WHO AM I? Please check Dear Journalists and Dear-Forumites. I am who I am. I can never explain what happened to my life for the past ten-something years in this simple place. If any of professional journalists reports false information about me, without reading ALL MY WRITINGS in this place, The Art of Criticism. I will take everything into the legal case. Thanks.

JIWON: Since last March, I was busy at taking care of my Knesset-blog, Barenboim Loves Knesset, and one day, someone took the normal editing tool and inserted this smile-thing. 8) So, it takes coupe of days to post and edit this message, which normally required less than 30 minutes, and I’m still afraid that some links might not work. No matter what, Knesset-Jokes is my most favorite, and I prefer not to update this Music-blog, The Art of Criticism. I hope READERs to find what they want to find while traveling both of my Music-blog and Knesset-blog.

If you want to read ALL my official mailing to Israel/Palestine or other Governmental Officials, please check Mail-Recipients, where you can also find WHO received my invitation. Please see ABOVE.

If you are interested in the Mideast Affair, especially Peace Negotiation between Israel & Palestine, why don’t you visit my Knesset-blog, Barenboim Loves Knesset?

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START WRITING from MID 90s to JULY 18, 2008 (Revised on OCTOBER 9, 2008).
Originally, this is part of Thanks, My Friends…, My Requests to Barenboim (Please see My-Previous-Messages.) (February 1, 2009) BARENBOIM / BASHKIROVA, Salzburg, Mozarteum: Pierre Boulez and Matthias Pintscher: During the Mozart Week 2009 two composers of our time will be featured who will be here as guests: Pierre Boulez and Matthias Pintscher. In one of the main concerts in this series the Ensemble intercontemporain conducted by Pierre Boulez will perform works by Carter, Pintscher and Boulez. Works by Mozart will be included in other concerts. (…) Daniel Barenboim, Elena Bashkirova will perform piano music by Mozart and Boulez. (…) This programme featuring composers of our time will be rounded off by discussions with artists.

This one should be recorded. I want to supervise this recording procedure. Then, I need to half-finish my mailing as soon as possible and contact…

Still, there is no change in my previous one; Category: My Requests to Barenboim, which were written from January 4 to February 13, 2007.


Still… whenever I think of this concert, Memorial concert for Edward Said in Chicago University’s Mandel Hall (Oct. 12, 2003), and its aftermath, I want to grind this b*tch’s bone to make a bloody juice and want to watch Mrs. Mariam Said drink it. Still, I never plan to appreciate late Mr. Edward Said’s involvement in the CSO history. Funny to know that the detailed report about the worst performance among the CSO history was not from the local critics, according to whom the performance was just-bad, but from the Chicago University Student. How many student reviewers are working in the university paper? I also read their exact, detailed description about Kremer’s performance. In short, they didn’t want to pay their time/money for something useless.

I didn’t know that Bashkirova’s WEDO’s Salzburg Festival 2007 was in fact to lay the cornerstone of Meier’s Bayreuth project, apart from Ashkar family business to open the music conservatory in Israel. What a fool I was…

From MEIER Side of Story:
Interview: “Bayreuth? Warum eigentlich nicht?” (24. Juni 2007) …Heiner Müller… ein “ausgesprochenes Bühnentier” wie Jürgen Flimm, sagt Meier. Aus Bayreuth kennt Meier auch Daniel Barenboim. (…)
Barenboim: Divans at Salzburg Festival (August 13, 2007) I am enormously grateful to the guest artists; all of them performed without demanding a fee out of their dedication to the project. Waltraud Meier. (…) The third workshop, led by Pierre Boulez, called ‘Sound and Structure,’ (…)
Interview: Der ewige Wolfgang! (October 28, 2007) Wie die Bayreuther Festspiele ihren Ruf verspielen : “bla-bla-bla,” sagt Jürgen Flimm.

From BASHKIROVA Side of Story:
Stephan Pauly: Aufatmen nach der Mozartwoche (6. Februar 2006) “Die Planungen gehen im Moment bis 2009. Da gibt es mehrere Gedanken und Gespräche, was man sich für 2008 und 2009 vorstellt.”
Mozartwoche 2006 Mozartwoche 2006 to celebrate Mozart’s 250th birthday. Luxurious program with Barenboim’s VPO among the participants.
Mozartwoche 2007 Mozartwoche 2007 auf neuen Wegen: (…)
Mozartwoche 2008 Mozartwoche 2008: Kremer among the participants.
Mozarteum Argentine: Staatskapelle Berlin / Conductor: Daniel Barenboim (May 29-30, 2008).
Mozarteum Argentine: Jerusalem Festival Chamber Ensemble (October 27-28, 2008). …The dedication of the participants created a familial atmosphere…
Mozartwoche 2009 Mozartwoche 2009. “Bashkirova & Co.” and Rattle’s Kozena among the participants.
Bashkirova’s Performance Schedule after Jerusalem Festival 2008

From ANOTHER Side of Story:
Performance Schedule of Magdalena Rattle. Just in case…

This is what I know about Mozartwoche 2006-2009:

1. In Barenboim’s Israel, Bashkirova’s Mozartwoche 2006 was not to celebrate Mozart’s 250th birthday. It was in fact to celebrate Dorit Beinisch’s appointment as President of Supreme Court of Israel. (Please check Dear Berlin Mayor and President of Supreme Court of Israel (Apr 22 – May 15, 2008). in Mail-Recipients. Also check Banana-Republic or Dear-Arab-Readers in my Knesset-blog.)

