experienced such a pure moment like that. Years later, I read American forumites and I breathe the same pure air as I did in those days.

If I ever want to write about du Pre, it is perhaps because I know how much she drove herself into the bottom of despair. I know how much she hated seeing her spoken words misinterpreted by outsiders. When I listen to her, I know what she desperately wanted from her lover and her life. Music was only a part of it.

If I ever want to study more about Furtwangler, it is because I still miss that very moment. The purity of my soul. Perhaps, Kremer’s second ex will experience this same moment if she feels nothing left in her life. But then, does she have a talent to make a room for her improvement? Poor bitch… I am even suspecting if she has ears to listen to music. If she ever had, she must have picked up something from du Pre’s music while this woman was tragically failing. A man may not know, but a woman knows what a woman wants from her life. Bashkirova knew that du Pre’s husband was quite an ordinary penis, when she succeeded in her plan to be fucked. But still, du Pre was not an ordinary musician, who suffered a sexless marriage and then MS. What did Bashkirova hear from du Pre’s music? Now, compare the two postings, one of which is my first discovery and the other is my last finding from this group.

http://groups.google.com/group/soc.culture.russian/browse_frm/thread/1c6ad120cc14e3bf/1ff3ab7690f95f3d?lnk=st&q=barenboim+Galina+Bashkirova&rnum=1&hl=ko#1ff3ab7690f95f3d (July 12, 1999) Daniel Barenboim, Chicago Symphony Orchestra Director, married Russian musician, Galina Bashkirova. But of course, she isn’t really musician, but a whore….

http://groups.google.com/group/rec.music.classical.recordings/browse_frm/thread/cf0a1ac81a1aae58/b560f7039d4f4139?lnk=st&q=mehta&rnum=2&hl=en#b560f7039d4f4139 (12 Dec 2006)

Forumite from Israel: If you want to know the truth, I respect him more because he cancelled an appearance because his mother was ill (this was shortly after his father’s death). Unlike certain Famous Conductors who were too busy with their mistresses to spend any time by their wives’ deathbed.

Forumite-A: Such as a certain wife who played the cello really, really, really well?

Forumite from Israel: If you mean the certain wife who played the cello really, really, really well *before* she was on her deathbed, yes, that’s one famous example. I guess it says something about me that such behavior bothers me a lot more than something like playing Wagner in Israel.

Forumite-B: I find that pretty mean, too, but what business is it of ours? It’s their private life.

Forumite from Israel: I made no particular effort to find out the information, but once I had the information, I cannot deny that it colored my attitude toward the individual under discussion (far more than his naive political views ever did).

JIWON:

But then, I’ve never heard this Jewish guy mention Mehta’s illegitimate kid. Perhaps, he doesn’t quite like his current wife. Perhaps or weird… I’m curious. How many times Nancy Mehta was behind Meier’s Barenboim-project? I know she loves Meier and Korean girls, from whom her husband doesn’t expect sex, because Meier’s acting used to hit her soul.

In between, while Bashkirova was traveling all over the world as a Jewish Muse, the Jews never gave up sending their comments to forums elsewhere. It was Barenboim version of Simon Wiesenthal Group. If I ever fall in love with the Jews, it is purely because of the existence of Simon Wiesenthal Center. They never give up! Though terrific, it was very funny. Barenboim’s Jews never give up telling that Barenboim pierced the Holocaust survivors’ hearts with music of Wagner just as he pierced du Pre’s heart with his wrong ejaculation.

Leah Boehm interviewed that her Israelis put great emphasis on an analytical, logical way of life: They try to teach that one plus one equals two, and they believe that this conception should grow in their young kids’ brain from baby years. They teach that earning for nothing is the biggest crime and honesty is their first virtue. So, they favor straight talking. They really hate walking in the bushes when there are something to talk about. They teach to look at in the face and talk frankly, logically when they want to voice their discontent. While doing a large business, they prefer stamping on partner’s hand to just sign the papers.   

This is my wishful country, where I want to sprinkle my ashes. I am curious. What about America? But then, I wake up and prepare a fresh cup of coffee and think about Bashkirova’s Israel. This is a beggar’s country: http://www.jcmf.org.il/pressimages/MusicReviews.doc

Mr. Kremer is also a Jew. Whether Bashkirova is Kremer’s second ex or a mother of Barenboim’s illegitimate kids, she can remain as a Jewish Muse as long as she wants to. There are still so many things for an artistic director of Bashkirova Festival to do for the beggars, who desperately need her music for nothing. Planning three concerts a day in all the orphanages, kindergartens, music classes of all the schools, the soldiers’ camps, and senior asylums. Even in the Knesset, where the genius politicians, who are suffering from the general dementia, are hunger for the mental therapy through music. I don’t understand why she just roams the world and destroy all Barenboim’s fame, instead of sticking around her Jerusalem market and contribute the music business there.  

Should I drink a fresh cup of coffee? Do you think Leah Boehm, who is among the finest brains in Israel, lied in her interview? I promise. Attorney Beinisch will have no hesitation in making his Bashkirova a worldwide whore if he thinks it helps to make his Jerusalem Festival a real event. This is a Jewish characteristic that I’ve known. This is why I used to think that Hitler was partly right, and part of fucking Jews deserves the gas chamber. Which is the real Jew and the real Israel? I want to know.

Is there something wrong with me while insulting Kremer’s poop? It was exactly the same as what I wrote about this bitch when Barenboim wanted to be chosen as the BPO’s maestro and the Berlin Folks were praising Kremer’s poop as their queen. This is why I had to directly contact the BPO members, instead of just waiting for something from Barenboim and his BPO, who eventually got mad at my Furtwangler writing and dumped Barenboim. What a terrific job I did! How many years have passed since then? I’ve dedicated my golden years only to check all the facts about this historically unique pianist, Elena Bashkirova. I promise. If I give up now, Bashkirova will rush to Barenboim’s headquarters AGAIN and steal all my works AGAIN, appearing in Jerusalem as a German Queen and then traveling all over the world as a Jewish Muse, as she did during the past 10 years, especially since 2002(?) when the Forbes reported Barenboim’s income, which was half of his usual amount for the special reason. (I wish my memory is right. This article is in my old computer, and I couldn’t find it from the present internet news.)

Bashkirova was noisily dirty while I was still alive but far from Barenboim’s headquarters. Then what about Bashkirova during the period of du Pre’s tragic failing to death and after that? All Parisians in those days should answer me. Did du Pre’s husband rape Kremer’s second wife? I promise. It was an Art of Sex, a joint production by Bashkirova’s father, Bashkirova’s husband, and Bashkirova herself. They believed that du Pre would eventually die and all about Barenboim would be theirs and Bashkirova doesn’t have to wreck Kremer’s performance schedule. Years later when Bashkirova planned Barenboim’s CNN interview, it was already toward the end of my writings. She firmly believed in something regardless of Barenboim’s whatever decision. It must have been about Barenboim’s son. She was sure that I would give up after watching Barenboim in her CNN party. Paradoxically, it made me work, work, and work. Hadn’t she known that I desperately need my money, and that I feel nothing and just analyze the psychology of Barenboim, who claims to be mentally not-quite-healthy since the diagnosis of du Pre’s multiple sclerosis? Barenboim will travel all over the world and Barenboim’s fans+haters elsewhere will watch Bashkirova’s CNN interview. We’ll see.

If I ever join to train Barenboim’s Divans and Bashkirova still runs her Barenboim-project, I will make the Divans study music by analyzing Bashkirova’s performance with Barenboim’s pigs and monkeys in front of Bashkirova’s son. Only two possibilities will exist: If he’s inherited his mother’s stupidity and thick skin, he will never figure out what I am trying to show him. Nor he will smell all the jokes about him behind the scene. If he’s inherited Barenboim’s sensible brain, he will be the first one, who learns to realize the reason of his birth. If he still wants to study music despite all the things, he will listen to du Pre’s music more and more and make his future on his own. Please look at Mariah Carey, who tells about her mother and explain how the situation made her plunge into music. No one blames her, nor pity her. Her audience just thinks that it is a triumph of human power.

Bashkirova had better think of what is better for either herself or her precious son, if she still wants to keep her relationship with du Pre’s widower through Barenboim’s son. 

Bashkirova was right when she thought that I was/is/will be nothing, but at least, her story with du Pre is still “on Air” because she had stolen Barenboim’s sperms while du Pre was still alive and one of them now wants to join du Pre’s headquarters. Not Bashkirova nor I, but Bashkirova’s son will finish her decade-long story with du Pre. I will not omit this part. This will be better for Barenboim’s son, if he really inherited his father. Anyway, Mr. Kremer will take care of his lover till their last moment, and Germany is where the whore’s music is fully welcomed despite the fact that she still misses her beautiful days in Paris, which is a heaven of free sex and a single mom: Berlin, Dusseldorf, Lindau, etc.

This time, who is behind Meier’s Barenboim-project, since she doesn’t have to wear a red dress? I will figure out. Just sick of those bitches. I’m now wondering if the forumites know that she quickly deleted her own bragging compliments from her homepage when I started my insulting. This time, she should prove her rainbow Isolde with her slave conductor, who can recognize all the shimmering colors from her powerful acting. By then, she is welcome to boast that her Isolde levels above Flagstad’s. If I have one more word for Waltraud Meier, I heartily recommend her to receive plastic surgery before “singing” in her complete nude. The red Kundry’s breasts look like grandma’s, and her fucking facial expression only contributed a wrinkled face. It no more looks sexy. Get it?

Days ago, I happened to read one forumite saying that the Kupfer’s Singers look very poor because they have to suffer too much of physical movements or acting, part of which he feels unnecessary for music of Wagner. Then he mentioned Cosima’s request to the singers about how to act. This opinion awakened my years-long sleeping question about Barenboim’s Kupfer. It’s true that I really like some of Kupfer’s ideas but I kept suspecting if Kupfer’s stage acting was based on Meier’s Voice. This forumite gave me a clue. (This was a Korean website, and I am still trying to find its exact address.) Is it true? Whatever… I believe… if he feels running out of idea, he should stop. He should do something for himself until he is ready for his next life, instead of hanging on the color-blind conductor. Friendship never means professionalism, I believe. What’s the difference between Bayreuth’s WoWa and Barenboim’s Kupfer?

Now, I know I must stop.

Nothing’s changed Barenboim’s music since then.

Nothing will change it tomorrow.

http://www.youtube.com/results?search_query=Regine+Crespin+&search=Search 

JIWON: No Regine Crespin

http://www.youtube.com/results?search_query=Leonie+Rysanek&search=Search 

JIWON: I need more of Leonie Rysanek. It’s not enough.

http://www.youtube.com/watch?v=L5C99JyP2ns Elgar Cello Concerto 1st mov.

JIWON: She was already not in a good health. Look at her posture. Poor lady.

http://www.youtube.com/watch?v=YA1q8-hBe04 Israel: 70 años de la Orquesta Filarmónica

JIWON: Can Mr. Mehta just concentrate on drawing the picture instead of trying to beat, beat, beat with a huge, sincerely stiff, but never-exact body language? Just perform a generous dance please, instead of distracting the musicians’ attention and making them scatterbrains, which only know how to play an Art of Cacophony. 

To be continued…

Two weeks later, I will contact:

Yigal B. Caspi, Ambassador of Israel

Ambassador’s Office: ambas-sec@seoul.mfa.gov.il

Sincerely yours,

JIWON

My Opinion: DB’s Wagner in Israel, Berlin

Dear New York Folks,

This is Jiwon.

No Answer… By now, you should know me. That I care nothing, I feel nothing, and nothing will change my further writing. In America, I looked at my face in the mirror every morning to check if I became really insane. I now start checking my face in the mirror every night to be sure where I think I belong.

I remember to read Barenboim months ago. Somehow, I failed to save the entire stuff. I read it, anyway: “When you love somebody and they die young and you are young, too, it is very hard. It changed me as a person. It is part of my past that goes through with me to the present.”

I envy this mortal who still has a memory of love in his brain, for this word was never mine. I even didn’t experience the adolescent mental unbalance, (or problems syndrome,) during my teenage days, proving the best example of exemplary student. For a while, I really wanted to have this word, but I no more need it now, for man never exists in my heart as a symbol of love. I even don’t remember who was my friend while young. “What changed me as a person, what is part of my past that goes through with me to the present” is my memory of three; the way how my late Korean teacher treated me since his son picked up his instrument, the way how my senior Korean professor insulted my personality in front of my mother, and the way how Dale Clevenger greeted me when I was driving for 15 hours to beg for another female teacher, who was capable of teaching me. His smile was simple. “Time will solve everything.”

Has time solved anything? It only made my dirty memories more vivid. His discussing my defective personality with my mother has practically ruled my family life since then. Since then, his choice was my enemies and their relationship had helped his professional career. Had this Korean professor blamed my no-talent and incapability to earn American diploma, I would have accepted his words long time ago when I gave up my life. Hadn’t Clevenger talked with such a fucking smirk to answer my begging, I would have let time erase all those memories.

“When you love somebody and they die young and you are young, too, it is very hard. It changed me as a person. It is part of my past that goes through with me to the present.”

Barenboim himself says that something’s changed him, then who is real Daniel Barenboim?Since my Furtwangler paper in 1996(?), I’ve followed this and that Barenboim. Who could believe it when even I don’t know how to believe it? Barenboim was always same. Having always been someone’s toy since his mother’s death.

Even though people can only find Barenboim’s official couple images with du Pre from Yahoo.com, there are several of Barenboim’s private photos with Bashkirovaif you carefully dive into the Internet Ocean; from the couple in Sorat Hotel in Berlin to the couple in a dress room of the CSO during their tour. Which Barenboim has a real smile, a real happiness on his face? If Daniel du Pre’s happy face contains a mark of respect as a musician, the thought of enjoying his life as a man fills Daniel Bashkirova with bliss. His only problem was music or fame or even Barenboim himself looks dirty. (Fame will be more accurate word…) 

Now, I think it’s time to make Barenboim be honest about his life, if Barenboim himself still has no idea about who he is. All I need is money. I want to finish my request to Barenboim first. Then my unfinished part, and then my last one, about you and America. I was all alone for the past three days, and this is what I did. Slowly, slowly, I am going toward the end…

On what makes a great musician:

On Jerusalem:

On Palestinian kids who are scared of Israeli soldiers:

On Elena Bashkirova:

On Divans:

On the administrative side of music:

On Barenboim playing Wagner in Israel:

I think. “Barenboim and his Audience” played and listened to this music after spending hours of debate. Politicians seem to rather welcome Barenboim-scandal to fetch the public. Why should Barenboim apologize to the politicians? This is a matter between Barenboim and his people, part of whom welcome his encore and part of whom can never accept it even after they die, no matter where they are.

What if Barenboim understands Holocaust musicians, who still cannot pick up their instruments after playing Wagner to prepare or to celebrate their neighbors’ death? Who played Wagner at the concentration camp? I saw a docu-film, in which they testified that orchestra musicians were better fed and they were still feeling guilty of selling their soul and playing music for survival. If the well-nourished musicians feel like this, what about the starving inmates and their incurable trauma? For them, Wagner is a symbol of Nazi, and symbolism is usually more powerful than music itself. When one doesn’t need music of Wagner even during his hot moments to entertain or in his serious mood to submerge, how can he understands that musicians need Wagner to complete their art? If Barenboim really understands their wound, he will make a sincere apology, trying to console his people. If not, he should think of his supporters only. Not every musician is born ultra-sensitive, so who could blame his decision?

However, I still think that Barenboim owes an apology to the person, Yossi Talgan,  who was in charge of Israel Festival. It was a promise between the two CEOs, which was finally made after experiencing months-long national debate, and Barenboim broke it. If I were in his shoes, I would have wanted to kill this sonavabitch. Funny that the festival director is now a director general of the JSO. Once Barenboim takes his responsibility, this Jewish guy will prove his personality. Curious… If I can’t accept Barenboim’s Wagner performance in Israel, my reason is purely based on this part.

On Wagner in Israel:

I keep wondering why no one is raising a question about “Wagner in Israel” some time later when the last Holocaust survivor vanishes from politicians’ sight. I only know that Zubin Mehta was quick to interview that Israel was not ready for Wagner, when his Jewish brother was busy at defending his decision and leaning against his supporters.

I believe. Sooner or later, more and more Israelis will claim their rights to enjoy Wagner, yet no survivor will be able to show his wounded scar during the live performance. If no Jewish descendants remember Wagner as Nazi’s symbol, who will do? Do Holocaust Memorial Museums have a section of “Wagner in Israel”? How can they explain the power of music, the power of Nazi without its live performance? If they remember nothing after the last victim’s death, there will be another Nazi, another Wagner, and another victim anytime, and anywhere.

Why don’t they legally prevent a further disaster? It’s not a bad idea to travel a foreign country, where a specific music is banned for historical reason. By then, the Palestinian Orchestra could earn more money by placing Wagner in their main repertoire. Their Wagner will teach even the Jewish ticket buyers that Nazi revives nowhere but in the face of the Israeli soldiers.

Or why don’t they make a special law to treat their audience, who can’t afford to go to the Bayreuth? As foreign concertgoers, it won’t be bad, either, to be forced to study the real case of power of music, the Holocaust survivors’ reaction to Wagner, before they enjoy Jewish musicians performing the Nazi’s symbol. One can learn more things in a concert hall than in a Holocaust Museum. Watching the Holocaust musicians’ docu-film was a revelation to me, a real shock as well, who used to think that the German soldiers played Wagner at the camp or they used the radios to slaughter their Jewish pigs. I thought that our human beings should get over such a thing, and I could make those victims cure their broken hearts by using a mental therapy called “Music of Wagner” until I watched the Holocaust musicians’ interview and their real life after the war.

Perhaps, Wagner performance in Israel won’t be possible during the lifetime of Holocaust survivors. Whether or not is not an important issue, IMHO. The debate, however, should start now and come up with a certain solution before the last victim dies. How can we restore all those physical and mental evidences when there is no survivor left?

On Berlin:

Hadn’t Herr Klaus Wowereit heard the European survey some time ago, in which the BPO was below something-London, (LPO or LSO?), and Barenboim’s Staatskapelle failed to enter their favorite top-ten? This article appeared in a Korean newspaper. I didn’t know that there were those who thought like this. While Barenboim seems to believe that Berlin is a heaven of classical music, I admit the quantity of Berlin music. Therefore, the entire city sounds dead. Why doesn’t the Berlin mayor concentrate on the quality of Berlin music first, instead of wasting the whole night with genius thoughts about how to hire Barenboim as a cheap handyman or how to donate his father’s money to too many musicians? His instructing Berlin critics to put Furtwangler icing on Barenboim’s fame was the funniest idea. Their boosting Bashkirova Stock in Jerusalem market was the most genius idea, though. How can the Jewish monkeys follow his German brain? His only mistake was that all Bashkirova’s Jerusalem musicians prefer to live in Berlin.

On the problems facing musical education in America:

This is not the right time to show my final draft…

To be continued…

Sincerely yours,

Jiwon

JIWON-My Opinion: Musician, Jerusalem, Palestinian Kids, Divans, Administration

Dear New York Folks,

This is Jiwon.

I compare my opinion with others. No intend to criticize or argue. It’s just been my opinion since I was sure of my ability. I am now busy at following my kids’ fast improvement in English. Whenever I find a better way, I will upgrade this version. Before finishing this part, I was fortunate to watch the Victoria’s Secret Fashion Show 2006. Since I missed its starting part, I didn’t want to drop a moment by blinking my eyes. Then, I read my writings again. Then, I was curious and click

http://www.nytimes.com/2006/12/09/arts/music/09scal.html?ref=music .

On what makes a great musician: 

Philosopher Barenboim said. “Music does not become something. Something can become music. By this I mean to play a collection of notes, very beautifully, very brilliantly, is not yet making music. Music is when you achieve a state when…bla-bla-bla”

I used to think that the great musicians never finish their performance in the same sound as their starting one, so their ending sound explains how talented they are. Now, I say. Technique only makes a talented kid a great musician. Not every human beings are born musicians. Talented kids are sensitive and generally weaker than pushy, ambitious stage lovers, who should achieve a state when…bla-bla-bla to become so-so performers. If you really want to enjoy the gift from your gods, you just have to pick up the talented kids and train them to master all the techniques they need until they join professional groups, where cancerous cells are ready to strangle their native talent. Melody? Intensity? You don’t have to teach what means intensity to those who instinctively know how to concentrate on each note. By then, melody means nothing but a connection of each note. Perhaps, further education can also make them great musicians, but what really means education? There is no need to teach the open mind. What I think is the great thing to be a great musician is when he is sure of his ability with wonderful techniques and knows how to perfectly utilize the gift from his god, with open mind.

Why I never agree with Barenboim’s generous opinion? How many job vacancies are found each year in orchestras and music schools elsewhere? How many soloists are needed each year in concert halls elsewhere? Nowadays, there is no money left to finance ambitious music lovers, who are willing to die for the sake of music. If they want to risk their life, let them die. They will finally prove that the subject of their love and the top priority of their life is not music but their ego.

On Jerusalem:

Barenboim says, “My home would be in Jerusalem if and when it becomes something different than what it is now.”

I say. If I ever want to go to Jerusalem, its only reason is to visit some places, such as IASA and its kinder version. Years ago when I first started my study of this holy land, it was a candid land full of my favorite personalities. And then… for years, I have known Israel through politicians and musicians. Whether political or musical, it was the same Israel, where Elena Bashkirova’s favorite way was the best way to survive. Then I read again from the ticket buyers’ forum to the newspaper interviews, and find my favorite personalities again. They say about Talmud, education, analytical thinking, straight or plain talking, profitable organization, and music. Thus, I want to know if none but empty brains in Israel decide to study music for fear of their future. I really want to visit the IASA and see what their education is like.  

On Palestinian kids who are scared of Israeli soldiers:

No matter how Barenboim cries out and others comment on it, I feel no need to save this interview. I think Barenboim was simply naïve.

I used to think. If I side with the Hamas, I would insult Israeli soldiers’ presence around the Palestinian kids. However, I support the Palestinians, who recognize the existence of Israel. Then, I must say that the Palestinian kids should learn how to recognize the existence of Israeli soldiers unless they aim their guns at poor citizens for no good reason. I must say that they should also learn how to sweep their panic away whenever they stood in front of their enemy. I know it is very difficult and I saw too many times how Israeli soldiers treated the Palestinian kids. But this is the only way to protect their weak children. Teaching their kids how to hate their enemy will never make them strong. What about Taekwondo? Learning self-defense art is one of the ways to be sure of oneself and his ability. Why Taekwondo? Who is/was a bodyguard for the Queen of Jordan? How did the Jordanian athlete earn their first gold medal in the Asian Game 2006? I don’t think Taekwondo in Jordan is a royal sport and all the instructors are pure Koreans. Every Jordanian kid will provably be familiar with this sport. Then what about Palestinian kids? I promise. Once they learn how to recognize the strength of their body and mind, they will learn how to overcome their fear of being lost outside their mom.

On Elena Bashkirova:

“In [him], I found somebody who goes into a room and eats up all the light.” -pianist Elena Bashkirova on conductor Daniel Barenboim – (From http://blog.myspace.com/ : No more detailed information about this poster. Does this WNYC employee welcomes her posting listed here? Her title was “How er -romantic! & random mooning.”)

“One of the first things I (Bashkirova) noticed when I saw him (Barenboim) playing piano live was the incredible freedom in which he sits. Pianists usually sit upright. He sits as if he is at a table eating a wonderful meal, with a fantastically straight back, comfortable, relaxed. He is one of the few people I know who enjoys playing the piano and making music. It is like air for him to breathe. I don’t know anybody for whom it is such a natural way of being, in the music. (From Bashkirova’s CNN Interview)”

Now, this is my opinion about this romantic female. One of the first things I noticed when I saw her (Bashkirova) playing piano live was the incredible freedom…bla-bla-bla. I don’t know anybody for whom it is such a natural way of being, in the music. Therefore, this is exactly why she sounds untalented. First of all, she looks stupid and sounds stupid, whether she speaks or plays. If she had a tiny body and sat on the piano in the same way, she would provably look less stupid than now.

When I see this female enjoying her time at social gatherings, she looks animated. What do I need more to describe this female? I have been wondering why I can never find any of Barenboim’s opinion to criticize this stupid female pianist. I didn’t even find Barenboim’s praising his son’s mother, whenever she appears in Barenboim’s orchestra as a regular soloist. Barenboim, who is famous for words-words-words, keeps silent!

On Divans:

Barenboim said, “bla-bla-bla… peace… bla-bla-bla… understanding… bla-bla-bla… against ignorance… bla-bla-bla” (<- It took one month to summarize Barenboim’s words, words, and words! Sigh…)

I say. There is no compromise on making music, whether it is between Israeli and Palestinian, or between a genius and a retarded.

Barenboim says, “Music allows people to have a dialogue in a much stronger way. When you and I speak, you speak and I listen, and I speak and hopefully you listen. In music, each one has to express themselves, but simultaneously. Simultaneously he has to hear what his partner and other people are playing, what they have to say. And, therefore, there is playing in the orchestra, in the intelligent sense, is a school for living in society.”

I say. Pretty good… which divan follows Barenboim’s way of musical dialogue, by the way? I’m just wondering. I used to think that the West-Eastern Divan Orchestra is the best example of the Art of Compromise.

On the administrative side of music:

Barenboim says, “I’m allergic to anything administrative. If they ask me, I say what I think, and sometimes I say what I think before they ask me.”

I say. If I were ever allowed to “rule” the administrative side of music…, if I were…, I would introduce all the talented youngsters to the ticket buyers. All those trashy brand-names would never dare to dream their professional success, at least in my headquarters. I would enjoy my life having dinners with old ladies, who are willing to donate her fortune. What kind of human being is willing to give up her fortune in order to support this abysmal orchestra? I’m just curious. Damn curious.

On the problems facing musical education in America:

This is not the right time to show my final draft… 

To be continued… (SIGH!)

Sincerely yours,

Jiwon

Victoria’s Secret, Bruckner & DB, Recording Sound

Dear New York Folks,

This is Jiwon.

Too tired and I don’t know why. No specific reason to be exhausted but skipping days of work, anyway. I am sending what I finished last week.

Story 1-4: (Done!)

Story 5: Daniel Barenboim

5-1. Things that I can not understand. (Divans)

5-2. What specific did Barenboim pick up from my previous writings?

5-3. Who I think is Barenboim?

Barenboim’s musical taste reminds me of mine while young:

I always preferred to listen to music by low voices and used to be sick of the noisy, frivolous or hysterical personalities of the high-pitched M-U-S-I-C-I-A-N-S. High person or music was never my favorite. Clarinet was my most favorite instrument. Then I went to America for my further study and studied how to analyze myself, and then to figure out my favorite music. Now, I hardly enjoy the low music, unless it sounds imaginative. No specific reason. It’s just boring to listen to those limited PHYSICAL abilities. At the same time, I always think of the better way to deal with high personalities. If I can handle them, the result could be more hilarious and more intuitive. This is perhaps why I always prefer to be around the kids.

Just out of curiosity:

How many recordings of Daniel Barenboim are being sold in these days, either as a pianist or a maestro? They say that Barenboim’s live concerts are all sold-out in spite of the high ticket price, especially in Berlin. The Staatskapelle Hall is small, compared to the Orchestra Hall. (I read that Barenboim’s conducting the Furtwangler was not full in Chicago.)

The Philharmonie or the Musikverein are always sold out, no matter who conducts the BPO or the VPO. (I may by wrong. I need the right information…) Even Rattle’s Wagner is all sold-out and how much is it? (Is it in France?)

What about his recordings?

Most critics and some forumites are hailing Barenboim’s recent recordings, especially with the Staatskapelle. Yet, all I hear from the radio, even now, is mostly his old recordings.

I heard the Staatskapelle play the Beethoven couple of years ago, and it sounded funny or weird. (Apart from the orchestra members’ unbalanced ensemble, sometimes I wonder the recording engineer did some trick to fulfill Barenboim’s wish to make a hellish dynamic range. Hellish… in case you want to compare it with Furtwangler’s heavenly one. They sound artificially amplified. Or is this truly a real ensemble sound from the Staatskapelle?)

Forumites wrote in their “Furtwangler” debate:

Forumite-5: To me, when Barenboim is “on,” he’s very good.  But when he’s “off,” results can be disastrous.

Forumite-4: Your “on/off” statement is quite accurate IMHO

When is when Barenboim is ON, and when is when Barenboim is OFF? Does Daniel Barenboim know when his music is OFF? Does Daniel Barenboim think his music was OFF, when PART of his audience heard a disastrous music from his conducting or even from his hammering the piano?

This has been my evaluation of Barenboim’s conducting. I still think so:

A diligent student is working on his paper. He is studying so hard, trying to give full details. He works so hard that he even sleeps in a library couch. He flunks. Whatever he does, his work is out of topic. Does this poor student perceive his problems? If so, he is not Danny Boy. He plans to revise his work by providing more details, which are also out of topic. He won’t sleep until he finishes his revised version. Professors are speechless. Even if his paper is accidentally done well, he still hasn’t a clue what specific he has researched. How can they make this hopeless workaholic to grasp the concept of TOPIC?

TOPIC:

1a: one of the general forms of argument employed in probable reasoning

1b: Argument, Reason

2: bla, bla, bla…

The TOPIC of Music?

The REASON of Music?

What is his reason of dwelling in a music library while born a workaholic? 

Partly because the female librarian always wears a red colored “Victoria’s Secret” after realizing that Danny Boy is colorblind?

Professors start feeling headaches, and finally, they decide to seek advices from the Google Group. 

Story 5+: bla, bla, bla (Done!)

Story 5+: Bruckner

http://groups.google.com/group/rec.music.classical.recordings/browse_frm/thread/83a7b4ce967a4077/ac8eba25ce6247d1?lnk=st&q=barenboim+Bruckner&rnum=2&hl=en#ac8eba25ce6247d1

This is their “Maazel” debate in the Google Group. Since their original subject is not Barenboim, I replaced every Maazel with X in my draft, in case other maestros had no desire to be invited to this dirty party. Now I decide to show this thread with a real name. I still appreciate his photographic memory, and envy this unbelievable talent.

But then, why does he still fail to “see” his members, “click” their sounds, “analyze” their personalities, and “organize” their ensemble, while all the musical notes are stored in his brain without any damage?

Forumite-1: {Jiwon: The debate starts from this posting, but I can’t understand his English. Simply… who is better? O.O?} [Maazel tends to bend things all out of shape at will.] – I find this to be an interesting remark. 25 years ago, I would’ve agreed completely. All these years later, and after being exposed to the self-indulgent pulling about of Daniel Barenboim for the last 15 years, Maazel now seems absolutely staid in comparison to D.B. Barenboim has been deified on this board while Maazel comes up for criticism for, IMHO, a somewhat similar musical approach. I wonder what this says about musical tastes and the way they’ve evolved over the last 30 years. Or is it that Barenboim receives some slack for acknowledging influence from Furtwangler recordings? Just wondering.

Forumite-2: Perhaps Barenboim is just better at it (that is, “pulling about”) than Maazel is.

Forumite-3: By “better,” I suppose you mean more to your taste. The way Barenboim brings out inner voices and accompanying figures at the expense of the melodic line in his new Mahler 7 has been driving me nuts. I can’t believe the high praise that the recording has received here. Could it be just because it’s so “different?”  (I did enjoy the outstanding orchestral playing and recorded sound, though.)

Forumite-4: [It is that Barenboim specializes in the composer that so many people on this newsgroup consider the greatest of them all: Bruckner.] – Same here. In fact, I think Maazel’s 8 with the BP is *one of the best* 8s out there. I also heard the live concert. But back then, I didn’t really “get” Maazel’s Bruckner. Revisiting the performance after many years recently, I was very pleasantly surprised. The recorded sound is very good, too. But I also listened to Barenboim’s Bruckner 9 (BP) again recently, and simply couldn’t find too much to like on that disc. The concept is OK, but somehow the whole performance just passes by without exciting much interest. The sound is pretty strange, too. I don’t know if it’s too glassy, or too muddy, or both, but somehow Teldec couldn’t make sense of the acoustics of the Philharmonie. I even bought Barenboim’s CSO 9th a few months ago. Yes, call me stupid, but I thought his concept might work better in the somewhat more transparent and leaner CSO sound. Maybe posters such as Forumite-6 influenced me, because I thought it might at least be spectacular brass wise. But it isn’t, neither brass wise nor musical in general. Funny, I did like some of the Barneboim CSO performances when I listened to them many moons ago. I somehow liked the clarity and directness of his concept. But many moons later, I just find them bland and uninteresting, and I don’t even like to use the word “bland”.

Forumite-5: [Barenboim’s Bruckner 9 (BP)…without exciting much interest] – I’ve always admired Barenboim, but I had a similar problem with those Bruckner performances. Some of his most engaging concerts have been with the Berlin Staaskapelle. For instance, I have great memories of a live Beethoven cycle played in London. But I couldn’t find the same level of excitement in the studio recordings. Talking about all that pulling the music and comparisons with Maazel… Yes, they both tend to be quite interventionists, and possibly that’s why I like them both so much.

Forumite-6: I suspect that some of the things that make them interesting to audiences can, in Barenboim’s case in particular, make them difficult and annoying to play for and rehearse with. I have only occasionally felt much admiration for Barenboim’s recordings as compared to his live concerts, though he has made some excellent recordings (as listed in a recent thread). The problem is that he has made an equal number of duds. He easily loses the forest for the trees, which is a killer tendency in a Brucknerian, and it is more likely a problem on a record than in a concert–or at least that’s my limited experience of him. Unlike Forumite-3, I think his Mahler 7 (at least the concerts) show him finding the forest and and some significant trees along the way, not the other way around. Same with Maazel’s, however. In this respect, however, Barenboim is like anyone else at that level… As a daily experience, I don’t know. I wouldn’t want any boss for 15 years unless he or she was really easy to get along with. I certainly wouldn’t stand for inconsistency for 15 years, as a listener or player.

Forumite-7: As for DB, I actually admire him more than I once did (when with du Pre), and I think he has become warmer as a person. As for his pianism, it has never attracted me, and I have to say I haven’t heard much of his conducting at all.

Forumite-5: The most pulled about Brahms I’ve ever heard -by far- has been with Barenboim and the Berlin Staatskapelle. Infinitely more extreme than the recordings with the CSO. I loved it, but I agree it wouldn’t be a concept it would look good on a CD for repeated listening. But on the heat of the moment, it was great.

Forumite-6: I wouldn’t mind hearing that on CD once, and then putting it away for a few years before trying it again. But it sounds like a great concert memory that makes his recordings all the more difficult to appreciate. The most frustrating way to approach Barenboim, on record for sure, is to assume he’s going to be like Furtwangler.

Forumite-8: Look for Barenboim’s DGG Saint-Saens 3rd Symphony. His Bruckner cycle with the CSO shows the orchestra in excellent form, but the “heart” of Bruckner is best heard elsewhere.

Forumite-4: I already have the Organ symphony on my amazon wish list, originally because I thought it was with Orchestre de Paris. When I “discovered” it was actually CSO; I wanted to delete it, so thanks for the tip. Isn’t the organ on this one dubbed in, the organ in Chartres? I am usually rather doubtful about this. The Karajan recording has the organ from Notre Dame dubbed in, it sounds nice, but you can also hear it is somehow in a different sound space. I recently bought Bruckner 9 with CSO/Barenboim, but at first ear, it did not leave a big impression on me. I had actually expected some extra massive brass playing here, but it was actually fairly plain… I have XYZ and generally like them much better than Solti’s roughly contemporary recordings. It does seem to me though that Orchestra Hall might be somewhat problematic acoustically… Have you heard the Mahler 5 recording made live in Vienna? The one with Solti standing on a pier or something like that on the cover. While I don’t think it is musically that outstanding, it also seems to sound more “realistic” in the benign acoustics of the Musikverein.

Forumite-9: [Almost anything by Solti on Decca will not show the orchestra accurately.] – An absurd statement, of course. Anyone familiar with Solti’s muscular, overblown, hyperactive approach to music in his CSO concerts – he would sell out Carnegie Hall every time he showed up with “his” band – will recognize the sound on the dozens of Decca recordings. You can like it or hate it, but it’s all him and the CSO gave him precisely what he wanted.