2. Artistic Director Stephan Pauly looks like wanting to join Barenboim-Gang, and I am still not sure of his ability. For more than ten years, I’ve never seen any professional who proved his talent after enjoying his social gathering with Kremer’s second-ex. In fact, their music always sounded worse than my expectation or even worse than my academic analysis. I never know why, but there was no exception.

3. Toward the BPO’s D-Day in 2002, the German pigs were damn busy at their Bashkirova-project, and the Salzburg ensemble sounded like the copycat of Glander’s Staatskapelle. (Please listen to their performance with pianist X.)

4. Finally, another name joined “Bashkirova & Co.” Her name should be Magdalena Rattle. Mrs. Rattle still sounds like Miss Kozena, but the listeners’ opinion is never same. They are now talking about her voice. She was not a virgin when she started her affair with Simon Rattle, but she quickly lost this characteristics during her nights with the BPO’s boss. In these days, this kind of sex-scandal is nothing special, but I don’t know why the concert-goers’ opinion is not same when they compare Kozena’s scandal with others’. Do Mr. and Mrs. Rattle know why? I just know that in recent days, Loggioni is not the only opinion, that according to Barenboim’s interview, Mrs. Rattle doesn’t like kitchen-work, that the BPO’s boss can’t fill his performance schedule with Kozena-Only and is required to seek younger, sexy divas, and that if Mrs. Rattle were born a real talent, all the top-rate maestros would want to play with her voice and she won’t have enough time to devote to her man and babies. Time will tell.

Whatever, this sh*t ignored all my warnings and went further? Then I have more:

Elena Bashkirova and Daniel Barenboim will appear in their nude in Stephan Pauly’s Boulez Concert. Why nude? This one should be recorded and I shall supervise this recording procedure. With this valuable material, I will be able to make a detailed report about why Barenboim’s CSO concert after Bashkirova’s Said Memorial Concert became a record breaker in the CSO history. Bashkirova’s sitting posture in her nude is not the only one I should take care of. The starting point of analysis should be her smiling embouchure. Barenboim’s worst performance and Bashkirova’s best one always have something in common. They share the same characteristics of sound. This is exactly what took a life from cellist du Pre.

Then, I have to compare this Duo-Concert with this one, ‘Schubert Fantasia in C for Gidon and Elena Kremer (D.934),’ during which a female pianist shows no hint of talent in accompaniment, either for sense or for sound, and her lover never listens to nor communicates with his pianist. A typical Kremer, who is an expert of Art of Unensemble and now a greatest mentor of Bashkirova’s WEDO ensemble business. There is a link to this music, but I don’t think it will work for international listeners.

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

This characteristic is also what made conductor Barenboim fall in love with Meier’s German diction. When this voice goes to DRAMATIC, Barenboim’s string section turns Dirty in coloration and RAW in timbre. By the way, I only wrote Barenboim’s case. In other ensembles, such as whitely spread ugly string section sound, the result will be something another.

I promise. Du Pre’s fan-club will enjoy watching what kind of detailed reaction to Elena’s nude Barenboim made in their Paris bedroom, because Bashkirova’s music was not what caused their sex-scandal. Am I cruel? It was the German journalism, which first started this nude-scene, wasn’t it? This is also how I happened to save one female singer’s dying life while answering this trashy journalism. I will invite all my mail recipients to attend this concert.

It was I who asked Barenboim that he should plan the Duo-Concert and travel all over the world with Bashkirova if this SOB ever wants to support his bimbo behind the scenes. Now, I have to add one more. This couple should appear in their nude elsewhere they go. Haven’t they forgotten the very fact that du Pre’s audience goes to Barenboim’s concert only to check all the rumors about Barenboim’s sex-scandal in Paris? I promised Barenboim that I will take care of Bashkirova’s performance schedule even after her death. I promised her management company that I will make this historically unique pianist as the company’s entertainment jewel. We’ll see.

Or Barenboim can’t join this Boulez concert unless Mr. Pauly finds a proper partner for Barenboim, a top-rate pianist. How many Bashkirova-Gang members joined this event and how many will join “Bashkirova & Co.” after this performance? Why don’t you imagine all those pigs playing sickish Boulez and imitating Barenboim? Who invented this term, Butterfly-Effect? SIC.


What is his real identity? Junior Barenboim or Junior Bashkirova? The two bloods, the Barenboim and the Bashkirov sound different. During her recent interview, Bashkirova was busy at explaining history of Bashkirov-family. Wasn’t that enough for this family to steal all the fortunes of two families; du Pre and Barenboim? What about my family, which almost collapsed while this b*tch was stealing all my hard working? Now that I find all those trashes, who used to gather around Kremer’s second-ex, now prefer to stick around Barenboim’s son, I have to make one thing clear. Too much is too much. I can’t handle all those sh*ts any more. I am the one who cut my private relationship with my own nephews. What is his real name? I will answer his decision through my behavior. The most sickish thing I did in my life was asking Barenboim to take care of his son.