Forumites: bla-bla-bla…

(JIWON)

Interesting:

Some say that there is a huge difference between the live concert and the recording sound, especially in Barenboim’s case. And you need to listen to the live concerts if you want to evaluate the conductors’ ability, especially the good one.

Then, they compare Barenboim’s live concert with the dead men’s recording sound.

For example, Forumite-6’s favorite Top Ten are Mravinsky, Maderna, Rosbaud, Furtwangler, Scherchen, Mitropoulos, Kubelik, De Sabata, Cantelli, and Toscanini.

How many do I know? Unbelievable…

Then he also says: “I agree DB’s recordings can seem like compromises, but what works in concert doesn’t always work so well on record anyway. (June 21, 2006)”

Something another… my life experience:

Since the moment I entered the professional music society, some sound really bothered me. I was always forced to dwell in that sound-kingdom, and I was sick after finishing my everyday job. Physically and mentally sick…

What do I do when they are technically impeccable and a king of chamber music? Some time later, I felt to be brainwashed and was able to accept that sound. Then I was able to make my instrument match that sound. (As a result, my range was always limited, never able to play upper middle and high notes.) Then the classical music approached me as a mere job… to survive my life. The instrumental music never existed for my spare time, and my only choice was to listen to the piano music. By then, I even didn’t know opera was something music, and I was mentally not accepted to listen to the pop music.

It is now worth remembering the assertion of one of them: You have to come to my live concert, for the recordings never catch the attractive, heated moment of my instrument.

Whether it is right or not is not my point.

It is just interesting, because I always try to imagine the real sound while listening to the recorded one. I hate technical tricks by the recording engineers, because they prevent me from imagining the real sound. At least… I can hear Mr. X “totally” kill the Vienna musicians when I listen to their recordings, which some say are legendary but in fact a masterwork by the recording engineers.

Perhaps…

This is why Forumite-6, whose favorite Top Ten are Mravinsky, Maderna, Rosbaud, Furtwangler, Scherchen, Mitropoulos, Kubelik, De Sabata, Cantelli, and Toscanini, also says: “Barenboim just isn’t the kind of conductor who shows a range of sonorities and great sense of colorful detail. And yet… no conductor does everything well. (June 21, 2006)”

Perhaps.

Another very interesting posting from Chicago on June 21, 2006:

I attended the Carter-Mahler (first) and Bouelz-Bruckner (second) nights. My expectations were that the potential for inspired readings would be great on these valedictory occasions. I had attended maybe three of Barenboim’s performances during his tenure. The most memorable was a Bruckner fifth several years ago, in which the first movements were very well played and interesting, but then things degenerated into a performance which was memorable only for its mediocrity. Both the Carter and especially the Boulez performances were truly impressive. Intensity and involvement of Barenboim and the musicians was captivating. But in the second portion of both programs the focus gradually deteriorated in much the same fashion that it had years ago with the Bruckner fifth. The revealing balances in Carter and Boulez were lost in beautiful brass sonorities that always seemed at least one dynamic level too high, especially in the Bruckner. Shaping of phrases was inconsistent despite sometimes histrionic gestures from Barenboim. There were some distracting mistakes, especially from soloists whose abilities are unquestioned. Essentially, the performances lost effect through lack of focus and concentration–unlike the Carter and Boulez. There were many, many wonderful moments and much truly impressive playing. But they didn’t lead me anywhere. It seemed to me that Barenboim failed to inspire interest, and at times even attention, from the musicians–who I think really wanted to make these performances special. It is the responsibility of a conductor to have a vitally clear conception and to convey this to the musicians so that unity of purpose and interest in realizing that vision is generated. When he steps before an orchestra he needs to know exactly what he wants and have the capacity to communicate his vision. But here we had two concerts where the identical pattern of loss of interest, hence concentration, prevailed. It was much more obvious in the Mahler, possibly because of its greater length. Based on the few Barenboim performances I have witnessed, I feel comfortable in saying that he is not a consistently capable conductor because he usually fails to engage the musicians and audience. His departure should be a positive for the orchestra. The audience, however, looked past everything that I heard and gave him such extended ovations that after the Mahler the orchestra finally walked off stage in order to bring things to a conclusion. Many of the same individuals who were thumbing through programs during the performances were unrelentingly vociferous.  Oh yes–and he got long ovations after walking on stage, before a single note was played. So I suspect this had more to do with civic pride than with music. But perhaps they succeeded in making Barenboim feel good about what had just happened.

(JIWON)

Frankly,

I don’t need forumites’ opinions, for I already know the reason.

I just need them, because it was the only way to prove my identity, including your diagnosis of my mental illness, when no one in your professional group knows how to understand the content of my study.

I don’t need old recordings to study, for I already know the reason while listening to the modern music. However, I must say that some of their writings are so brilliant, so hilarious that it gives me a mental pleasure. Another good choice for the indoor pastime.

At the same time, I am thinking while reading those writings that I have to study more, just to understand their intelligent debate.

Whatever… their debate still lacks couple of technical things. Why no one still mentions this, especially while comparing Barenboim with Furtwangler or even Solti?

To be continued…

Sincerely yours,

Jiwon

DB, Honorary Conductor for Life

Dear New York Folks,

This is Jiwon.

It should have been P.S.3 of the previous mail.

P.S. 3:

I reported quite a lot about the reasons why Daniel Barenboim doesn’t still know the exact definition of “amoral.”

Amoral: If you describe someone as amoral, you do not like the way they behave because they do not seem to care whether what they do is right or wrong.

I am sending it. By now, you should be able to analyze what has happened in “their” Chicago. The reason of Barenboim’s strange behavior is clearly different from the European way of directorship. At the age of 63, Barenboim still doesn’t seem to know what means the social rules or the common law.

The common law between the lovers,

The common law between the people,

The common law between the Chief Executive Officers,

The common law between the groups,

And so on…

Barenboim’s behaviors never match any of those. If the situation of the CSO is like this, what about the Staatskapelle? I bet the atmosphere among the Staatskapelle members is somewhat similar to the one in Chicago. But unlike their American counterparts, they can not voice up because of their German situation. They just work… like the slaves. I bet they prefer to be quiet instead of losing their job. (or disbanding…?)

When I was in a professional ensemble, all the members, including the guest conductors or even a guest engineer, knew who was the worst ensemble maker, but never dared to speak up the names. Why do you think so?

I still don’t know the exact reason, for I was not a member of its management. I just smell it.

And years later now, I smell the same thing here and there… and perhaps everywhere…

http://groups.google.com/group/rec.music.classical.recordings/browse_frm/thread/c342ef8659028d69/46db7569150480b2?lnk=st&q=barenboim&rnum=1&hl=ko#46db7569150480b2 An item from our local press: A copy of an article that Andrew Patner (Sic!) wrote for the Chicago Sun-Times:

“Monday, June 19, 2006 — Chicago Sun-Times, plus

CSO lauds departing Barenboim as ‘conductor for life’

Musicians’ statements at Barenboim’s CSO Farewell

By Andrew Patner (Sic!)

In a move unprecedented in the 115-year history of the Chicago Symphony  Orchestra, CSO musicians borrowed a page from their European counterparts and voted overwhelmingly last week to confer upon departing music director Daniel Barenboim the title of “Honorary Conductor for Life.”

In keeping with the surprise nature of the action, the move was announced from the Orchestra Hall stage by Barenboim himself when he acknowledged the title, “with deep joy and pride, with great joy” at the end of impromptu and unscheduled remarks delivered before the closing half of his final concert as music director Saturday night.

Of the four earlier CSO music directors with the most significant tenures, three — founder Theodore Thomas, Frederick Stock, and Fritz Reiner — died “in office” or just after their retirements and one, Sir Georg Solti, was awarded the title “music director laureate” by CSO management and trustees.

When Barenboim announced his plans two years ago to leave the orchestra he said, “I am not laureatizable.” In the meantime, relations between the complex and temperamental music director and senior trustees and management had reached the point where it was unclear what official honor, if any, would be an appropriate one to mark the end of the Barenboim era in Chicago. Trustee, staff, and musician members of the search committee for Barenboim’s replacement had also expressed concern that any move by the players bypassing management could jeopardize discussions with prospective successors.

These arguments and others were aired at a closed meeting of the full orchestra on Thursday whereupon the following resolution was adopted by a three-to-one margin and was read on behalf of the players at a post-concert reception Saturday night by veteran CSO trombonist Michael Mulcahy:

“Maestro Barenboim,

“This is a difficult time for us. After so many years, it is hard to believe that we will no longer be sharing the transcendent musical experiences we have known with you. Yet we have chosen to celebrate this occasion, not to mourn it. We celebrate first of all our extraordinary good fortune in having had these years together. We will always cherish our memories of what we have accomplished under your leadership.

“We also celebrate because it is simply beyond imagining that this is last time that you will conduct us. There is too much music left to make.

“So at this time, we do not wish to say good-bye. In the eyes of the members of the Chicago Symphony, in our hearts and minds, you are our Honorary Conductor for Life. In this way, we wish to thank you for all that you have given us in the past, and to thank you in advance for all you have left still to give.

In introducing the resolution, Mulcahy, regarded by many members of the orchestra as a voice of conscience and consensus, told the crowd of several hundred players, CSO chorus members, staff, and trustees, that a “symphony orchestra is a living being and the Chicago Symphony encompasses an almost unfathomable amount of life. So when this orchestra encountered Daniel Barenboim, it was the case of a behemoth coming into contact with a force of nature.” He went on to praise Barenboim’s uniquely personal connection to the orchestra and his passionate, intuitive, and uncompromising approach to music.

Alison Dalton, a longtime member of the first violin section, announced a gift to Barenboim from the orchestra that she said the players hoped would commemorate “two lessons you have shared with us: Your moral center and fearless self-expression which eschews sentimentality, and the art you make out of remembering without looking back.” Referring to comments Barenboim made to the players in their last rehearsal together, Dalton said that she hoped that the crystal obelisk, carved with the signatures of the 110 members of the orchestra, “will help the magic that will keep us in your frontal view while leaving us behind.”

Senior concertmaster Samuel Magad then read the inscription on the commemorative gift, “Presented in love and gratitude tour our friend and maestro Daniel Barenboim by his colleagues the musicians of the Chicago Symphony Orchestra, Saturday, June 17, 2006.”

Barenboim closed the informal ceremony by saying, “I am glad that this evening, this week, this time, is ending with joy. As I told the musicians privately in our last rehearsal together, I don’t know if and when or how many times my eyes will set on them as a group, but my heart will be with them always. They will be my honorary orchestra for life.”

Andrew Patner (Sic!) is critic-at-large for WFMT radio (98.7FM).”

http://groups.google.com/group/rec.music.classical.recordings/browse_frm/thread/c342ef8659028d69/46db7569150480b2?lnk=st&q=barenboim&rnum=1&hl=ko#46db7569150480b2 Now, THE FACTS, quoted from a response to Patner from Steve Lester, Chair of the CSO players’ Members Committee.

“Dear Andrew,

Thank you for forwarding the articles. I am sorry to tell you that the facts of the situation are very different than what you presented in your article. First, DB appointed himself something that the Members did not vote to him. It is very embarrassing that from the stage DB blurred an important distinction and that a small cadre of devoted supporters has provided misinformation to you. The motion as you have it was amended by the inclusion of “consider in our hearts and minds” because frankly, there was not consensus to appoint him Honorary Conductor for Life. It may seem a small distinction but, in fact, it carries significance.

Second, not so much weight should be place on this honorific. It was an emotional expression for the purpose of saying good bye and even that was very controversial. Trying to get the orchestra to approve something that does the right thing by saying good bye and thank you is difficult when there is so much history and ill feeling in the orchestra. The meeting was held with only fifty members in attendance, and only 40 voted, and the vote was far from unanimous. A significant number did not attend, wishing to avoid controversy and the wrath of this vocal divisive minority.

Third, everyone at the meeting was asked to keep, as we always do, our business private, and not discuss this in the press. Obviously, our confidence was compromised by someone in the orchestra. Not only that, but misinformation was provided by someone. It is unprecedented and unethical that you would have and publish the wording of a motion made in one of our meetings. And it is incorrect that you should assume that anyone can speak for the orchestra who is not an elected representative. Should this happen in the future I hope you would give us the courtesy of checking your facts.

I would be happy to discuss this sutation in detail with you, as I know you would agree that these are important concerns.

Sincerely,

Steve Lester ”

http://www.suntimes.com/output/entertainment/cst-ftr-bare19.html Entertainment Archive / CSO lauds departing Barenboim as ‘conductor for life’ / June 19, 2006 / BY ANDREW PATNER / Bla… bla… bla…

(JIWON)

I am curious.

Does Barenboim know it?

Something Jewish, Furtwangler & DB

Dear New York Folks,

This is Jiwon.

I am tired to death. Meanwhile… I am sleepy. I slept all day and still sleepy. Caffein doesn’t work and I thought it was due to my mental depression. I still think so, but I also feel that my physical condition is another reason. When I exercise in a specific way, I feel all my muscles are working toward something to stimulate one particular muscle group, then my wish to sleep is gone. After exercise, it is already toward the midnight and I never want to work all night. (No more bloody waste in the morning toilet, please. Which was one reason why I had no choice but to quit this computer work years ago, perhaps in 2002.)

I wake up in the morning, and then, I feel heavy, sleepy… Finally… sitting on another chair makes me feel better. Much better. I change my pillow again. Much much better. What I need more is not a cheep exercise but an expensive orthodontics and no heavy glasses, and I am penniless. Ha! I am just tired. Want to finish this fucking, useless work as soon as possible and return to the original place, where I should belong to.

Story 1-4: (Done!)

Story 5: Barenboim (Starting…)

Story 5+: Something Jewish (Today‘s story)

Story 5+: German… whatever (Done!)

Story 5+: Furtwangler (Done!)

Story 5+: Du Pre / Bitch (Done???)

Story 5+: Zukerman, Barenboim’s carbon copy (Done!)

Story 5+: Divan (Done!)

Story 5+: *** (Done!)

Story 5: Daniel Barenboim

5-1. Things that I can not understand. (Divans)

5-2. What specific did Barenboim pick up from my previous writings?

5-3. Who I think Barenboim is.

Forumites wrote in their “Furtwangler” debate.

Forumite-5: To me, when Barenboim is “on,” he’s very good.  But when he’s “off,” results can be disastrous.

Feeling headache, I want to send this part first.

Story 5+: Something Jewish

While reading Forumites’ postings about [Why is Barenboim considered similar to Furtwangler?], I burst out laughing: “Well, have *you* ever seen a photograph of the two of them standing next to each other?”

It was from the same Jewish guy, whose Mehta posting drew my attention. It was so funny, so humorous that I wanted to go further. Searching for his specific opinions about Daniel Barenboim.

http://groups.google.com/groups/search?q=barenboim&hl=en&enc_author=HC_jhxcAAAC-yA2zoBNHOIQYLPzydor9Gx2DZwPeBmmFtYDZCfIMGQ&qt_p=Search+author%27s+posts  

(October 8, 2003) OTOH, last year, during intermission at an IPO concert, the woman who had the seat next to mine happened to mention that she had written to them complaining that Barenboim was to perform with them. Their response to her was that he doesn’t take a fee for his IPO appearances, so they had little choice if they wanted to balance their budget. (FWIW, rumor has it that Perlman also does his annual IPO concert — he conducts now rather than plays — for free.)

(Jan. 21, 2004) I may be wrong — and if you have evidence to the contrary, I would gladly accept the correction — but the ban on Wagner’s music being performed in public in Israel is not governmental censorship, but rather self-censorship by performers who are taking into consideration the sensitivities of their audience, i.e. the people who pay the bills. When Barenboim decided to perform Wagner here, no one arrested him, only muttered things along the lines of “as if we needed any further proof of what kind of person he really is…

(July 15, 2004) [All I said is that I have NEVER in 35 years in Berlin witnessed any anti-semitic acts or even heard any comments, and I have NEVER personally spoken to anyone who held remotely anti-semitic views. There may be a few, but I have never met them. So, whatever the level of anti-semitism in NY may be, in Berlin it is virtually unnoticeable. Those Israeli friends I mentioned also confirmed this to me. It is kind of a standard question you ask people from Israel, how do you feel living here, with the things that happened and all? They all seemed to like it very much and planned to stay.] – This is known as the “small numbers” phenomenon. Your personal experience is not something from which one can extrapolate to the community as a whole… You have to keep in mind that the people you met are almost certainly not typical of Israelis in general, but rather of a certain subset of the society whose attitudes are far to the left of the community as a whole. I suspect that they are no more typical Israelis than Daniel Barenboim is.

(January 27, 2005) [NY Times, January 26, 2005 / Barenboim Criticizes Israeli Views By DANIEL J. WAKIN] – Barenboim is an idiot, at least politically. which is probably why you are so enamored of him. – [Mr. Barenboim, an Israeli who is a frequent defender of Palestinian rights] – Does Mr. Barenboim actually live in Israel?  Why is it more accurate to call him an Israeli than to call him an Argentinian?… In case anyone was unsure about Barenboim’s understanding of history and politics.

(February 6, 2005) [Thank you for the advice! I’ve just ordered Barenboim’s Magnificat. In the same CD there is also his version of Faure’s Requiem, that I’ve been wanting to listen for years.] – Why?  I certainly *hope* that it’s the most boring version on record; if it’s not, I shudder to think of what that other recording must sound like. At least (if you’re lucky) that CD won’t contain his recording of the Faure Pavane.

(September 12, 2005) [Perhaps you should put this directly to Barenboim, who brought up the mobile phone issue in the first place.] – The most polite interpretation that can be placed on Barenboim’s behavior is that he is exceptionally naive. Although I happen to not entirely disagree with Anshel Pfeffer’s column in last Friday’s _Jerusalem Post_ in which he argued that it is not appropriate for a reporter from Army Radio to attempt to interview someone while in uniform (and that by extension, Army Radio should not exist at all).

(Nov. 3, 2005) [My distaste for the criticism of Barenboim is NOT on musical grounds, but for his political views, which do not have a connection with his musical ones. Those who often criticize Barenboim are really discussing his politics. He is one of the true certified musical geniuses of our day. If you don’t like him, fine. But his genius is not in doubt.] – As for me, I have heard Barenboim perform live (as a pianist) and he’s certainly a good one. His conducting, IMO, has too much of a tendency toward the boring and stodgy for me to consider him a genius.  And if I were going to object to him on personal grounds, it would be for the way he treated his late wife rather than his political views.