As I promised in Masterclass at Merkel’s Bundestag (Sep 10-18, 2008). I will delete this part if this Mama’s boy ‘directly’ send me his answer. However, my another posting, Dear Barenboim’s Son (Oct 10, 2008), will appear if Bashkirova refused to undress herself in ALL Bashkirova’s Barenboim concerts:
🙂 Bashkirova’s Performance Schedule after Jerusalem Festival 2008

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3. The MEMBERS of ‘Bashkirova & Co.’, including DIVANS:

(Updated on October 8, 2008).
🙂 Dear Spanish Government Officials, (Regarding Government Fund / Spanish Culture / Barenboim’s Involvement in Spanish Politics, Aug 5-13, 2008)
🙂 Dear Italian Government, (WEDO in Italian Wagner Festival, Aug 7, 2008)
🙂 Dear European Countries (WEDO in Europe, From Aug 13 to Present)
🙂 Dear Berlin Mayor / Israel / Palestine, FINALLY… (Aug 29 – Oct 6, 2008)
🙂 Masterclass at Merkel’s Bundestag (Sep 10-18, 2008)
🙂 Dear Palestinians, (Concerning Barenboim’s Divan-Project, Sep 25 – Oct 10, 2008)
🙂 When is the best time to join FACEBOOK? (Regarding my Legal Business with Yeheskell Beinisch, From Aug 6, 2008 to Present)
(Please check Mail-Recipients.)


(Return to original date)
When was my mailing to Spain, a headquarter of Bashkirova’s West-Eastern-Divan-Orchestra? Dear Middle Eastern Music Society & Spanish Government (Apr 3, 2008). When was my mailing to the president of Supreme Court of Israel? Dear Berlin Mayor and President of Supreme Court of Israel (Apr 22 – May 15, 2008). If the Israeli court didn’t take my serious writing as a mere joke, the story already ended there. Why should I write more? (Please check Mail-Recipients.)

THE REST OF THIS PART IS FOUND IN My Requests to Barenboim: The MEMBERS of ‘Bashkirova & Co.’, including DIVANS (Reading about those musicians will be a waste of time… May God Bless You.)

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4. Guy Braunstein (BPO’s concertmaster) and Nabil Shehata (Solo Contrabass):

In recent days, there have been a huge improvement in couple of European ensembles. (It may be tiny, but it should be called ‘huge,’ due to the basic difference. Listen to each individual instrument, then think of their grouping sound, which still doesn’t deserve native talent of each sound.) Then, I have to make one thing clear.

Are they called the Concertmaster and the principal Contrabass of the BPO? I would call them the BPO’s Top and Bottom.

This is part of my writing before ‘watching’ BPO’s Top on “What I feel funny about this boy is that he really considers himself as a leader of the BPO. How do I know? His sound has changed since his appointment.”

This is after watching his live performance on (No need to provide exact addresses. I already have enough enemies in conducting department.): Ho! Brrr… speechless. Why in the world ALL Bashkirova’s SHITs always sound worse than my analysis/expectation? Perhaps, this pig had to play like this after feeling that his ‘group’ refused to follow him. But then, how much is Korean audience going to pay for this concert? (Twice as high as NY-BPO.) Sigh… They deserve each other. Famethirsty audience and the pig’s orchestra, in which no basic concept of proper tempo, tonguing/attack, or phrasing is found among the members, who never know how to follow whom and why, whenever X-like conductor is steering them into the battle-field.

I hate listening to the recordings of the ‘modern’ BPO. This is art of recording, sounding like computer music. It’s boring and tells me nothing. But their live performance always tells me something. How long will it take for this youth orchestra to grow into the real pro-ensemble?

When was it? Last year? Months ago? Or days ago? I remember nothing, either the conductor or the repertoire. I’ve frequently forgot to turn on the radio since… So, I failed to listen to all the BPO’s live concerts. But whenever… the same happening was telling me something or everything.

Dear Berlin Mayor and President of Supreme Court of Israel (Apr 22 – May 15, 2008). (Please check Mail-Recipients.)


BPO may force Rattle to drop the baton (25 April 2008).
(My writing about Mussbach-scandal and other happenings in Berlin… too tired to post it now.)
New Contract Likely for Berlin Conductor (April 26, 2008).

Well… I feel like being born a slave to work for Rattle’s BPO. Sir Rattle started his Berlin job with the better members after several resigned. While rushing to Bashkirova’s Jerusalem, they claimed that they couldn’t play chamber music in Berlin. Then, why Rattle’s new BPO sounds much more organized, especially while playing by themselves under NO-maestros? I just feel funny whenever frequent rumors have it that Sir Rattle is having a hard time with the better members… I just realized how much Berlin folks detested my Furtwangler writing that day.