(Apr. 27, 2006) [positive comments about the Barenboim Mahler 7th] – In order to get a better understanding of what your recommendation really means, let me ask. what do you think of the Bernstein/NYPO recording of Mahler’s 7th, and what do you think of the Barbirolli Mahler 5th? Let’s just say that I’m surprised to hear that Barenboim has it in him to put together a convincing performance of Mahler’s 7th symphony. – [bla, bla, bla] – Then maybe this really will be a good opportunity for me to overcome my “Barenboim is boring” prejudice…

(JIWON)

If you waste more time, you can easily figure out why Barenboim’s Mahler sounds weirdly unique. They wrote the exact reason. It seems to be the exact combination of Barenboim’s unbalanced Beethoven and manipulated Schubert.

While reading those postings, I start to kind of “respect” his opinions, not because of his questionable musical taste, but because I could smell his personality from his writings.

His way of thinking just reminds me of what I heard from the normal people who enjoy talking about Jewish value.

The Jewish value, which I could never find from Barenboim-Gang or even Barenboim himself since his mother’s death. My chose of the word may be wrong; Jewish value? Or Jewishness? Or Jewish education? Something Jewish, anyway…

Elena Bashkirova’s Jerusalem Festival is now more than successful with all sold-out concerts. (They claim. It reminds me of Korean system, though…)

Therefore, still weird to find this Jewish opinion, which was written even after Barenboim’s “Elena & Son” concerts were televised nationwide: “And if I were going to object to him on personal grounds, it would be for the way he treated his late wife rather than his political views.”

Then, his writing reminds me of my first discovery from the Google Group: “Daniel Barenboim, Chicago Symphony Orchestra Director, married Russian musician, Galina Bashkirova. But of course, she isn’t really musician, but a whore…. (July 12, 1999 from the ‘soc.culture.russian’)”

Is it merely my over-reaction?

Please compare these opinions with Elena Bashkirova’s homepage:

http://www.jcmf.org.il/EN/history.asp?pid=5  An unforgetable “Trout” Quintet: “36 years have passed since the young 27 year old Daniel Barenboim, already at the peak of his career, performed Schubert’s “Trout” Quintet with Itzhak Perlman on the violin, Pinchas Zukerman on the viola, Barenboim’s wife, cellist Jacqueline du Pre, and Zubin Mehta on the double bass, each and everyone a star in his own right…” (Noam Ben Ze’ev: Ha’aretz 5.9.05). Many of those present in the audience in the YMCA Concert Hall last night (3.9.05) remembered this performance. Once again Daniel Barenboim sat at the piano, now with his son Michael Barenboim on the violin, Amichai Grosz on the viola, Kyril Zlotnikov on Jacqueline du Pre’s cello presented to him by Daniel Barenboim, and with Nabil Shehata on the double bass. And, as he had at that performance so long ago, the conductor Lawrence Foster turned the pages for Barenboim. “This was a great performance, which reaffirmed for us yet again that classical music is able to produce a great experience, rich in emotion, intellect and beauty.” (Ha’aretz 4.9.05)

It was last year when I found another Jewish forum, but I am not sure if it is the right thing to send it.

This “Israel’s daily newsmagazine – Israel Insider” insists to be “an independent, nonpartisan online publication that aims to provide an ‘inside perspective’ on the latest news, analysis and commentary from and about Israel”. When I first found it in 2001, it looked like the leftists’ favorite magazine. During my second reading, I am very confused. Forumites sound like the rightists.

Well… I am still the one who can not tell the difference between the two political groups, the left and right wings, because I still hear two different words from the news, the leftists’ communism and Japanese ultrarightist organization, and both sound same to me.

I just feel headache. I just feel that, in Israeli case, rabbis are usually politically the rightists and the leftists say the opposite things, and therefore, Daniel Barenboim is an extremely leftist.

Whatever… it is still worth reading, I think.

http://web.israelinsider.com/Articles/Politics/542.htm  Barenboim breaks Wagner taboo after all (July 9, 2001):

JIWON: No postings in this article.

http://web.israelinsider.com/Articles/Politics/1430.htm  Kach activists abuse Barenboim (September 12, 2002):  

JIWON: Many responded to this article. Typical ones whether they are pro or con. The funniest posting among them. So funny…:

“THE TRAITOR CONDUCTOR!!! (From New York on March 26, 2003): BERENBOIM IS A JEW SO THEREFORE YOU CAN’T DENIE HIM ISRAELI CITIZENSHIP!!!!! SO THEREFORE HE MUST BE INVESTIGATED&POSSIBILY TRIED FOR TREASON!!!!”

http://web.israelinsider.com/Articles/Culture/3090.htm Daniel Barenboim apologizes, will receive Wolf Prize (December 17, 2003):

JIWON: Interesting opinions start to appear.

Forumite-1 (From New York): Consider: I know how antri-Jewish Wagner was, but cant we separate his music from the man? My grandfather came to Palestine in 1920 and help build up Israel. A devoted Jew and Zionist, whatever he thought about Wagner, he enjoyed his music.

Forumite-2 (From USA): [Consider] – I agree completely… Barenboim’s pro-palestinian views and actions are another matter. Wagner was nothing that unusual as an anti-semite (he got all his energy from it..and it probably started with his hatred of Mendelssohn whose music he imitated at first) Hitler didn’t need Wagner..and it is also the case that Hitler probably preferred musical comedy to Wagner. The pro-palestinian views and actions of Barenboim are something else, however. It is interesting that there is so much tolerance when it comes to that. it angers me..a lot. (Continued…) [Broken promises] – A lot of people who are not banned in any way in Israel have had the same kind of anti-semitic views that Wagner and Hitler have had. They worked in genetics. (and that does not exclude some still alive) I don’t think Israelis should have to exclude Wagner’s music from their lives. (might be nice if someone talented could rewrite the librettos since Wagner wrote some of the worst German in history but that would be a large undertaking). It is also to be noted that Islam is legal in Israel..the Koran is as bad as Mein Kampf. Barenboim’s pro-palestinian views and actions are something else. This should be the number one consideration. He doesn’t deserve any prizes anyway. He’s not that wonderful a musician. Give a posthumous prize to Jacqueline DuPre instead. (Continued…) Regarding the Wolf Foundation prize: After reading part of the article again I am really puzzled as to the purpose of this prize (and the work of the foundation that gives…it) Am I correct in assuming that this prize has nothing to do with achievements in Music or Science per se..? It would appear then that Barenboim is being rewarded for his po-palestinian activities… At least I’m not pro-palestinian.

http://web.israelinsider.com/Articles/Culture/3619.htm  Conductor Daniel Barenboim receives Wolf Prize, attacks occupation (May 10, 2004)

Forumite-3 (From USA): Rubbish: I wonder how sensitive to his “neighbors” Mr. Barenboim would be if some splodeydope blew his family into oblivion on a bus, in a restaurant, at the market, or mercilessly shot on the highway, like the Hatuel family. What an egregious lack of class, tact, grace, and decency.

Forumites (From USA): bla-bla-bla

Forumite-2 (From USA): [Machines Can’t Suffer] – The thing about Wagner is really a separate problem. Wagner is not the only composer who was anti-semitic and/or favored by Hitler. Their music is performed whether or not holocaust victims are in the audience. It’s also the case that so many older films have scores that sound like or imitate Wagner that I don’t know how Wagner can be avoided. Theodorakis is apparently quite popular in Israel..maybe just on records. Obviously if Barenboim agreed not to conduct Wagner and then did conduct it..he could have been sued. (breach of oral contract?) But then again Israel has inherited a lot of rotten British laws so maybe not.

Forumite-4 (From USA): The conductor is correct: Unfortunately, too many wackos on this list are too far gone to see it.

Forumites (From USA): bla-bla-bla

Forumite-5 (From Berlin): [The conductor is correct] – Nothing wrong in listening to Wagner, or Mozart, and Beethoven… all the darlings of Hitler and the Third reich. I agree with the composer on this issue. Music is music, and art is art. If you enjoy listening to 4 plus hours of a lady singing her guts out so be it…We all like Mendelssohn, yet his family all disavowed Judaism. On the other issue of praising the Palestinians in an acceptance speech, that is the wrong venue at the wrong time. Free speech does exist in Israel and when the award was given everyone most probably knew that Barenboim would say something like what he said. I did see barenboim in Berlin not too long ago. He is a good conductor, but I wouldn’t classify him as a great conductor. 

Forumite-2 (From USA): [Pal moslem musicians?] – Out of curiosity does anyone know of any moslem pals who are musicians? (western classical music.) Elsewhere in the Arab world there is-was a good orchestra in Baghdad and there are women with a group in Cairo. But what about the moslem pals? What kind of musicianship is being taught by Barenboim?(In fact what is he teaching in general…) (Continued…) [The conductor is correct] – Basically I agree about music. However, if an agreement is made not to play something..that should be part of the contract. What if Barenboim had decided to play Theodorakis’ ‘palestinian national anthem’? Hopefully that anthem will never have a country to be played in. Wagner is banned only from certain kinds of performances. It is not illegal to own recordings..etc. If it were..this would be totally unacceptable. It might be a good idea to interview holocaust survivors in connection with this matter of certain kinds of public performances. I don’t think Barenboim is anything wonderful. How did he get that job in Germany? 

http://web.israelinsider.com/Articles/AntiSemi/6479.htm  Minister Livnat denounces conductor Barenboim as ‘real anti-Semite’ (September 3, 2005)

Forumite-6 (From USA): Entertainment and politics don’t mix: he may be a good musician but, he’s a pizz poor person. What an azz. Jew? hmm gotta think about that one. Would he have refused to ‘play’ for the nazis if he were in a camp? Would he be so selective as to insult them? This azz sides with Israels enemies and feels justified as to whom he refuses to speak with ( if an Israeli in a uniform) yet, writes a book with a pal. What a guy. Nero had nothing on this azz. (Continued…) He’s spoiling the music: it smells now.  (Continued…) How to help the kids who suffered from Katrina: There’s an agency set up in Houston specifically for kids who were so harshly affected by Katrina, Here’s the address for any who wish to help the least among us… Thank You, Shalom

Forumite-7 (From USA): Barenboim: Words, words, words. Some like him, some don’t. Threre are always people who read things differently.

Forumite-8 (From Israel): barenboim is a yeudon: Barenboim is a yehudon- a sick ghetto jew- filled with self hate and love of the nazi mohammedan enemy. Barenboim is scum and should be boycotted by all proud Israelis and Jews and friends of the Jewish people. He should be excommunicated by us all. He is the evil in our midst and an example of the very worst of the dirty leftist traitors. Let us not forget how he treated his own wife! I wish him lots of pain andsuffering- him and his friends!

Forumite-9 (From USA): Barenboim has changed: I remember in the anxious days leading up to The Six Day War when Daniel Barenboim arrived from London with his bride, Jaqueline DuPre and Itzhak Perlman, Pinchas Zuckerman and Zubin Mehta (before his association with the IPO). They came to raise spirits in the darkest days when others were leaving. Barenboim was then a proud Israeli. The intervening years have changed him. He now openly supports those who work for destruction of Israel and refers to the late Dr. Said as his “soul mate.”

Forumite-2 (From USA): Sad and ironic to think of such changes.

Forumite-10 (From USA): Barenboim is a selfhating *ss: he always has been! Zubin Mehta has FAR more decency and class toward Israel, and he was not even Jewish!

http://web.israelinsider.com/Articles/Briefs/6501.htm  Barenboim rationalizes denial of interview to Israel Army Radio reporter (September 5, 2005)

Forumite-11 (From Israel): Conductors: who cares?: conductors often get light-headed, swell-headed, and abusive from being too long in the spotlight. Who cares what Barenboim’s take on politics is, anyway? Deny him a stage, deny him newspaper access–and he’s gone. Ban Barenboim.

Forumite-12 (From Israel): Insensitive? He’s insensitive!

(JIWON)

I seem to just love Israel. What a funny comment from this holy country? <—– “Conductors: who cares?: conductors often get light-headed, swell-headed, and abusive from being too long in the spotlight. Who cares what Barenboim’s take on politics is, anyway? Deny him a stage, deny him newspaper access–and he’s gone. Ban Barenboim.”

While reading those opinions, I became curious about the favorite music of Forumite-2 from USA. Why?

“(December 18, 2003) I think you are avoiding the implications of many parts of the Koran. It is unfortunate that the Koran was not written with Muhammad’s own hand (left-handedness was probably the reason). The number of persons involved in putting the Koran together over a long period of time cannot be known. The most violent translations are unfortunately the most reliable ones. It is not necessary to be fluent in a language in order to assess a translation. It is the least literal..the poetic translations of the Koran that are the least reliable. These serve to obscure the hatefulness lurking there. It would have been better for the Koran to be limited to the descriptions of Muhammad’s ‘visions’.. which are pretty interesting. Unfortunately.. the book grew to be a monster. It is possible that less harm would be done by Islam if there were no other writings regarding Muhammad. These other writings are used when the Koran is difficult to use: to preserve the evil tribal traditions of Muhammad’s times. There is also a big difference between the history of the Catholic church and Jesus alone. (And this extends to the days before Europe had any role to play. It is a much clearer difference than in the case of Islam and Muhammad… [Another Forumite’s answer] – I just meant that the history of the catholic church shows that it was early on more concerned with being a church than with Jesus. Islam, on the other hand, seems to have a very close connection with writings about Muhammad, not just the Koran. It may well be, as you claim, that a lot of lies have been told about Muhammad by people with evil intentions. Which makes it all the more tragic that he did not leave writings that could be separated from the rest.”

Then I was more curious… what about his opinions about Zubin Mehta? For purely musical reason?

Impossible to find.

Things were always like this.

I am real curious.

What if Barenboim’s music sounded real great to their ears?

What if Du Pre were still alive, still great and her political behaviors were exactly same as Barenboim’s? She is the one who would follow elsewhere her husband goes. She is also the one who would want to teach her kids to follow Barenboim’s footsteps. I don’t think she could become a great teacher, though. She is too nice and too one-way-imaginative to be a great teacher.

What if Du Pre were still alive, and her music sounded like Zukerman’s youngest soul-mate, and her political achievements were no different from Barenboim’s? This is in fact the only way she could survive as Barenboim’s wife and ensemble partner.

It would be more fun to read another comments from those Jewish people.

Who am I, by the way?

During my hard working, the Haaretz were intentionally supporting Elena Bashkirova. It was rather the Jerusalem Post, which welcomed the inauguration of Bashkirova Festival with their full heart but was growing their criticism toward this international affair.

According to this intelligent Jewish opinion, I am a vermin of democracy: “I wouldn’t advise Barenboim to fight this establishment with scorn, but rather to try to understand by means of its strange boycott something about the way cultural life in Israel works: mechanisms, newspapers, lack of knowledge, symbols, past, present and total alienation, not alienation out of awareness but rather a denied alienation from what is called culture. One loves Hollywood, another goes to Paris and a third goes to “Amadeus,” but a discussion of music in Jerusalem turns into a scandal. This is the explanation for the frequent scandals surrounding Barenboim. They do not come from “the general public.” His real audience is happy when he comes. How many great musicians agree to come here? Barenboim comes because he takes upon himself the responsibility of an Israeli. Who makes the little, embarrassing riots around him? Politicians and talk-backers on the Internet, the vermin of democracy. (September 29, 2005 from the Haaretz)

This is how I got to realize that Barenboim could never understand the details in my writings or Forumites’ opinions, which I think sound reasonably right.

I promise Barenboim will never understand what I am writing.

Standing on the brink of collapse of the music business, all Barenboim is experiencing now is sold-out concerts and standing ovation.

How could he know the rest of the world, which is happening behind his back?

This was the main difference between Maestro Furtwangler and Maestro Barenboim.

They said Furtwangler was naïve. Menuhin said Furtwangler was not a Nazi. He said so after he heard Furtwangler. I hear Furtwangler. Then I can say that Furtwangler was not naïve. He exactly knew what was happening behind his back… all the happenings. He just wanted to ignore it until a death threat made him flee from his country.

He believed that he could educate his German audience, who could seek solace in his music and could eventually retrieve their spiritual weapons to prepare another future.

Perhaps… Furtwangler was haughty, regarding himself as omnipotent, because I hear everything when I hear Furtwangler.

Furtwangler’s music tells me so, because when he plants trees, he already sees the forest. To be a Nazi, one should be possessed by an inferiority complex. Don’t you think so?

What means this word, naïve?

If its definition is “deficient in worldly wisdom or informed judgment,” according to the Merriam-Webster Dictionary, then Barenboim is naïve.

Barenboim’s music tells me so, because when he plants trees, he never knows how to map out the forest. He even doesn’t have a concept of what kind of forest he is dreaming, just planting all different kinds of trees with a tireless brain jammed with all their names.

Ten years later, the result is not a beautiful forest but a thornbush overgrown with weeds.

Is it naïve, or stupid?

Workaholic can not be an answer.

To be continued…

Sincerely yours,

Jiwon

(Originally written on June 19, 2006)

Dear New York Folks,

This is Jiwon.

I regret.

Last week (June 5-11), I was not enough healthy to follow Voice of America. So I wanted to catch up my work on Sunday morning (June 11). It has been months since I started following this terrific site and I wanted to organize these articles in a more effective way. Everything was fine, except this part; “The Making of a Nation” It was not that easy to follow this American history as much as it sounded interesting. My grade had never been A-plus in the history class during my school days, and suddenly, I was right in the middle of American history: 9 weeks of Woodrow Wilson, 4 weeks of Warren Harding and then Calvin Coolidge, neither of whose name I’ve ever heard before… I was damn curious to trace backward. Then I realized that this story is a kind of cycle, which consists of 233 articles, and it resumed on February 20, 2003. I am now reading “#169. Roaring Twenties (June 8)”. I clicked all the previous articles and organized them. I know it is a stupid work, but I couldn’t help it. I just wanted to finish what I can finish. While clicking all the dates from 2003, I just couldn’t believe myself. So many people were learning so many things everyday while I was merely doing worthless, always the same work. Even my writing skill is still there. No hints of improvement. 64 weeks later, another cycle will start. What would my life be like by then? I am blessed with a cursed life. Whatever I do, I will prove to be a failure. Ha!

I regret now.  Still tired… painful to watch anything in front of my eyes. I barely exercised tonight (June 15). This deadly condition during the daytime, and that weirdly terrible muscular pain in my entire upper body, plus physical headache… Seems like God is hammering all my bones into another shape. Sic! I change my chair again. Feeling… what my present physical condition really needs is a morning exercise. For years, two alarm clocks in the morning have never worked. What’s more… part of my skin suffer an allergy to the spring or summer sunlight. (It was medically proven that my skin is simply too weak to play under the sun, though.) 

Finally, I decide. I like this site of VOA. No matter what, checking its updated articles in the morning makes me concentrate on my day. At the same time, it has put a huge amount of strain on me, who “always” woke up late, late, late. I decide to sleep without an alarm clock. This morning (June 18), I started my morning exercise and scratch my itchy arms the whole day. I need to wake up more early. All the draft are already in my brain. I tried and tried but it is impossible to write anything with this messy brain. I want to watch the World Cup tonight. (Can I? Already sleepy…)

To be continued…

Sincerely yours,

Jiwon

Something-German: Michael Gielen, Furtwangler & DB

Dear New York Folks,

This is Jiwon.

Am I able to finish this work? Sometimes, I am sleepy. Sometimes, I exercise too much. Sometimes… I wanted to wear my favorite jeans and it was like… an elephant was struggling with…  I am never born a beauty, and what is worse… now with elephant’s legs…? Another approach to meet the same result. Then, orange colored urine in the morning, keep yawning all day…

I know I am on the right track. How do I know? When I wake up in the morning, my breathing or heartbeat is fine.

In Kansas city, where Ms. Block tried to teach me Zukerman-like horn sound, I had suffered from a strange heartbeat while waking up in the morning. Since then, I used to check my physical condition with my morning heartbeat. Weird… this another approach didn’t work when I first tried it several months ago. It starts working… Very tired next morning, though.

I’ve already finished most of this work weeks ago, but I am still in trouble to organize them and to write introductory remarks. I just want to sleep. I am not sure… do I even have an ability to finish this work?

Story 1-4: (Done!)

Story 5: Barenboim (Starting…)

Story 5+: German… whatever (Today’s writing)

Story 5+: Furtwangler (Today’s writing)

Story 5: Daniel Barenboim

5-1. Things that I can not understand. (Divans)

5-2. What specific did Barenboim pick up from my previous writings?

http://www.timesonline.co.uk/article/0,,2092-2124967_1,00.html  (April 09, 2006) “He is equally dismissive of speculation that he will crown his career by joining La Scala in Milan: “Absolutely not.” Instead, he will concentrate on the Berlin State Opera and its financially strapped sister orchestra, the Staatskapelle, while exhorting Germans to take more pride in their culture. “This horrible stamp of the Nazi period does not have to affect the way Germany perceives itself,” he declares. It’s a strange thing for an Argentinian Jew to say, but Barenboim the musical purist has never been averse to striking discordant notes. The Reith lectures are broadcast…”

This interview was in The Times.

Then, I realized that Barenboim understood nothing in my writings about Furtwangler. Then while searching for more information to finish this work, I also realized that Barenboim’s Israel was escorting Glander’s clarinet sound.

Whoever says whatever, Barenboim is a Jewish patriot, then what does it mean?

What means German culture?

Who are German audience?

I’ve already finished my writing on Furtwangler, and I no more want to waste my time repeating the same thing again and again.

Story 5+: German… whatever

http://groups.google.com/group/rec.music.classical.recordings/browse_frm/thread/57a21cbf58254e35/e20a6a1a6b00cfe2?lnk=st&q=barenboim+gielen&rnum=3&hl=en#e20a6a1a6b00cfe2  [Barenboim replacement] from the Google Group

Forumite 1: You have just been appointed by the CSO board to choose Barenboim”s successor. Who do choose and why?

Forumite 2: Bring back Fritz Reiner!

Forumite 3: Seconded! Even dead Fritz is better than ANY of the conductors Chicago has seen since he departed this sorry earth. As for Barenboim, I would be happier if he just stuck to the piano.

Forumite 2: I would be rather unhappy if he did that too. Have you heard his Chopin Sonatas or Nocturnes?

Forumite 4: Given that he totally murdered Haydn’s D major Cello Concerto with du Pre, and that his Mozart sonatas let me to buy a different set, I would rather he stopped attempting either.

Forumite 5: [>Bring back Fritz Reiner!] – Hopefully not. While Barenboim is not a conductor for whom I would reach often (there is something rather “abstract” about his “passion”, were that to make any sense), the best of Barenboim I’ve heard I prefer to the best of Reiner I’ve heard (Scheherazade). Reiner at his most rigid? Better unmentioned.

Forumites: Bla-bla-bla talking about the reason of Barenboim’s departure… One interesting opinion among them.

Forumite 5: Well, it’s his choice obviously, but let’s ask the question from a different angle: for a music director who care for the orchestra he leads and for the orchestral musicians who perspire for him, is it really such an unimaginable sacrifice — or “torture”, to use Mr. Barenboim’s word — to have dinner with a person generous enough as to give a million bucks to the orchestra? I mean a musical leader is not there only to wave the baton, cash in and fly away, but also to care for the people without whom his baton-waving would resemble some ineficient form of fly-hunting. Not to mention that while it is possible that a (potential) sponsor might be a superficial, boring, attention-seeking snob, it is also possible that it would be a considerate, passionate, generous music lover. Why having aprioric opinions on a member of your audience? (Continues…) I remember reading somewhere that Furtwaengler had some similar problems during his not very long New York adventure — he preferred receiving after concert young single female admirers rather than have dinner with the sponsors or something like that. But I also recall the same Furtwaengler, in times of monetary crisis for the Vienna Philharmonic (possibly around 1944, Mr. Fogel may correct me) sending serious money from his own funds to the orchestral musicians. Some of the old-time “dictators” really cared about their orchestras and the musicians felt that.

Forumite 2: [>How about CSO?] The CSO has been in an unstoppable decline since Reiner. Barenboim was only the latest installment in this ongoing disaster.

Forumite 6 (From Germany): [>Barenboim’s successor. Who do choose and why?] – Michael Gielen. He’s a first-rate conductor in *any* repertoire. Please note that other US symphony orchestras have often favored German conductors.

Forumite 7: Including Gielen! Who has the further advantage of being one of the tiny handful of most imaginative and musical conductors alive.

Forumite 8: I am surprised you think that. He led a number of concerts in Chicago — over a period of 3 years or so — and they were among the most sleep-inducing, boring, and unimaginative interpretations of classics that I have ever heard. I don’t understand the acclaim he gets.

Forumite 6 (From Germany): Maybe you thought so just because he isn’t an American?

Forumite 8: He’s a boring old hack as his concerts in Chicago have shown.

Forumite 9: Not the CSO concert I was at of Poulenc, Dutilleux and Ravel. And I’d see him again without hesitation. Am I wrong to see some similarity between BouleZ and Gielen in their musical tastes and abilities?

Forumite 7: Gielen phrases with greater distinction and is much less interested in sound qua sound. It’s partly a question of German inwardness versus French sensualism. Some of their 20th-century repertory overlaps, of course, but I’d rather hear Gielen than Boulez in classical repertory. 

Forumite 10: You are quite right, of course. Gielen is also in many ways the reincarnation of Hans Rosbaud, a connoisseur’s favorite with a wide repertoire and a special expertise and flair for difficult music. These attributes make Gielen about as likely to replace Barenboim in Chicago as Elaine’s sometime boyfriend the Maestro is, or that Intrilligator fellow that our new friends from Dubuque are so enthusiastic about.

Forumite 8: [>Not the Gielen’s CSO concert I was at of Poulenc, Dutilleux and Ravel. And I’d see him again without hesitation.] – I heard that concert. It wasn’t that bad but it was nothing special. Gielen makes X look imaginative.

Forumite 6 (From Germany): Very much a minority opinion.

Forumite 8: Not in Chicago.

Forumite 7: Everybody interested in classical music that I know in Chicago loves Gielen.

Forumite 8: Well, some of them are on this newsgroup and I can assure you they don’t. There is a reason he know longers appears in Chicago and many of us are grateful for it.

Forumite 11: HEAVENS!!!!!!!! Even some “overfed, overpaid union musicians” (Forumite-7’s ‘opinion’) are glad to see Gielen gone from Chicago. Gee, a musician in agreement with Forumite-7. There must be some wintery precipitation in Hell!!!

Forumite 8: We were bound to agree on something some day!

Forumite 6 (From Germany): [>HEAVENS!!!!!!!! Even some CSO musicians are glad to see Gielen gone from Chicago.] – Positive proof about how little musicians know about music-making. 😉

(JIWON)

I collected interesting opinions, whether I agree with them or not. It was at the same night that I accidentally found Forumites’ opinions about Zukerman and Gielen. I was so surprised that I wanted to go further. But it was impossible to find more interesting things about maestro Gielen. I went further on subjects like Furtwangler, Mehta… but the result was nothing new. My first work had almost everything.

Funny… my taste is never the same as German listeners.

No wonder… according to her own interview… not France but Germany was where Elena Bashkirova’s professional life was welcomed.

Maestro Gielen really thought this Russian whore was talented. (Still weird… if “Gielen phrases with greater distinction,” what makes Bashkirova’s music sound so stupid?)

Then more funny… why this German pianist needs her Jewish fame to preserve her professional career in Gielen’s German land? In Israel, where so many Russian immigrants are striving for their practical life, Elena Bashkirova is regarded as not a Russian musician, but a German queen, who is bringing her luxurious German culture into the penniless, poorly educated Jewish audience.

In Germany, she is busy at selling her Jewish fame and trying to draw a line between her Jewish achievement and Barenboim’s Middle East Peace Project.

Really really weird… Bashkriova’s Jewish market seems to miss Barenboim’s du Pre more and more and more. Or is it simply a business trick played by Bashkirova’s Jewish partner, Yeheskell Beinisch, the Chairman of the JCMF?

Something interesting here.

I searched for the specific opinions from this German listener.

Gielen’s German fan doesn’t appreciate Barenboim as a maestro. It was just like Meier’s fanatic fan-club elsewhere, who didn’t appreciate Barenboim as a proper conductor.

How many times did I write that Elena Bashkirova was the best accompanist for vocalist Waltraud Meier or even the violinist Pinchas Zukerman?

Not Barenboim-Fan-Club, but Barenboim-Haters’ opinions are proving my analysis.

This is something German I know.

I never want to go to Germany for the musical reason.

I hate dark, mushy places. One and a half years at the UI-UC is enough.

Story 5+: Furtwangler

1. http://groups.google.com/group/rec.music.classical.recordings/browse_frm/thread/5b22e3e272db3fdb/099999a05ce89aaa?lnk=st&q=Furtwangler&rnum=2&hl=en#099999a05ce89aaa  [A Couple Of Furtwangler Questions] from the Google Group

Forumite-1: Someone posted the DG CD of the 1951 Haydn 88 and 1953 Schumann 4 with the Berlin Phil. 1) Is this representative of Furtwangler’s way of conducting?  2) Who are Furtwangler’s most succesful disciples? 3) Which conductors are really a bastardization of the Furtwangler method when actually trying to emulate him?

Forumite-2: Yes. Barenboim. Barenboim.

Forumite-1: How should one interpret that????

Forumite-3: 1) Yes. 3) Nobody. Anyone who would emulate Furtwangler would be have been run out of the business long ago.

Forumite-4: [Anyone who would emulate Furtwangler would be have been run out of the business long ago.] – IMHO, Barenboim is an exception to that statement. Whether he sought to emulate Furtwangler or not, his capricious and wayward musical manner has been mistaken by too many who should’ve known better as emulating Furtwangler.

Forumite-5: To me, when Barenboim is “on,” he’s very good.  But when he’s “off,” results can be disastrous.

Forumite-4: Your “on/off” statement is quite accurate IMHO

Forumite-3: I don’t follow. DB is not an exception to what I said if he did not seek to emulate Furtwangler. I seriously doubt that he did. Do you have any anecdotal evidence to the contrary? Does he invoke Furtwangler in rehearsal? The comparison between DB and WF is pernicious because it obscures DB’s individual achievements as well as WF’s. “Waywardness”, deep thick sonorities, slow tempi, spontaneity, caprice–none of these characteristics is definably “Furtwanglerian” or “Barenboimian”. And you can easily put similar labels on XYZ, and others without a moment’s thought of WF or DB. Real caprice and spontaneity–stretching the bounds of preparation–that’s the domain of Knappertsbusch (read: Furtwangler at his worst)–and that would kill a career today. I don’t fit DB in that category, either. I can’t think of a single recording or broadcast that would support the Furtwangler comparison.

Forumite-6: Have you heard his first Teldec recording of Beethoven’s 9th? I haven’t for a number of years, but when I had the disc, I can recall thinking that it was a fairly blatant attempt to sound like a Furtwangler 9th. However, having said that, I think that’s much more the exception than the rule.

Forumite-3: Haven’t heard that one (I wasn’t really interested at the time). I’ve heard other Beethoven symphonies in broadcast and on Teldec that didn’t make me think of Furtwangler–maybe Keilberth or Suitner. What was it in that disc that turned on the WF switch, in your opinion?

Forumite-6: From memory, it seemed to me at the time that he handled key moments in a similar manner to the more extreme Furtwangler performances. It’s hard for me to remember more specifics at this point. It’s probably been a good five or six years since I got rid of the recording. But I do recall that it’s a much more extreme recording in terms of tempo shifts, rubato, etc. than the one that comes with the complete LvB set he recorded a few years later with the same orchestra. I think the reason that some people associate Barenboim with Furtwangler is that Barenboim himself has said that Furtwangler was a big influence on him as a very young musician… Of course, none of this means that he is attempting to get a Furtwangler-like sound when he’s conducting. I don’t get that impression for the most part (with the above exception that I gave).

Forumite-7: Imitating Furtwangler is no mean feat. To do so a conductor has to get an orchestra to phrase with one voice, breathe, maintain incredible tension, and deftly maneuver around hairpin turns, all the while appearing to do so with complete spontaneity. Even if one wished to replicate a Furt performance note-for-note, it is far easier said than done. Sometimes I think Barenboim has it in his head to achieve similar effects, but he does not possess the ability to achieve his ends.  This is not for any lack of intellect, musicianship, or intent – he just can’t communicate his intentions to the orchestra in real time in a way that achieves the desired effect. How much of this ability (or lack thereof) derives from technique, or charisma, or even telepathy I don’t know. All I can observe is that Barenboim the pianist is far more successful conveying musical thoughts through his fingers than Barenboim the conductor is at conveying these thoughts through a body of musicians.

Forumite-3: I think he often has in his mind a unanimity of phrasing. One hears that because often his idea of phrasing is rather quirky or non-lyrical. Sometimes it is lyrical, but often not. This involves breath, of course, either real or implied. He often makes a good deal about underlining breath in his piano playing and very obviously asks for it in his orchestras. His Mozart is a particularly good example of this. (Continue…) Hairpin turns? Incredible tension? I almost never hear that in his conducting and basically not in his piano playing either. This is a huge difference between Barenboim and Furtwangler. “Deft maneuvering”? I guess that depends on the rehearsals, but that’s something that Furtwangler often didn’t achieve. I’d score Barenboim higher for deftness, but when Furtwangler got it, it was more astonishing because of the rounder, intentionally mushier style of play his orchestras were shooting for. (Continue…) [but he does not possess the ability to achieve his ends.] – Did it occur to you that (A: Barenboim is not really as prone to exaggeration or dramatic effect as you want him to be; he does some dramatic things on the piano, but doesn’t ask for it with an orchestra.) and (B: It’s not just Barenboim, but his collaborators, who are so far removed from the “wing-it” and “rounded” ethos of the 1940s BPO that there’s no point in blaming the conductor? Conducting is leadership and its collaboration. Barenboim is definitely good at the latter, and is sometimes good at the former, it seems. But even if he clearly exhorts an orchestra to do more of this and that, he’s just nudging them within the bounds of what they’re willing to do. The bottom line is that Barenboim’s musical personality is complex and not easily characterized by high energy, dramatic extreme, or brooding intensity. As a musical personality rather mellow, dignified, and uncomfortable with lyricism, by my estimation–transcendent in introspection at times, but often hard to read at a glance.) (Continue…) [Barenboim the pianist is far more successful…] – Also, keep in mind the difference in the repertoire. Have you ever heard him do Bruckner, Mahler, and Wagner on the piano? Strauss? Debussy? Carter? Boulez? These are things he has conducted successfully at times–this is why he became a conductor. He has also made a real attempt at basic Russian repertoire, as well as Brahms, with mixed results. The real intersection of his piano/orchestral repertoire is very limited: Beethoven, Mozart, Schumann… There I would say his success rate is very similar, conducting versus piano playing.

Forumite-8: 3) I don’t think anyone really fits either category. I’ve fairly often seen Barenboim described as a would-be reincarnation of Furtwangler, but like [Forumite-3] I don’t hear it in any performances of his I’ve heard. Nor do I hear it in X where I’ve also seen the comparison. Some reviewers seem to think that if someone is not especially fast, favors unsubtle rubato and doesn’t elicit razor-sharp ensemble, then he’s Furtwanglerian; but of course there’s more to Furtwangler than those traits and, as often as not, those traits aren’t found in Furtwangler performances anyway.

(JIWON)

I happened to find them.

One sentence was catching my eyes, so I clicked the site and I was reading all the postings: “Anyone who would emulate Furtwangler would be have been run out of the business long ago.”

Then I wanted to go further, and I found very specific postings about Barenboim and Furtwangler.

2. http://groups.google.com/group/rec.music.classical.recordings/browse_frm/thread/e750a483e78bcf9d/7889b7ecbc658387?lnk=st&q=barenboim+furtwangler&rnum=2&hl=en#7889b7ecbc658387  [Why is Barenboim considered similar to Furtwangler?] from the Google Group

Forumite-1: I’m a novice classical music listner. Why is Barenboim considered similar to Furtwangler? I can’t hear it.

Forumite-2: To be honest I can’t hear it very clearly either. If we take Beethoven symphonies performed by both conductors and try to compare them, both have strong dynamic contrasts and slow tempos. Furtwangler also conveys a sense of mystery that I do not always find in Barenboim.