Still, I strictly avoid analyzing Bashkirova’s BPO members, whose goal is to earn more power to rule the orchestra after playing with Barenboim-Toy in Jerusalem, or to defame Barenboim-Maestro after failing in their Bashkirova-project. What’s more… according to my life-experience, I can’t help suspecting if Sir Rattle is asking his members to join Bashkirova and want to receive my analysis to get a clue how to rule his headache orchestra.

Whatever… none of my business. My only concern is Barenboim’s BPO members, whose only favorite job is to dwell in Furtwangler’s “Little-Republic,” and I am writing for them.

May I give you two cents? ^.*

They now sound like pros, but they are fighting. They always starts as a headache… then fighting… then THE MOMENT… then another fighting… then THE MOMENT… the another fighting and so on.

I am talking about THE MOMENT. To grasp THIS MOMENT, Barenboim needs X from the Top and Y from the Bottom. Bashkirova’s Top and Bottom doesn’t belong to it.

This is a public place and I am writing for Rattle’s company. It is still OK, because THIS MOMENT doesn’t work for the British interpretation. It sound so… attractive… slightly over Karajan’s heydays… I am not going to write the exact description. Even if they make it, there are more steps to go. They can make it if they want to. I only know it will be damn difficult to pick up THE MOMENT in this present situation.

Not only it is difficult to pick IT up… The most profound sound needs the most instinctive interpretation and vice versa. Better sound needs smarter interpretation, or it would sound… (One surely knows I never want to help unnecessary folks.)

Hence, Bashkirova’s Top and Bottom can’t join Barenboim’s BPO concerts. If they truly want to play under Barenboim’s baton, why don’t they sit at the end of the line, all behind the section members, and follow their united voice? If those f*cking sounds prove a real leadership, I will allow them to join. I promise they will never make it.

By the way, I used to think that Bashkirova’s Bottom is over fifty. He looks old and sounds old. My decision is important especially for the BPO’s Bottom. In recent days, it’s become a new trend in Contrabass world, in which a superficial sound with brilliant technique earns fame after winning the top-rate competitions. They join the top-rate orchestra only to destroy the entire ensemble business. I can’t accept this. I’ve never heard any of them play with good intonation with enough depth of sound. The gold medalist in top-rate competition should make a living as a top-rate brilliant soloist. Why do they keep trying to join the orchestra and destroy poor ensemble members? They used to be called dumb blokes, because they need to worry about too many things at the same time and it was damn hard to prove a technical perfection; intonation, sound, color, timbre, touch, tempo, and so on…

Of course, I have another business with participants in Bashkirova’s Jerusalem Festival, mostly the winds… ALL of them should be responsible for their behaviors, more exactly for their music. But this is not my ensemble. Barenboim is a guest conductor, and winning the attractive string section sound is already a safe future for Maestro Barenboim.

This is off the topic… I heard that there is a specific tonguing technique in German tradition. Ansatz? Not sure of my memory, but the moment I heard this word, ‘Ansatz’ or whatever, I suddenly imagined attractive note coming out of instrument. I still don’t know what it means, but how come all I hear from this top-rate German ensemble is cheap-cheap-cheap emptiness?

People all remember legendary music through recordings. They all compare those old recordings with modern live performance. Exactly what kind of music people call legendary? Have they ever listened to any legendary music, in which legendary maestros failed to elicit a certain kind of string section sound? Berlin, Boston, Chicago, Cleveland, Old-Czech, NDR, New York, Paris, Philadelphia, Vienna, etc. (in alphabetical order… I only blame my poor memory.) More legendary means less gap between the string section sound and its followers, the winds.

A modern European orchestra without its own string section sound? What’s the difference between its music and the one of Asian local orchestra, which performance schedule lacks nothing? They play ALL the pieces, from Mozart to Wagner. They ALL play with technical perfection. Wherever you go, you hear all the copycats of Eurotrash/Russian Woodwind and Yankee/Russian Brass. They play like a disciplined bloc, with a certain sound all the way through, never questioning about the notes. No need to complain. It doesn’t cost expensive.

Bashkirova’s SHITS can never join Barenboim’s ensemble. PERIOD

By the way, I didn’t know that Herr Wowereit or Berlin Mayor is one of members of the board of trustees in the BPO. What exactly is the job of board of trustees? How come the board of the Berlin Philharmonic Orchestra, a pure German soul, indeed, can’t answer my Quiz? Girls mourn… *.*

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How dare this sh*t interview like this after the Milan concert? “Hay veces que me sorprenden los sonidos de la orquesta.”

Waltraute Meier was the most inferior singer in Barenboim’s Ring, with no basic technique in either voice or acting. How come this bimbo was able to make further involvement in all Barenboim’s production? Perhaps, I should ask members of Bayreuth Festival Orchestra. This b*tch’s noisy seduction must have been notorious among the musicians.

I want to know.
When I analyzed how this voice destroyed ALL about Siegfried Jerusalem, what happened to Wagner Festival in Berlin? Siegfried Jerusalem left Barenboim, and then Unter den Linden was literally ruled by Waltraud Meier.

Whose idea was it? Perhaps, the READERs should ask Henry Fogel, ex-president of the Chicago Symphony Orchesthra, about this. (Please check the FrontPage of this blog, The Art of Criticism.)

Funny… in Google-Group, only couple of members was driving away all the terrific Wagner-comments in the name of Waltraud Meier. I used to think that one was a pure German, perhaps from the Bayreuth, because Henry Fogel, the CSO’s ex-president, was originally from Mehta’s New York. He was not. His nationality was from one of most aggressive Euro sound, which orchestra has lost its pure timbre long ago.

Siegfried Jerusalem was not the only case. Whenever I picked up music from certain musicians, Barenboim was the only one, who was not allowed to play with them. Mehta was the one, always. Then it was no more possible to hear MUSIC from the same musicians.

Do people call Hamas a murderer? Then what about Meier? Please ask Meier. Who died with a heart attack while Meier was busy at ruling/stealing all the talented voices in German opera houses? He was going to be a real German jewel, a real Wagnerian High Voice. I promise. Rene Pape is not going to lose his life. He just won’t prove Wagnerian Dramatic Low Voice. (Please check the FrontPage of this blog, The Art of Criticism.) Not surprisingly, Barenboim never heard of this German Jewel-to-be, since Meier didn’t introduce this voice to Lindenoper, which had to remain as a Trash-bin full of bony voices to make Meier’s voice a pearl-in-mud.

Am I a charlatan? It was already in those days, (when was the exact year? I am now too tired to start this research again), when American doctor in Cleveland warned his orchestra member that he would lose his eyesight.

Not only Wagner, Barenboim’s Fidelio in Chicago could have been among the legendary recordings Barenboim could boast, if without this sickish voice. I am curious. How many Meier’s fans appreciate this Leonora? Even the most devoted Spanish fans didn’t applaud. (Please check Google-Web.) Was it because Mehta was a conductor?

This Wagnerian Heroine ignored my original request? Category: My Requests to Barenboim. What’s more, this sh*t tried to destroy her female partner’s important moment by out-singing/powering her minor part? (Please check the FrontPage of this blog, The Art of Criticism.) Then there are more. I forgot to mention that Barenboim’s Angels, both Bashkirova and Meier, should appear in their nude in Meier’s Lieder Recital, didn’t I? And everybody knows the exact reason WHY, doesn’t he?

1. During the Rehearsals: ALL the female singers will spat at Meier’s face. They will do this in front of their maestro, Barenboim, and male partners. It will happen twice a day; before and after the rehearsal. Promise. Barenboim’s love of Meier will soar. Male things will feel more pity on their sex-symbol. Everybody will see if this sh*t still dares to destroy her female partners’ moment.
2. During the Performance: Category: My Requests to Barenboim
3. After the Performance: Maestro Barenboim will appear in his nude during the curtain call, while naked Meier will pick up her Red-Bra. Who knows, audience can watch live sex-show on the stage.
4. After the live sex-show, ALL the female singers will spat at Meier’s face again, this time in front of Meier’s audience. I promise. Another branch of Meier’s fan-club will start after the performance.

When did I order Waltraud Meier to give up her pro-careers? I never did.

This comical actress was boasting her fame so much that I just asked her to establish Meier-Opera-Company and enjoy all the Meier-version of Wagner Musicdramas in Meier’s headquarters. STILL, I can never understand why this sh*t is sticking around all the talents and destroying their weak purity.

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Just die as soon as possible. How many poor orchestra members have lost their professional life because of this Jewish fame? Can he return all those poor musicians to where they belong to? Whether or not he wants to solve his problem with du Pre in his next life is none of my business. Whether or not he shows a hint of remorse for his behaviors, whether or not he now wants to return to the music school to study about music is also none of my business. Just die and go to another place, where I don’t have to meet this disgusting Jewish fame even in my next life.

While collecting information about Brigit Nilsson, there was one sentence I wanted to quote but couldn’t, because it would require my further work. It was her troublesome relationship with Joan Sutherland. One day, Sutherland was on the radio and her ‘singing’ voice was ‘following’ Zubin Mehta. Well, I wanted to know the exact, detailed story between Nilsson and Sutherland. I promise that I can answer all the reasons of Brigit Nilsson, the Wagnerian Soprano. I can… because I still remember Sutherland’s interview about Wagner. In those days, I couldn’t understand her reason. “Why not?”

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Basically, everything was up to Barenboim. And this is exactly what he chose and what he wanted.

When did I ask Maestro Barenboim to make a perfect music? I never did.
When did I ask Daniel Barenboim to behave as a perfect guy? I never did.

I just wrote how to make better music with the same orchestra members, in the most effective way. I only wrote which sound plays the cancerous role in ensemble situation and warned him not to accept this human species in his private life.

I constantly wrote that there is no perfect human being, no perfect sound, and therefore no perfect music.

I just read all Barenboim’s interviews and wrote the possible way to make his dream come true, how to join Furtwangler’s Utopia. I just wrote that there are always orchestra members, who play the cancerous role, and how they sound. More exactly, who they are… whenever they make a good team with human trashes around Barenboim.