Forumite-3: I wouldn’t exactly call Furtwängler’s tempos slow. I’d rather call Furwängler’s tempi flowing. He used to speed passages up (the coda of Beethoven 5/IV), while slowing others down (the transistion from Beethoven 5/III to IV). The only performance of Barenboim I have, where he tries to impose a similar approach to tempi is a videotape of the *Ring*. The difference, though, is, that Furtwängler’s way worked, while that of Barenboim doesn’t convince me.

Forumite-4: Danny doesn’t sound much like WF to me, either, but he has declared himself a disciple (essentially) of Furtwängler. Has anyone actually claimed Barenboim to be “similar?”

Forumite-5: Barenboim is a very strange case. I’ve heard Barenboim live with the CSO many times, and when he was on he was very very good and when he was not he was dull. I think one problem with some of Barenboim’s performances is that he needs, not a timid modern orchestra that avoids deeply etched phrasing, but an old fashioned one to accomplish what he wants to. It’s all well and good for him to stand there conducting phrases, but not if the orchestra is comparatively unresponsive. The obvious retort to this is that it’s the conductor’s job to induce a response, but no conductor is going to be able to induce the same kind of response from any of the great orchestras of today that he might have induced from one of the great orchestras of, say, 1950.

Forumite-6 (From Israel): Well, have *you* ever seen a photograph of the two of them standing next to each other?

Forumite-7: As a matter of fact, yes, I think I have.

Forumite-8: With his recent Beethoven cycle, he uses slow tempos and his phrasing seems long and, well, rounded, as opposed to sharp and edgy like X. Whether his conducting is as “magical” and “deeply moving” as Furt’s, well, I don’t know about that.

Forumite-5: Furtwängler’s Brahms, Bruckner, and Wagner isn’t slow in the least.  It’s only in classical repertory that he’s comparatively slow.

Forumite-7: And even there, I think it is a fair generalization that he takes fast parts faster and slow parts slower than average, so that there is no overwhelming impression of slowness at all. Furtwangler ultimately is sui generis, and it is misleading to say that anyone else’s performances resemble his.

Forumite-9: [It’s only in classical repertory that he’s comparatively slow.] – Have you ever heard Furtwängler’s VPO recording of Mozart’s Sym. no.40 ? I suggest that “comparatively slow” is hardly the word for that performance…

Forumite-10: Barenboim has become a better conductor as he’s gotten older.

Forumite-5: I’m not sure I’m in a position to make such an assessment, but I like a lot of the performances in Barenboim’s mid-60’s Mozart symphony box very much.

Forumite-11: Apparently, the young Barenboim studied with Furt for a summer in Salzburg, and it’s always been a part of his press. In addition, in the late 60s and early 70s, when he and DuPre and Zuckerman et al were all kind of hanging out for the benefit of the media, there were a number of interviews where Barenboim spoke of Furt’s influence, and how the group was very taken with Furt’s interpretations of various pieces. He also for quite a while, IMHO, adopted a very ponderous approach to music making which seemed to beg comparison with Furt’s (although I see no similarity) – the best evidence for Barenboim’s approach is in the first, disasterous set of Moart/DaPonte operas he recorded.

Forumite-12: Neither can I. Methinks Barenboim is considered similar to Furtwaengler mainly because he suffers from the same disease — he is seriously, terminally serious. He does not make music when he conducts, he rather performs a sacred service — or so he thinks.

(JIWON)

It was before May that I finished searching this group. Then I’ve wasted more days to find proper sentences to organize those information. Then, this news has suddenly popped up.

http://www.haaretz.com/hasen/spages/717222.html  (May 18, 2006) Is there a difference between the orchestras in Milan and Berlin? “A different type of playing, the sound is different and so is the phrasing, and, mainly, the way that they hold the sound. Maybe our biggest secret in the Staatsoper is how we hold the sound, from the moment it is created until it is ended. That is what gives it its depth and weight. In Milan, it’s different.”

Barenboim’s biggest secret in the Staatsoper; its depth and weight.

This was exactly how I started my Furtwangler writing, in which I explained why Barenboim’s thick sound never had the same result of Furtwangler’s thick sound. Especially from the moment it is created…

Then I also wrote what specific in Barenboim’s pianism had destroyed cellist du Pre’s music-making.

So sick of this kind of depth and weight. Who will be the first one in Milan to follow Barenboim’s depth and weight?

5-3. Who I think Barenboim is.

Forumites wrote in their “Furtwangler” debate.

Forumite-5: To me, when Barenboim is “on,” he’s very good.  But when he’s “off,” results can be disastrous.

To be continued…

Sincerely yours,

Jiwon

P.S.:

http://www.suntimes.com/output/delacoma/sho-sunday-bare21-main.html (May 21, 2006) “Without Barenboim, the Civic Orchestra might have disappeared: When the CSO ran into financial problems during Barenboim’s first season (partly due to high costs involved in mounting three semi-staged productions of Mozart operas), the board looked for ways to trim the budget. A few members suggested that the Civic, founded in 1919 to train future CSO players, was no longer necessary. A fervent advocate of music education, Barenboim protested vehemently. The Civic gained a conditional reprieve, and Barenboim and other high-profile guest conductors became actively involved in Civic Orchestra programs. In three years, the Civic was on back on track financially and artistically.”

Well… I just said, “Barenboim was famous for his aversion to conduct his Civic orchestra.” Who said it? Go to the master class held by the CSO’s principal horn!

Still now, I am so sick of the Civic, which was Clevenger’s favorite tool to maintain his political power. The only Civic’s concert I know is that Alice Clevenger was a soloist in Clevenger’s Civic with Boulez conducting.

Isn’t that enough to define the Civic?

You know, my late Korean teacher had “openly” set up a youth orchestra to prepare his son’s professional future. So many stories since then…  Who is the most famous alumnus/alumna of this group? Who is the most hopeless music in Korean professional orchestra?

The Youth Orchestra have trained not their talent, but their courage to play on the stage, adapting themselves as soon as possible to so-so environment. Years later, all the members never betray the function of their sound or native talent, with their aging body.

Which is exactly same as Barenboim’s Civic or Divan Orchestra.

I am now too tired to search for all Barenboim’s interviews, in which he explained the two different jobs as a professional performer and a music professor. He said that what a poor life is to live as a music professor.

It was years ago. Then I started to find more and more information about Barenboim’s Folks, whose active involvement in Barenboim’s ME Peace Project was to collect young students from Middle East, and their another job as a music professor. (Where is Barenboim’s Viola teaching now?)

Famously good music professors are very busy during their summer vacation; from festival to festival, from students to students… Who could find free summer time every year to go to Spain to teach penniless, so-so talented students? Only Barenboim’s employees can do this. (I am pretty sure that part of them don’t enjoy this summer job unless it is helping their professorship.)

Reith Lecture, Contemporary Music

Dear New York Folks,

This is Jiwon.

A Break Time!

Couple of days ago, I found out how fascinating the podcasting technology is. My brain merely started working by then, but I just can not live without knowing this new technology. Starting from the Washington Post, I finished searching for the New York Times and the Voice of America so that I could enjoy studying English with my MP3 player. Lots of excellent audio-articles… COOL~~~ then ooops!

Usually, I use the search-button at “http://www.palestinedaily.com/” to find the recent news about Daniel Barenboim’s Middle East. Some ago, they gave me interesting information about Elena Bashkirova’s Divan members’ “professionalism,” which had nothing to do with either the Middle-East Peace Project or Music.

I was already tired when I found another podcasting: www.bbc.co.uk/radio4/reith 

So I just read its text version and hardly understood anything there during my first reading. Hey, I am still reading your articles about music and I know how to understand something there. Or at least, I know what I should study in order to understand good articles written about music.

I understood nothing there, especially when Barenboim was talking about his musical conversation with late Professor Said, who I think was not a music-critic but a music-admirer, who doesn’t have first-rate ears.

Furthermore, what’s the logical basis to compare music with the Oslo process when both Israel and Palestine are not led by their kings? As far as I know, this kind of peace treaty is nothing but the art of politics-or-emergencies performed by politicians, especially the prime ministers in both sides, or the American president and his European partners, whose term expire every (?) years.

Is Barenboim’s brain actively working in both sides? I always wonder…

For me, this kind of passionate discussions simply mean wasting time. Anyway, I understood nothing there. Am I too tired? Or… Hatred is the only thing left in my present “brain”, then I need to be emotionally fair while writing about Barenboim’s present brain.

I was going to read it several times before finishing my New York stories… until I found these two reviews.

https://registration.ft.com/registration/barrier?referer=http://cgi.wn.com/?template=worldnews%2Findex.txt&action=search&first=0&language=english&SearchString=barenboim&location=http%3A//news.ft.com/cms/s/c9ce3810-c5d2-11da-b675-0000779e2340.html The Reith Lectures are here. You can tell by the indignant squawking about “sneering snobbery” (I think they mean standards) in Radio Times, ever incoherent and slovenly in thought and lay-out. This year’s speaker is Daniel Barenboim, pianist, conductor and pioneer. He brings discerning analysis to music, regarded as a birthright by any idiot with an iPod, so the hackles of mediocrity rise. Having said which, this first instalment (Radio 4 9.00am) achieves little in Barenboim’s avowed aim to show how music, as the American poet Archibald MacLeish defined art, “makes sense of the mess”. He disconcertingly avoids answering questions from an audience ranging from David Mellor to a brain specialist. Perhaps next week in Chicago all will have warmed up.

http://comment.independent.co.uk/columnists_m_z/thomas_sutcliffe/article355580.ece  Barenboim, as much a guru as a maestro : I’m not sure yet whether this was damage limitation or a kind of striptease flirtation. It could be either, after all – insurance against the potential accusation that he’d not scratched the surface of his subject or an implicit promise that he will succeed where others have failed. What does become clear fairly early on though is that this is a quasi-religious event – a form of spiritual attendance for an essentially secular age. Barenboim, a believer in the power of music to instruct us about life, rather than simply distract us from it, is not so much giving lectures as delivering sermons. And the people best placed to judge the success of his enterprise are not going to be musicologists or neuroscientists but students of homiletics.

Well… I am free. It’s now a break time!

It is perhaps your last article that hooked me. Then I stopped reading the New York Times until recently: “He has long been praised for the radiant tone he draws from his Stradivarius. One only wishes that he were more adventurous. (August 18, 2005)”

It just hooked me, because whenever I saw this musician playing, my word has been the exactly same as this statement, ever since I watched a documentary film to portray his life as from a child protégé to an adult musician.

However, something is different.

If you wish that he were more adventurous about his ability to perform more of impressive violin concertos instead of Romantic warhorses, I wish that he were more adventurous about his ability to draw better sound from his instrument.

I don’t think anyone would mind, including himself, even if I mention his name in public. He knows nothing about this article. He didn’t even read it. If he/she reads you, understands you, and dares to follow you, he/she is not a professional musician.

It was in America, where I watched his docu film. Some would agree with me, who believes that he has received perhaps the best schooling as a pure American fiddler. (I am curious. Is his teacher still alive?)

What I also believe is that he should remember his mentor’s teaching wherever he goes, as long as the life allows him to touch his instrument. Not only remembering his technical teaching but also understanding his spiritual teaching.

Somehow, I hear that his adult performance lacks something. His performance in his youth sounds/looks more genuine than his adult playing. I mean… as an adult professional musician, he doesn’t sacrifice his everything into his instrument, despite the fact that he is still physically capable. Hence, the more he manages to create something on his instrument, the less he draws from his instrument.

Well… I didn’t listen to all his performances, but I don’t plan to. When I heard him years ago, twice indeed, the very basic was always same. He says in his docu film, as far as I remember, “The best word to describe my/one’s sound on my/his instrument is my voice.

I say, “For some instrumentalists, voice means something. But for some instrumentalists, voice means nothing.”

I don’t know which case he belongs to, but this is all I can say to his present playing. And I wish that he were more adventurous about his ability to draw better sound from his instrument.

You know… the contemporary music sounds more imaginative or mysterious when you hear it played by “real” sound. Because it deals with more various chords, melodies, rhythms, and so forth. I learned this fact while observing American students’ playing either German music or American music. Then I confirmed my thoughts while listening to Wunderlich singing the popular music.

But then, I hear that stupid voice from the 8 o’clock radio program and I hate the contemporary music more than ever. A contemporary music means plain stupid, ugly, sour, loudly lousy, headache… sic! A contemporary music also means impossible technique. Some say, fabulous technique.

Anyways, I just wish that he were more adventurous about his ability not only to draw better sound from his instrument, but also to perform more of impressive violin concertos instead of Romantic warhorses.

It was part of my next-next-?-story, but it doesn’t quite fit into the subject of that story. So I am writing it now.

To be continued…

Sincerely Yours,

Jiwon

Furtwangler

http://www.kbs.co.kr/radio/1fm/best/bbs/index.html 명연주명음반 -> 청취자 참여 ->  

이제까지 Bach를 신청한 사람이 대략 310명 쯤…
이런 Bach의 홍수에도 아랑곳 하지 않고 꿋꿋이 올라온 음악 문외한의 글들, 우연인지 필연인지 모두 같은 날 올라옴:
1. 기욤 르쾨 바이올린 소나타 정말 좋군요~~ 2005/04/28
2. 오늘 선곡은 유난히 좋네요. 2005/04/28
3. 기욤 르쾨의 바이올린과 피아노를 위한 소나타~ Good~.. 2005/04/28

이 중 두 명은 처음 보는 이름들.
그렇지 않아도 요즈음 이곳도 전문화 되어가는 것 같아서 읽고 싶은 글들이 자주 올라오지 않았었는데, 홍수처럼 퍼붓는 Bach덕분에 두 명이나 슬그머니 글을 올리고 사라짐. 아마도 이 사람들 다른 이들처럼 다음에 또 와서 자기 글을 지우고 사라지지는 않을 것 같음.

여기에 글을 올리려고 마음먹고 나서 기억에 남는 글들을 찾으려고 하니, 모두들 다시 지워버려서 허탕만 친 기억이 아직도 새록새록:
1. 이런 비슷한 글임. 그 글을 읽은 날 너무 궁금해서 찾아보니 Richter 의 Beethoven 이었음: “오늘 **를, (유명한 연주자), 들었는데 나는 얼마 전에 들었던 연주가 아직도 기억에 남는다”
2. Ferenc Fricsay 듣고 나서 누군가 글을 올림.
3. 지난 여름, Kubelik의 Schumann Sym. 를 듣고 나서 누군가 글을 올림.

아직도 살아있는 글 하나. 이것 읽고 배꼽 빠지는 줄 알았음:
“저절로 라디오를 끄게 만드는 음악들로.. 편안한 저녁 시간에는 절대 마음놓고 들을 수 없는 휼륭한 음악으로 가득채워진 실황중계..오늘 방송은 귀신나오는 줄 알았음. (FM실황음악회 게시판에서)”

너무 웃겨서 연주단체와 곡목을 찾아보니, 역시나… 현재 유럽에서 그나마 전통을 유지하다가 최근 망조가 든 오케스트라. Chamber음악 아무거나, 혹은 Wagner를 연주했었으면 현란한 관악기덕분에 욕은 안 먹었을 텐데 현대음악을 연주하시는 바람에 이렇게 욕을 바가지로 먹었음.

여기는… 정말 재미있는 곳임^^
2005/04/28은 내 관심사 밖이라 길거리에서도 라디오를 흘려 들었는데, 덕분에 이 음악이 다시 나오면 귀를 기울여 분석을 시작해야 함. 작곡가 때문인지 연주자 때문인지, 아님 반주자 때문이지…

저의 앞 글들을 혹시나 읽고 싶으시다면,
“바흐 음반 신청 기간 끝났습니다. (운영자)”부터 시작해서 대략 186개의 Bach음반을 거쳐서 글 하나, 그 다음 대략 123개의 Bach 음반을 거쳐서 또 글 하나, 그리고 약 30개쯤 더 가면 글 하나.
아님, “검색”을 이용하심이…

7108 furtwangler를 쓰기 전에 꼭 써야 할 것이 있어서… 2005/04/27
6977 The New York Times (딸가진 부모만 이글을 보셨으면… 2005/04/25
6946 Leonard Shure 2005/04/12
???? [Re:8860번] 분덜리히 2004/10/26 (이 글은 짤렸음. 글 내용이 그리 위험하진 않았는데, 아무래도 Wunderlich 발성법이 요즘 유행하는 Wagner와는 상극이라 여기서도 짤린 것 같음…)

내가 furtwangler라는 이름을 들을 때마다 이해할 수 없는 것:

1. 공개적으로 furtwangler를 우상으로 섬기면서 자칭반 타칭반 그 후계자라는 사람들의 음악은 왜 furtwangler의 정반대인지, 거기까진 좋은데… 그런 자기 연주를 들으면서 왜 그리 희희낙락하며 자화자찬하는지.
2. furtwanglerfurtwangler고, Celibidache면 Celibidache이지, 그 둘을 동시에 섬기는 사람은 또 뭔지. 예수님과 부처님을 한집에 모셔놓으면 일요일마다 어디로 가야 되나?

그래서 그런가…

1. furtwangler음악이 광적이고 어쩌고 하는 말들을 들을 때마다 궁금: 이렇게 멀쩡한 사람들이 연주하는 음악이 “광적”으로 들리면, 옆의 사람이 무슨 소릴 내는지 아랑곳하지 않는 “광인”들이 깡통 깨부수는 소리로 연주하는 음악은 어떻게 표현해야 하나?
2. furtwangler에 대해 “분석”하고 싶고, 그에 대한 “강의”를 듣고 싶어하는 진지한 사람들을 볼 때마다 궁금: 그렇게 당연한 음악을 어떻게 분석하나? 반짝 반짝하는 학생들 모아놓고 쓰레기 같은 음악들 분석하면서 걸레 같은 음악인들 씹는 “Sex-Clinic”이 훨씬 더 재미있을 텐데.