Barenboim always went the opposite way. While boasting his big mouth as a Furtwangler’s disciple and standing in front of international media, putting Furtwangler Symphony in his performance schedule was the only thing Furtwangler. Was it Mehta-version or Furtwangler-version? Please ask Barenboim.

Bashkirova was sure that Barenboim would never betray his mistress, Meier, while Meier believes that Jewish-German-Elsewhere Pigs would never give up supporting Bashkirova. Both of them were sure that Barenboim would never dare to betray Zubin Mehta.

What I feel funny about Daniel Barenboim is that this old guy still seems to believe that he is merely entering in his fifties. How old was Furtwangler when Wilhelm lost his ears and Elizabeth lost her man? Smoking cigarette or even drinking coffee didn’t exist in his healthy life. Waltraud Meier wanted to celebrate her retirement in Barenboim’s farewell concert, for which dinner party I was supposed to work in Bashkirova’s kitchen.

With my Barenboim-message, I was forced to travel all over the world, and realized that there was ‘music to start’ wherever ensemble members has no connection with Zubin Mehta. Perhaps, both of Barenboim and Mehta should die as soon as possible. The world of music may be able to find a shortcut toward Furtwangler’s Utopia. None of my business. I just want to die after finishing this dirty business.

Here, there, and everywhere… how long did it take for ONE member to destroy the ENTIRE orchestra?

Everybody heard and now know what means B*tch version of Barenboim-music.
1. It was from Argentine listener, who wrote how ‘unique’ Barenboim version of Beethoven sounded.
2. It was right after Meier’s Wagner-Festival in Berlin, when even the British folks questioned about Barenboim’s Brahms. This comical version of ‘raw’ string sound had to be paired by doubled wind section. Am I wrong?
3. When the Ensemble Wien-Berlin proved their bottomless failing during their Bashkirova-tour, how each of them sounded? Starting from the bassoon and its comical vibrato. Not to mention the sickish, dirty clarinet sound. Is he still playing in the VPO and destroying its ensemble? Of course, I never forget hilariously superficial flute sound. But their very basic reason all started from Hansjorg Schellenberger’s brilliant oboe sound, didn’t it?
4. Please check Barenboim’s Staatskapelle’s Beethoven in Dear Middle Eastern Music Society & Spanish Government (Apr 3, 2008). (Please check Mail-Recipients.) It sure sounded horrible. But as a matter of fact, their failing failed to reach half of what Ensemble Wien-Berlin achieved. They should try more. They should prove it.

How many are now reading my Barenboim-message? And Barenboim still want to take care of those sh*ts, this time in this open place?

8 🙂 8) 🙂 8) 🙂 8) 🙂 8) 🙂 8) 🙂 8) 🙂 8) 🙂 8) 🙂 8) 🙂 8) 🙂 8) 🙂 8) 🙂 8) 🙂 8) 🙂 8) 🙂 8) 🙂 8) 🙂 8) 🙂 8)

I still remember what kind of heavenly face Barenboim used to make when my writing circulated among the members of the Chicago Symphony Orchestra. It was his very first time to realize his favorite Cellibidache phrasing with his string section sound, wasn’t it?

How many years have passed since then?

The moment Waltraud Meier destroyed the Milan Scene, I wanted to send this golden couple into the hell. I still want to, and had to work, work, and work: Dear Barenboim’s Argentine (May 27, 2008). (Please check Mail-Recipients.)

It was in September of 1993/1994 when I heard Barenboim’s hopeless life in Orchestra Hall in Chicago. (…)
🙂 Dear-Arab-Readers (From my Knesset-blog, Barenboim Loves Knesset)
🙂 Dear Berlin Mayor / Israel / Palestine, FINALLY… (Aug 29 – Oct 6, 2008) (My mail to Germany, Israel, and Palestine)
🙂 Masterclass at Merkel’s Bundestag (Sep 10-18, 2008) (My Mail to Germany)

Dear European Countries (WEDO in Europe, From Aug 13, 2008 to Present) and
Dear Palestinians, (Concerning Barenboim’s Divan-Project, Sep 25 – Oct 8, 2008)


I just wanted to protect poor musicians, orchestra members in particular, who can’t defend themselves whenver cancerous ensemble partners destroy their pure-but-weak talent. No orchestra can survive without the members, who play the Thankless-Role. I wanted to be a keen garderner, who loves to protect beautiful flowers from the weeds.

To be honest, I’ve hardly seen a better analyzer than me, and the theory class was always a nightmare. I knew nothing about music but just followed the rules and always got a safe grade, sometime a top in the class, and then still knew nothing about music. What if professor asks me something about music? It scares me. After finishing all the classes, I joined orchestra again. The first thing lacked in my music education was theory class. What the hell.

However, I was not the best ear wherever I went; NYT-Forum, Google-Group, Opera-L, Mahler-Forum, La-Voce-del-Loggione, Clarinet-Forum, Other-Forums, Bloggers, Jews-Elsewhere, and so on… In my case, I just remember all the happenings on the stage, and don’t trust my own ears. That’s it. How in the world those human species can hear what I can’t hear? How come they know all the details without playing on the stage? I can’t imagine how sensitive our human ears could become. It led me to analyze and analyze.