내가 알고 싶은 것은 단지:

1. furtwangler의 연주자들이 조금 더 잘 먹고 잘 자고 “휘성”처럼 운동도 열심히 해서 “이효리”와 “비” 비슷꾸리하게 된다면, furtwangler는 그들에게서 어떤 소리, 어떤 음악을 끄집어 낼까?
2. 만약… furtwangler 연주자들이 모두들 쭉쭉빵빵이 된다면, 그와 함께 공생하고 있는 악기들이 과연 그 성에 찰까? 그들이 악기를 계속 바꾸어댄다면, 과연 그 끝은 어디일까?
3. 그럼, 그런 쭉쭉빵빵 연주자들과 환상적인 악기들을 통해서 나오는 furtwangler의 음악을 Orchestra Hall이 소화해 내지 못한다면 우리는 어떻게 해야 되나? 증폭기를 달아야 하나? 어디에? 어차피 예술의 전당 꼭대기는 목욕탕인데…

골치가 또 아파오기 시작. 어차피…
내 안에는 furtwangler가 아닌 Mravinsky가 있는데 왠 걱정?

어떤 “천재”한 분이 그러시기를… (모두들 천재라 하니까 이렇게 지칭해야 함! 지금 이 한 문장 찾으려고 그 망할 놈의 책을 며칠째 읽었는데 일단 포기. 기억이 가물가물하지만 이런 내용임):
“우리들의 음악세계에는 너무나도 다양한 소리가 있어서 그것들을 다 즐기는 것이 얼마나 재미있는지, 인생은 너무나 짧고…”

이 글과 함께 그 음악을 들을 때마다, 내 안에 있는 Mravinsky 는 이렇게 중얼중얼:
“그러니까 네 소리가 허구한날 그 모양이지, 이 꼴통아^^ 그나저나, 난 지금 네 걱정할 때가 아니다. 내 앞에 저런 무식한 얼굴로 앉아있는 저 러시안 잡초들 때문에 나는 죽은 후에도 내가 원하는 Tschaikovsky나 Shostakovich는 절대로 들을 수 없을 거다. furtwangler도 가지지 못한 악기들을 내가 가지고 있으면 모하나? 저런 잡초들 때문에… 도대체가 Brahms를 몇 번쯤 연주해야 저것들은 자기들의 앞, 옆에서 무슨 소리가 들리는지 깨달을 수나 있을까?”

But still, if I am forced to “analyze” furtwangler‘s music making:

1. It sounds like out-of-tune. However, it is not the same as the ordinary out-of-tuned ensemble. It sounds weird. It makes me concentrate…
2. It’s color is very dark. Some may say that it is out of a rich bass. However, unlike the usual dark-colored, fucking heavy/thick based ensemble, it sounds pure. Relaxed, indeed. This music makes me concentrate…

3. The moment furtwangler hears his ensemble play, he is galloping into somewhere. It is alive~~. Where is he driving his instruments? Where is the final destination of furtwangler‘s sound?
4. Is silence music? Sometimes yes, sometimes no. Musicians need something to break the silence. What is furtwangler‘s favorite way and why? What is a main criterion for furtwangler‘s sound?

5. When you hear other ensembles, such as Rudolf Kempe’s Wagner played by either the BPO or the VPO, which sound very “educated”, you can imagine their next step, namely “furtwangler“. Then… it is impossible to expect them to move forward without forcing them to change their very basic techniques. (I believe it is Kempe’s Wagner (12월 14일), not Klemperer’s Philharmonia (12월 5일). I am not so sure of my memory.)

6. Is furtwangler playing? He was a terrific accompanist, of course. But as a conductor, he is merely spinning the sound out of the relaxed bodies sitting in front of him. Not furtwangler but the orchestra members are playing. Then why could those same guys, same relaxed bodies never make this same sound without furtwangler, who was merely holding the baton and standing in front of them? Sound means everything, including their minds…

7. Who is the last one to follow his maestro and share everyone’s imaginative sound? How furtwangler‘s worst instrument behaved after his maestro’s funeral? Funny that maestro Gunter Wand’s worst instrument sounds brilliant under his successor’s leadership. Funny that no one still knows it.^^

8. 그래도 끝까지 furtwangler 소리가, 음악이 어쩌고 저쩌고 한다면… 아니 그거 소리를 “보면” 모르겠냐? 그냥 들으면 되잖아? furtwangler 한번 듣고 팝송 한번 듣고, furtwangler 한번 듣고 아이들 웃음소리 한번 듣고, furtwangler 한번 듣고 국악명창소리 한번 듣고, furtwangler 한번 듣고 아무거나 한번 듣고…

So many people wrote so many things about furtwangler.
Whatever I write, it will be merely the echoes of someone else’s voice.
They wrote everything, including more practical reasons why furtwangler remained in Germany, regarding his mother, a threat to disband the BPO, etc.
I’m now far from the music library and it is impossible to find what I need.
But how many articles do you think were floating on the internet? I read all of it, anyway. (Some warned that his work is copyrighted…)
Thus, I just hear his music and analyze it in my way.

Before writing something about furtwangler‘s music and politics around him,
Who is furtwangler anyway?
Kathrin said:

1. “My father was the most relaxed person I’ve ever seen. People always remarked on the elegance of his conducting, especially his graceful turning, but this was partly the result of a skiing accident. He hurt his neck, so he couldn’t turn his head alone.”

2. “Goethe said that genius is 99% perspiration and 1% inspiration, which certainly applies to my father. He had great powers of concentration. He could sit and memorize a score without being bothered by all the children making noise around him.” She recalls how he went for a walk every day, following the same circuit for hours. “He didn’t look at nature. He was probably still thinking about work.”

3. “He stayed in Germany to give the people the gift of his music. He was very German, his roots were there and he would have suffered in exile. What was important for him was German culture. No other conductor knew more about German literature and painting. It was not just the music, he wanted the whole culture around him.”

Some months ago,
I was lucky to enjoy “furtwangler only” from this program. (그나저나 2005/11/24 연주는 BPO가 아닌 VPO가 연주한 Schumann Sym. 같은데 아무도 질문을 안 함. 다른 때 같으면 번개 불에 콩 볶아 먹듯 이 게시판에 질문이 올라왔을 텐데 이상…)
It betrayed my expectation. furtwangler was awful!
It led to my simple thought that furtwangler was also a human and therefore he started to compromise with his musicians after the collapse of the Nazi regime.
I thought so… until I found information about the damage of furtwangler‘s ear.

Anyway, what really hooked me was his wartime performances, during the Nazi regime.
What did I hear?
The most powerful sound from the most relaxed body, whose heart is torn by deepest anguish…
This is all I know about this German Musician furtwangler.

It tells me that:
furtwangler was not naive.
Perhaps, he was naive enough to have no attorney and badly explain himself in his deNazification trial, as Yehudi Menuhin observed.
However, furtwangler exactly knew what was happening behind his back whenever he had to confront the Nazi regime. He just wanted to ignore all the political happenings around him, and wanted to educate his German people wishing that his intellectual German culture would soon starve this passing political phase called Hitler’s Nazism.

Then furtwangler didn’t lie when he said this:
“I defended the superior intellectual life of Germany against the Nazi ideology. I did not directly oppose the Party, because I told myself this was not my job. I would have benefited no one by active resistance. But I never concealed my opinions. I knew that a single performance of a great German masterpiece was a stronger and more vital negation of the spirit of Buchenwald or Auschwitz than words.” (furtwangler‘s writing, awaiting clearance from the Allied authorities.)

It is also true that:
furtwangler often drew distinctions between two classes of Jews. On the one hand, he ardently supported Jews who had arrived at the top of their musical, artistic, scientific or academic professions. On the other hand, though, furtwangler apparently felt that Jews outside these exalted ranks were potentially subversive and therefore expendable.” (This internet author warned that his writing is copyrighted.)

Did he make anti-Semitic statements?

furtwangler is preparing his concert.
He is furious with Hitler for raping his homeland.
He is thinking: “Human beings are free wherever Wagner and Beethoven are played and if they are not free at first, they are freed while listening to these works.”
He starts his concert.
They say that the performances conducted by furtwangler are glorious, even spiritual.
Well… I hear simple things: The most powerful sound from the most relaxed body, and their imaginative sound.

Then I think again… If I were:
1. Orchestra members: Feel so good. I’m higher than a kite! What is the Nazi Party? Only those who can’t pass this coming audition would join it and they would swallow up this ensemble. My maestro will protect me. I believe in furtwangler.
2. Hitler: Deutschland, Deutschland uber alles, uber alles in der Welt~~~
3. German audience: … bla, bla, bla (Nazi members)… pla, pla, pla (Anti-Hitlers)… tla, tla, tla (No politicians)… zla, zla, zla (Kids)…

While studying furtwangler in American music library, there was one statement which hooked me.
I could neither disagree nor approve. I just couldn’t understand it:
“… furtwangler was naive… a human like Hitler should have been isolated first. No one should have made worthless efforts to try to educate him…” (I’m now far from the music library. It was something like this.)

Then I finished my furtwangler article with these statements:
“… However, we should excavate his greatness in a different way. furtwangler was not the only one whose music was… But he was the only one who dared to protect the orchestra members, who, unlike the other virtuosi soloists, used to be treated as an artisan… There could be another Hitler, another Goebbels, another Downes anytime anywhere, as long as a human society exists. But there should not be another furtwangler. Musician should not be a victim of the politics. Musician should play music, only to knock the door of the human ‘hearts’. Why do we call them artists, especially in a professional sense? When we cross the bridge to enter the musician’s village, we accept the fact that there would be no money, no power, no fame but music. Who can understand or protect musicians unless musicians themselves do? We can not change the past. But we can prepare for the future. We don’t have to be chained to the past. But, the past should exist for the better future.”

Now, I have to rewrite my work.

Yes, this author was right.
Hitler was not a human something, but merely a German pig.
He should have been isolated first. You could never educate this German pig.
And this is exactly what furtwangler had learned before escaping from the Nazi Germany with no penny.
Well… Was Hitler the only pig in our human world?

Let’s say that furtwangler was a Nazi. Why not?
No one knows exactly what was happening inside furtwangler‘s Nazi Germany.
Only those who actually lived there know everything.
All those outsiders can therefore perfectly call furtwangler a Nazi.

So…
How many Jewish lives has this Nazi furtwangler saved?
Strangers and even professional enemies included.
How many? Still, no one knows.
Then… How many Jewish human beings repaid what they owe to their Nazi benefactor, while penniless furtwangler was living in exile? Did they pay off all their debts after the Nazi regime fell?

If my reading is correct, he was still penniless even after the collapse of the Nazi regime. The BPO had to support his widow.
There was even a strange plot to delay deNazification trial for him.
Part of his beneficiaries joined “anti-furtwangler campaign” and their reason was purely professional. That they don’t want to share their American-or-foreign market with this genius musician, furtwangler.
Someone wrote it, and I read it.

Why should Yehudi Menuhin defend furtwangler when those Jewish beneficiaries do nothing?
Why should I do this, when “furtwangler‘s List” never tries to persuade Yad Vashem?
Some ago, I read a story about one German officer, Karl Plagge, who was posthumously recognized by Yad Vashem. Who worked to persuade Yad Vashem that the German army officer had saved Jews at his own risk?
I was speechless.

Wherever you go, you meet someone. Humans or pigs.
Human beings can never forget how their lives were saved. Their heart find peace only after they repay all their debts.
I am now curious.
Most of those whose Jewish life furtwangler saved were musicians, weren’t they?
I want to “study” those Jewish music and “analyze” the function of their sound.
I want to analyze those “Jewish minds”.
Am I wrong when I call them Jewish pigs?
If furtwangler had ever made anti-Semitic statements, his subject must have been about Jewish pigs and all his beneficiaries were even not included there.

So… How many Jewish musicians have I experienced?
Most of them were literally pigs.
However, I’m still reading the Jewish articles, and drop my jaw whenever I find terrific Jewish human beings and their achievements. One of them… even the Palestinians lamented his death.
Then I think again: “What really means Judaism? It should be a lifelong study…”

Pigs are pigs. We should not make worthless efforts to try to educate them.
This is what furtwangler has taught us through his music.

Orchestra is a music business.
It is neither a family affair nor a chamber music, in which you are welcome to play “uneducated” music and can still receive a standing ovation after the performance.
Those who ignore his colleagues and never follow better sound around him should be fired.
Whatever you do, whatever I do,
Those pigs will never betray the function of their sound.

You can never say that I am hysterical or too sensitive on whatsoever matter.
How many years have I observed those pigs and their dirty behaviors?
They just perfectly proved my theory. They were even worse than my expectation… (이제까지 어떤 얼굴들로 개판 쳐놓고, 내가 부활할 조짐이 보이니까 이제 와서… 땀 삐질삐질 흘리면서 음정 맞추는 척 하느니, 차라리 소리자체를 바꾸는 편이 더 낫지 않을는지. 그냥 가시던 길로 가도 아직 갈 길이 먼데, 그렇게 비 효율적인 방법으로 인생을 살아서야 어디… 정말 재수없음.)

Someone once told me: “Time will solve everything.”
Oh, yeah… I did listen to music everyday, all day.
How many years have passed since then?
Did time solve everything? Has music finally healed all my pain?
If it really cured me, there should be a peace at the bottom of my heart when I am alone.

I wanted to write about furtwangler, a German pig, and the Jewish pigs.
Then, I had to read this book first: “Generations Intifada” by Laetitia Bucaille
I wanted to know.
Who are Palestinian pigs? (I also wanted to read another book, “Strangers in the House” by 라자 샤하다, but no more time for anything…)

Personally, I don’t like to understand the Israeli-Palestinian affairs from a French point of view. I read the newspapers everyday and in my viewpoint, it was not fair.
But this book was the only thing I could find.
I read it anyway, and… It has changed everything in me.
After finishing this book, I now feel no need to check the morning newspapers to find something new about the Israeli-Palestinian affairs.
Everybody was just Sharon’s toy.
Not only Palestinian Prime Minister, but also American president was Sharon’s toy Nr. 1.
I have never seen such a great politician as Sir Ariel Sharon.
A politician should think, behave and prepare his future just like him.
I respect him more than ever…

I am a great fan of Dr. Condoleezza Rice, and hope her to read this book if she really wants to treat Israeli PM as an American President’s devoted follower or at least as a political partner. Hope her to read this book if she really enjoyed reading Sharansky’s book, “The Case for Democracy.”
I also wonder. Did Sir Sharansky read this book?

If you want the power of music to heal the broken hearts of any Palestinians in this book, please cure me first: 살라, 나세르, 마흐무드, 사미, 나지, 바쌈, 알리…
I am pretty sure. Sir Sharansky will be the first one to understand what I mean.

There is no perfect human being.
There is no perfect mind.
There is no perfect sound.

How many A-rated sound can we hear from the so-called professional musicians? Once a hundred years?
“The B-rated sound” functions worse than “the C-rated sound with imagination” does.
Because the sound C follows a better sound around him, while the sound B doesn’t.
Then, the sound C improves with ages while the sound B goes to the hell because it has to please its deteriorating body.

This is the fact:
1. Henry Fogel, the “new” president of the American Symphony Orchestra League or a spiritual leader of “The Wilhelm furtwangler Society of America,” called me a nut.
2. …
3. …

여기서부터는 너무 위험수위가 높아서 짤릴 것 같음.
피곤하기도 하고…
좀 쉬었다가 나머지 부분은 letters@nytimes.com , d**************@hotmail.com 으로 직접 보내겠음.
뭐… 반응이 너무 좋으면 끝까지 갈수도 있지만 이 부분은 재미도 별로 없고,
지금은 내 인생이 더 중요하니까… 잘 되면, 그 때가서 차례차례로 몽땅 쓰면 됨.
Gidon Kremer 와 그 Second Ex 부터 시작하면 음악세계가 한 눈에 보이니까…

이렇게 후련한 것을 왜 진작 못했을까?
그나저나, 여기서도 내 글이 미친년 취급을 당할까?

Before Writing About Furtwangler…, Jacqueline Du Pre

http://www.kbs.co.kr/radio/1fm/best/bbs/index.html 명연주명음반 -> 청취자 참여 ->  

CD 신청한 사람이 120명 정도.
선곡표를 꼬박꼬박 확인하는 사람이 400-600명 정도.
오케스트라 하나에 투자하는 돈이 얼만데… 이 소수를 위한 단체를 만들려면… 수지타산이 안 맞아요.^^
앞글이 궁금하시면 120정도 앞으로 가시길…

Furtwangler를 쓰기 전에 꼭 써야 할 것이 있어서…

여러분은 Jacqueline Du Pre를 좋아하는 이유가 무엇인가요?
물론 대답은 “음악이 좋아서” 이겠지요. 그럼, 그 음악이란 건 무엇입니까?

1. 다른 사람이 똑같은 음악을 연주한다고 가정할 때, 똑같은 관심/찬사를 보낼 수 있는지요? Du Pre를 들을 때, 그 음악과 동시에 그 비참했던 인생이 가십거리로 등장하는 것은 아닌지. 어차피 음악은 엔터테인먼트 이고 Du Pre 라는 이름은 그 목적에 딱 들어맞지 않나요?
2. 그녀의 서정성? 아님, 폭발하는 힘?
3. “The Davidov 와 그 친구들”을 통해서 Du Pre만이 끄집어 낼 수 있었던 소리.
4. 기타

저는 3번과 4번입니다.
2번일 경우는 Pop 으로 가면 얼마나 들을 음악들이 많은데요. 그리고 Du Pre의 경우, 2번 역시 3번의 결과이거든요.

어느 나라를 가나 Du Pre의 고정 팬들이 있습니다.
근데 이상한 것은, 그 중에서 첼로전공자들은 별로 만나보질 못했습니다.
석/박사로 갈수록 오히려 싫어하던데요: “소리가 이상하다. 정통주법이 아니다. 그건 70년대 구식소리다…”

저는 미국 행 비행기를 탈 때까지 그 음악을 들어 본적이 없었습니다. 저는 생음악만 들었거든요.^^ 또, 그 이름 모른다고 제 인생에 불편한 것 전혀 없었고. (지금도 그 연주들을 들으면 짜증나요. Ensemble 이 너무 개판이라서, Du Pre본연의 재능을 즐길 수 있는 은반이… 몇 개 있더라…)

그러다가 미국에 갔고… 이야기가 이상하게 돌아가서… 미국도서관에 처박히게 되었고,
그 속에서 은반을 발견하게 되었고…
그래서 Biography를 읽게 되었고…
그 속에 제가 있었습니다.