Fortunately, I had an ability to ‘watch’ the sound. Now, I have another ability to pick up valuable comments from public places. I know what kind of music the most sensitive ears among the normal audience want to pay for. If one can please their cultural taste, it’s a matter of time that the performance is given a standing ovation by the rest.


Please check Barenboim’s performance schedule. Whoever he is, there is a responsibility to fulfill for any Music Director of any Major Orchestra. Introducing young talents is one of them. Even after fulfilling this job, there is a certain rule to follow for both Music Director and Young Soloists. How many talented youngsters were able to join Barenboim’s ‘Secret Society’? And how many of them made an improvement after ‘boasting’ their special relationship with members of Mehta’s ‘Secret Society,’ which power has been literally ruling the whole world of music?

I promise. This NEW rule will allow anyone to enjoy Barenboim’s generous friendship with nothing-political in their pure mind.

Including Lang Lang. (Please check Canadian “Ring,” Lang Lang, Divans, Something American (Nov 28, 2007) in My-Previous-Messages.)

Everybody knows that I don’t pay for the music of circus boy, and it was after I DID watch Lang’s boasting his social gathering with Bashkirova, (was it in Bashkirova’s kitchen or restaurant?), and Beinisch decorated his Jerusalem Festival’s homepage with Lang’s face. Despite all the sickish feelings, I did my best to accept this circus-boy only because I knew how much Barenboim hungered for joyful friendship with fellow musicians. Then, Bashkirova went further and wanted me to find something more.

What I feel funny is that Barenboim looked real happy while chatting with his circus-boy, whereas this pretending-face is the busiest Yes-man. (Please check Then, I’ve never seen more happier face than Bashkirova’s Lang in Jerusalem. (Was it in restaurant or dressing room?) Then again, enough information were found in Google-Web, about what kind of musicians are his real friends. How many homepages does this boy have, BTW? I had to think.

1. Has there been any change in his performance since then? Despite protective pro-articles from XYZ, this guy is now receiving worse and worse reviews from ticket-buyers. What I feel funny is that whenever I insult a certain musician in public places, everybody starts to protect the poor victim. Lang was not included. What do I do when their detailed description is just right?

2. No ability to improve? It is still OK. Has this circus boy ever tried to think about the ‘notes’ while boasting his huge repertoire? The worst interview was when he said like… “I practice so much… it hurts here and there…” Perhaps, he picked up what he wanted to read while visiting my blog. I clearly wrote why Mehta’s ‘Asian’ disciples look more disgusting when they beg for public attention after failure to brag their horrible sound. Haven’t I posted it yet?

3. I’m not interested in his Chinese fan-club. I am only interested in his Chinese junior music students. I already found one Chinese jewel, and there will be more. This is a real jewel, and how big China is? I know how Yundi Lee studied in his hometown, and feel real pity on his poor German life. How come he still never knows how to fix his problem? He now wants to play like Lang Lang, and it is getting worse.

4. Now, I truly appreciate Bashkirova’s grand plan. Whose idea was the revival of Barenboim’s nude/bath-scene in Paris? Unlike years ago, this voice won’t kill Lang’s life, especially his ‘pianissi-!!!-ssimo,’ which is the least favorite sound/technique of Maestro Furtwangler. I am just thinking. How dare this voice insist on herself being an inheritor of bel-canto? Belcanto after Mozart? Has she forgotten the very fact about the way she destroyed ALL the singers in Barenboim’s-and-others’ Mozart, even Rossini? Has this top-rate Star forgotten how her ‘unique’ vocal technique was received in Italy, home of Belcanto, while famed conductors with paralyzed ears were crazy about ‘weird’ voice in Germany? I heartily recommend this circus boy to stick to the endless fame of Bashkirova’s heroine, Mehta’s headquarters elsewhere, Zukerman’s NACO, and so on. Zukermann is getting bad reviews in Toronto, isn’t he? (Please check Google-Group.)

5. However, concerning my previous promise, the game should be fair. If this pianist ever appears in front of me without achieving what Barenboim tried to teach in his masterclass, a REAL Beethovenian touch, we’ll see.

Is there something another that Bashkirova wants to steal from Barenboim? Building her pro-career by destroying Barenboim’s everything has been the only concern of Elena Bashkirova. Please tell me. I will follow her grand plan. Who else is there?

(Updated on AUGUST 3, 2008).
PSC protests Jerusalem Quartet performance in Edinburgh
JIWON: No further writing is required… the cycle continues. BTW, is this sh*t still selling du Pre’s fame and killing her precious instrument with his oily sound? How dare… Does Barenboim know that there is already qualified one, who deserves this instrument and should grow more?

Newstatesman: Changing man

A typical British. (BTW, this is not my opinion. I learned this word from one French musician.) Then, I have to post this one, too. Sir Rattle and the British BPO. I hate this work. I had to start this writing with this subject, but I was afraid of too much work. No choice now but to write this one, too.

When was it? I found out sickish behaviors of so-called Divan members in Jordan and reported it. I also found out terrific summer schedule of The Edward Said National Conservatory of Music, which overlapped Bashkirova’s WEDO 2008. What has happened to music students in Palestine and Jordan since then? NOW… should I write more?