그 당시,
Music School 쪽에서는 고아신세가 된 저의 존재를 말살시키라는 지령이 떨어진 상태였고, 그러면서도 저에 대한 정보는 계속적으로 Orchestra쪽으로 보고가 들어가는 상황이었습니다. (그 때가, 제가 누구에게서 누구에게로 팔려가는 과도기였기 때문에 그 세세한 이유는 저도 자세히 모릅니다. 어쨌던 돌아가는 상황이 그랬어요. 누구는 계속 저를 죽이려고 하고 누구는 계속 저를 이용하려고 하고, 저의 일거수일투족이 감시 당하고.)
그러면서… 매일 아침 미치지 않은 제 얼굴을 확인하려고 거울을 보았었는데,
거울을 보면, 그 속에 제가 감당해낼 수 없는 또 다른 나의 모습이 있었습니다.
나는 분명히 피해자인데, 얼굴이 점점 추해지는 것은 그들이 아닌 바로 저였습니다.
입에서는 쉴 새 없이 더러운 언어가 튀어나오고, 제 머리는 점점 더 더러운 욕을 찾고 있고, 그리고 그것으로 정신적인 쾌감을 느끼고…
안 되는 것 뻔히 알면서도 제가 저를 조절할 수가 없었습니다.

근데, Du Pre의 Biography에 저와 똑같은 여자가 있었습니다. (물론 Du Pre는 그 단계 이후에도 끝없이 추락했지요. 아마 주위사람들, 굉장히 골치 아팠을 겁니다.)
그것을 읽으면서, 정신이 번쩍 들었습니다.
그러면서, 저 자신을 조절하는 것이 가능해졌습니다. 왜냐하면, 그런 추한 인간이 저의 또 다른 모습이라는 것을 깨달았고, 그 사실을 받아들이게 되었거든요.

그래서 그런지 솔직히…
저는 Du Pre라는 이름에서, 음악자체보다는 다른 것에 더 관심이 갑니다.

Jacqueline Du Pre는,
재능을 타고난 여자아이가 초기교육을 성공적으로 받은 경우입니다.
재능을 타고났다는 것을 어떻게 아느냐고요?
Du Pre가 무대 위에서 행복에 겨운 표정을 지을 때 그 신체에서는 어떤 소리가 흘러나오죠?
그리고, 이 여자가 Multiple Sclerosis라는 질병에 차즘차즘 굴복해가면서 그 신체가 소리를 점점 잃어버려갈 때, 무대 위에서 악기를 다루는 표정은 공포 그 자체입니다.

간단하면서 당연한 말 같지만… BPO의 젊은이들을 지켜보시죠.
무대를 장악한 듯한 행복한 표정으로 다루는 악기에서 어떤 소리들이 나오는지를… 잔뜩 쫄아서, 혹은 성령을 갈구하는 듯한 심각한 얼굴로 연주를 할 때만 so-so sound가 나옵니다. (내가 이런 말을 공개적으로 쓴다고 갸들 native talent가 변할 것도 아니고, 걱정 안 해도 됨^^)
누가 그랬던가, 이효리는 대상 감이 아니라고…
다른 사람들은 다 그럴 수 있어도, 최소한 클래식 연주자들은 그런 말 못합니다.
학문적인 입장에서 보면, 이효리는 목소리와 그와 짝을 이룬 body-language가 기계처럼 정확해서 보고 있으면 집중이 저절로 되지만, 클래식 연주장은 몸을 흔들어대는 것이 꼭 전국노래자랑 수준. 골치 아파요. 그러니… 그렇지 않아도 재미없는 음악 누가 보고싶게쓰?
사설이 너무 길었음…

Du Pre는,
1. 신체적으로 타고났습니다. 몸의 크기도 크기지만, 자기신체 100%를 악기 속으로 다 투입시킬 수 있는 능력을 신에게서 부여 받았죠. (지금 제 실력으로는 정확히 99%인지 101%인지 밝혀낼 수 없지만 기분상 100%라고 해주죠^^) 우리가 알고 있는 Du Pre에 대한 정보는 주로 성장기 이후이기 때문에, Du Pre 어머니가 살아계셨으면 물어보고 싶은 것이 너무 많은데… 아장아장 아기였을 때의 특징들: 자는 모습, 옹알이의 특징, 등등등

2. 음악을 듣고 있으면, 이 소녀가 얼마나 쓸만한 머리를 가지고 있는지, 얼마나 섬세하게 분석적으로 악기를 다루고 악보를 읽고 있는지 보입니다. Du Pre 스스로도 자기는 수학을 굉장히 좋아했다고 말을 하지요.

3. 최초의 음악교육을 제대로 받았어요. 소위 홈스쿨링이지요. 개인적인 의견으로는, 그보다 더 교육을 잘 받을 수는 없다고 생각합니다. 단, 한가지 문제가 있다면 악기선택이 잘못 된 것 같아요. 몸에 비해서 큰 사이즈로 연습을 했는데, 이것이 다른 아이들에게는 상관이 없을지 몰라도 Du Pre에게는 치명적이었을 겁니다. 아마 의사들도 이것이 MS의 발병과 무관하다고는 말 못할 겁니다.

4. William Pleeth라는 선생님이 계셨지요. 학생을 가르치려고 한 것이 아니라 그냥 Du Pre가 연주하게끔 도와준 teaching 방법. 여기에 관해서는 아마 대부분의 사람들이 저보다도 더 자세하게 알고 있을 겁니다.

5. 그녀의 데뷔초기에 Barbirolli라는 지휘자가 있었지요. 이 사람이 한 말이 있는데… 생각이 윽… (지금 Du Pre의 연주는 limit를 벗어나려고 하는 경향이 있는데, 아직 젊으니까 그 정도는…) 라고 어쩌고 저쩌고 하신 말씀이 있는데, 아마 Sir Barbirolli가 조금 오래 사셨어도, 결혼 후에 이 여성 음악가가 그렇게 길을 잃고 헤매지는 않았을 겁니다.

6. Du Pre는 항상 자기가 못 배웠다고 생각하고, 사람들 앞에서 굉장히 겸손했다고 하지요. 그 여자 천성이기도 하지만, 저도 Du Pre 본인 의견에 동감입니다. 더 배울 것이 많았고, 끊임없이 배워서 신에게서 물려받은 자신의 재능을 더 성숙시키면서 그것들을 더 자유자재로 다루는 방법들을 배웠어야 했습니다. 본인 자신도 병마에 시달리는 동안 말하기를, 자기가 한말이나 쓴 글들이 나중에 보면 왜곡되어 있어서 싫다고 했지요.

만약,
Du Pre도 제가 배운 것처럼, 그녀의 방식대로 음악을 분석하는 방법을 배웠더라면,
그렇게 비참하게 인생을 끝마치지 않았을 수도 있습니다.
Multiple Sclerosis라는 병명을 진단 받기 수년 전부터 자신에게 닥쳐왔던 헤아릴 수 없는 음악적 그리고 신체적 증상들. 주위로부터 얻었던 것은 정신병이라는 오명밖에 없었죠?

설령 MS가 발병했다고 해도 자기 몸을 더 잘 관리할 수 있었고,
또, Barenboim 옆에서 진드기처럼 들러붙어서 떨어지지 않는 창녀(들)에게 조롱 당하면서 더 망가지기 전에, 당당한 얼굴로 웃으면서 소위 남편이라는 놈 걷어차고 자기 자신만의 생활을 개척할 수도 있었을 겁니다. 그 정도의 연주를 남겼고 그것들의 이유를 분석하는 법을 배웠더라면, teaching에 있어서도 자기와 비슷한 재능을 지닌 아이들을 발굴해서 Du Pre 본인이 행복을 느낄 만큼의 성과를 이루어 낼 수 있었을 겁니다. 이것이 그저 그런 재능을 지닌 여자의 애증드라마도 아니고, Du Pre의 경우, 자기재능과 음악을 이용하고 망친 놈에게서 사랑이라는 감정을 느끼기는 더 이상은 불가능했을 겁니다. 모르긴 몰라도…

Du Pre 기록필름 중 Schubert “Trout” Quintet를 보면 현재음악계를 다 파악할 수 있습니다.
그리고 이런 사실을 저보다도 Du Pre가 더 상세하게 느꼈을 겁니다.

1. Barenboim: 이 필름을 볼 당시 Mehta와 Zukerman에게 너무 놀래서 Barenboim은 볼 여유도 없었는데, 어쨌든 일단 Barenboim은 Du Pre 와 둘이 있을 때만 제소리를 내고, Zukerman하고 있으면 소리가 이상해지면서 같이 Du Pre 음악을 말아먹음. 그리고 Du Pre 사후에도, 이 갱단과 연주 중에는 서로 절대로 안 듣고 꼭 연주 후에 너무 친한 척. 무대 위에서 친구의 의미가 무엇인지 절대로 모름. 설상가상으로, 요즘은 친구 소리를 듣고 따라가려고 노력하는지 점점 엉망이 됨. 소리 이상해져, 그 소리에 테크닠 소화 못 시켜서 허구한날 틀려… 이끌지도 못할 소리 맨날 “모시고” 다니면서 왜 본인은 맨날 틀리는지. Megalomaniac 이라는 별명을 달리 얻은 것이 아님.

2. Perlman: 정말로 Du Pre소리를 좋아함. 그리고 그 소리에 민감하게 반응함. 그래서 Perlman 혼자 연주 때보다 더 소리가 좋아짐. 하자만 Du Pre가 없으면 그 좋은 소리 혼자서는 못 만듦.

3. Zukerman: 아랑곳 없이 자기 소리로 연주하다가, Du Pre가 melody를 연주하면 그제서야 반응하는 척하다가 다시 빠꾸. Trio를 할 때면 Barenboim과 함께 완전히 말아먹음. 그 음악을 듣고 나서야 왜 Furtwangler전문 음악학자가 “young pinky” 라고 그 재능에 못을 박았는지 이해를 함. Zukerman이 Milstein과 대화를 나눈 필름을 보면, 소리자체를 구별 못하는 사람이 짱구를 굴릴 경우 얼마나 돌대가리처럼 보이는지 알 수 있음.

4. Mehta: 무대에 있는 것 자체가 너무 신이 나서 Du Pre가 어디서 무엇을 하는지 전혀 신경 쓸 여유 없음. 신경 쓸 능력이 없거나. 그나저나 그 콘트라베이스 소리가 영…

세월은 흘러…
1. Mehta: 오케스트라 주자들에게 존경 받는 지휘자중 손꼽히는 사람.
2. Zukerman: 지휘를 시작했고, 덕분에 미국 오케스트라 현악주자들 소리 점점 이상해지고 있고, 현재 BPO 현악주자들 사이에서 가장 존경 받고 있는 걸로 아는데, 아닌가요?

연주자의 음악과 그들의 사생활은 밀접한 관계를 지니고 있습니다.
연주가마다 등급이 있죠? 그리고 그 등급은 명성과는 상관이 없죠?
저질 음악가는 악기와 자기 몸으로부터 소리를 대충 끌어내고 그 허접한 소리를 테크닉으로 화려하게 장식을 하기 때문에, 사생활에서도 매일 섹스파트너를 바꾸어야 직성이 풀릴 겁니다.
하지만 최상급연주가들은 악기에게 자신의 모든 것을 바칩니다. 신체적이던, 정신적이던.
그런 성향의 인간의 사생활을 상상해 보시죠. 모든 면에서…

1. Zubin Mehta 의 자유로운/난잡한 사생활을, 어떤 무식한 놈들은 Furtwangler의 화려한(!)경력과 비교하는데, 경우가 다르지…
2. Zukerman: 지금 법적으로는 3번째인데, 두 번째 처/첩이 누군지 정말 궁금함.

Du Pre 가 죽어가고 있을 때, 가장 마지막까지 우정을 지켰던 사람은 Perlman이라고 알고 있는데요, 자세한 내막은 모르지만 음악적으로 분석할 경우 가능한 사실입니다.
Du Pre 투병 중, 그리고 사후에도 Mehta는 Barenboim에 들러붙은 창녀들 연주회 스케줄이며 뒤치닥거리하느라 바빴을 겁니다. 이것들 경력에 Mehta이름이 반짝반짝 빛나거든요.
우리들 모두 인간이고, Du Pre가 인간적으로 어떻게 추락하고 있었는지 다 아는 상황에서, 그런 것들을 시시콜콜하게 따지자는 것이 아닙니다.
문제는, 이것들이 Barenboim 에게 들러붙은 이유와, 이것들 연주실력과 Mehta의 지휘가 찰떡 궁합이었다는 것입니다. 그리고 Zukerman이 그 뒤를 따라갔죠.
당연하게도, 이것들의 소리는 한결같이 남을 말아먹는 소리이죠.

그래서 지금 세계적으로 Wagner연주가 이 모양 이 꼴이죠?

어쨌든, 그 창녀(들) 덕분에 Du Pre는 죽어서까지도 무식한 영국 놈들 사이에서 가십거리로 취급되고 있죠? 소위 Jackie’s Sex Scandal이라고 하면서: “Du Pre 역시 Barenboim을 배신한 거고 어쩌고 저쩌고…”
저 역시 Multiple Sclerosis라는 병에 걸려 본적이 없어서 정확히는 모르지만, 그래도 상상은 할 수 있어요. 그 당시 이 여자가 얼마나 비참했는지.
MS라는 병명을 진단 받기 전 몇 년간 느껴지던 이상한 증상들: 설명할 길이 없는 신체의 이상한 증상들, 나날이 변해가는 악기의 반응과 그 소리들, 그리고 높아가는 무대공포증. 소위 음악가라는 남편이란 작자는 정신병이라고 몰아세우고…

Du Pre는 sex라는 신체행위를 통해서 자기 몸과 악기와의 관계를 확인하고 싶었고, 그래서 상대방에게 양해를 구했죠. 정신적인 위안과 함께.
Du Pre의 sex scandal은 multiple sclerosis와 밀접한 관계를 지니고 있어서, 음악학자라면 끝까지 연구를 해서 그 이유들을 밝혀내야 하는 흥미로운 주제이죠.
근데 그 무식한 놈들은, 어떻게 그 창녀(들)의 더러운 SEX와 비교를 할 생각을 한 건지. 내가 살다 살다 그렇게 더러운 년(들)은 정말이지 처음보고, 그렇게 무식한 놈들도 정말이지…

흔히들, Jacqueline Du Pre 는 몇 세기에 나올까 말까 한 천재라고 하죠.
정말 그럴까요?

Du Pre는 저와는 다릅니다. 일단, 남긴 음악의 수준차체가 달라서 비교하는 것 차체가 이상하지만^^, 모든 인간에게는 native talent 라는 것이 있고 그것만을 가지고 비교하자면…

제가 벌써 Du Pre의 재능을 가진 아이들 몇 명을 보았는지 아십니까?
그 아이들을 보면서, 그들이 어른이 된 경우를 상상을 해 봅니다. 그리고 사람들을 만날 때마다 내가 찾는 사람들인지 아닌지 관찰합니다.
한 명이 아닙니다…
가정주부도 있고, 또 어엿한 직장인들도 있습니다.
그리고, 종류는 달라도 좋아하는 음악의 취향도 비슷합니다.
음악인이 아닌데… 음악인의 신체적 특징들을 잃어버렸는데도… 다들 너무 행복해 보입니다.

Du Pre는 신체적 조건도 타고났고, 그에 걸맞은 교육환경과, 데뷔초기에는 연주환경까지 제공 받았던 경우입니다. 근데 보세요. 얼마나 비참한 삶을 살았는지. 그건 자기의 노력과는 상관이 없는 일입니다. 주위환경이 절대로 뒷받침해주지 않습니다.

Jacqueline Du Pre
그 여자 음악 좋죠? 그리고 사랑하는 딸이 그런 음악 연주했으면 더 좋겠죠?
하지만… 딸자식을 그런 사지에 내몰고 싶으신지요?

다행히도, 제가 생각하는 음악영재와 Du Pre가 보여준 그런 특징들이 한국의 소위 영재연구소의 website에 나와있는 특징들과는 너무 달라서, 멀쩡한 아이들이 한국의 사교육시장에서 인생 말아먹을 기회는 없을 것 같은데요. 다행이죠.^^
제가 그랬죠? 제가 배운 지식들로는 이 사회에서 아무것도 할 것이 없다고.

글쎄요,
저는 Jacqueline Du Pre에 대해 썼다고 생각하지 않습니다.
어느 재능 있는 한 여성음악가와 그 인생에 대해서 썼다고 생각합니다.
저의 이야기가 될 수도 있고, 또 여러분의 따님이 될 수도 있습니다.

저는 정말 궁금해요.

Du Pre가 지휘를 했다면?
Pianist Furtwangler가 Du Pre의 반주를 했었다면?
Maestro Furtwangler가 Du Pre라는 악기를 가졌다면?

Furtwangler의 은반을 도서관에서 처음 들었을 때,
그렇게 당연한 음악을 내가 너무 놀래면서, 너무나 새삼스럽게 여기면서 듣는다는 사실에 놀랬었고,
그리고 나서, 이 지휘자에 대한 글들을 읽었을 때,
그렇게 당연한 음악을 왜 Nazi라고 했는지,
왜 수많은 사람들이 이렇게 당연한 음악에 대해 시끌시끌 말들이 많은 건지

글쎄요,
여러분들이 Furtwangler를 그 사람의 음악이 좋아서 듣는다면,
저에게는 또 다른 이유가 있습니다.

제가 한구석에 몰린 외톨이생쥐가 되어서
고양이에서 덤벼드는 것만이 살아남는 길이라고 여기고 있을 때, Furtwangler를 공부하게 되었고,
이 독일인과 그 음악에 대한 글들을 읽으면서 내 자신이 자유로워지는 것을 느꼈습니다.
내 주변에서 벌어지고 있었던 그 모든 것들을 잊을 수가 있었고,
제가 정말이지, 책을 읽으면서 그렇게 머리가 맑아지는 경험을 한 적이
태어나서 처음이었습니다.

P.S.: I didn’t know that Ms. Faber means Mrs. Perlman…
그나저나 큰일났군,
악으로 버티다가 그것마저도 사라진 지 오래되었고,
피똥을 또 보아서 병원에 가긴 정말 싫고,
5월 1일까지 끝내야 할 텐데…