This is exactly how all my hard working has been stolen.

The funniest story here is that academic suggestions from the sponsors of Bashkirova’s Jerusalem Festival, which was run under the auspices of ‘Secret Society’ of the President of Supreme Court of Israel, usually sounded terrific. But then, those ideas didn’t hook this Jewish Muse, whose only interest has been traveling all over the world and enjoying all the luxurious chatting with her ensemble members. One day, a camera caught this b*tch’s boring face, who was approached by one female writer, who misunderstood this Jewish fame as a fervent kids-lover and tried to introduce her work. (I need more detailed story, because the article’s photo only said tiny happening in this Barenboim-party.)

Usually, European audience don’t go to the Divan’s Festival Concert to listen to Barenboim’s music. They buy tickets to taste festive, sentimental air, wanting to be bathed in Peaceful Love. I’m not insulting them. I rather appreciate their pure heart, and this is why I strictly don’t allow Barenboim to join this festival concert, because the members will take advantage of those pure hearts to achieve their professional dream in their hometown.

Hence, there would be basically no difference in audience’s reaction whether Barenboim joins them or not, because there will be no difference in what they hear. However, the story will be different when the members return to their hometown.

In Mideast, the professional music society still lacks enough professional system. Most of them even don’t have proper website. Hence, the first and the most important thing for Maestro Barenboim, if the Mideastern music society wants, is to mentor local leaders and to help them to achieve top-rate professionalism. This is exactly what I found while searching for opinions in/about Mideastern music society. (Please check Dear Middle Eastern Music Society & Spanish Government (Apr 3, 2008). in Mail-Recipients.)

Taking care of all the trivial(?) members’ private affairs is NEVER what Barenboim should do. Maestro Barenboim is not that cheap. What’s more, more professional but ‘selected’ musicians are joining this Festival Orchestra, and this is still called Divan-Workshop for the students. Basically, setting up the traveling-band in this kind of Mideastern pro-situation was a comically superficial idea. I promise. Those certain members are actively playing the cancerous role in the Mideastern professional orchestra while boasting their very-special relationship with Western Jew Barenboim.

Apart from the reports in Google-Web, a common sense is that better orchestra members usually have less talent in organizing concerts, or management or etc. They are not interested in other things. More weirdly, the moment they start social business inside the ensemble, they start to lose purity in their timbre. It’s just their personality. Or, it is perhaps because the instrumentalists should talk and talk until losing their physical talent. While reporting recent happenings in Mideast, I even warned Barenboim, who is famous for having thin ears and thick skin, that he should be more careful than ever, because those same pigs will never give up and will behave more noisily pretending to be most diligent.

No sooner… than those pigs planned further happening, the PEACE-concert, and Barenboim received this sickish title in return:
Daniel Barenboim shuns Israel’s 60th anniversary: ”A concert for two peoples.”

This concert was run by Guy Braunstein (BPO’s Top). Then what about BPO’s Bottom? Why do I have to mention this name, Nabil Shehata, again? This is a half-blood Mideatern. Think about everywhere, from Paris to Chicago and even Berlin… whenever Barenboim left in disgrace, its entire music-scene literally became a trash-bin. Now, is he going to make the Mideastern music society the dirtiest Mudblood-swamp even before they take off their journey to Furtwangler’s Utopia?

I promise. Only when Barenboim doesn’t join Bashkirova’s WEDO 2008, including Amman concert, this famed musician will help the Mideastern music society to construct its proper system, in a real professional way. Only then, professional musicians from each country will be able to set up a real, professional Mideastern Festival Orchestra.

Even now, each professional organization is run by its own leaders. Even in the desert, there is a certain kind of social hierarchy. Barenboim should NEVER destroy it. At the same time, Maestro Barenboim is not that cheap. Everything should be planned under the auspices of HEADMASTERS of each professional organization, and Barenboim should be contacted by them, never by the rebellious members. PERIOD

Proms concert? They already knew my computer work when they planned something further under the detailed instruction of Elena Bashkirova. Under the normal situation, this dirty commercial business, including ALL the sickish British pro-articles written on Barenboim’s privacy since his involvement in my headache life, can be brought into the legal case. STILL, I never understand why this b*tch wants to sell British fame of late Jacqueline du Pre whenever she is hungry.

According to this article, Newstatesman: Changing man, I will be the loser, then there is nothing I can’t write in this place, especially about MUSIC. Their love of supporting Rattle’s British BPO is still OK. But then, what are they going to do when another du Pre, a real talent, is born but can’t blossom in this shadowy situation? I will soon cease ‘stalking(?)’ Barenboim to ‘study’ his private life and to write about music. I was not born a great musician and won’t die a legendary female, and du Pre’s music still scares me. But there is one thing I can declare with my loud, clear voice. Even now, a real British talent is growing somewhere in du Pre’s country.

How many times did I write that I was able to survive in America, not because Barenboim’s huge fame was behind me, but because American students wanted to help me whenever I was lost? Their simple answer was, “I remember you. I was in your class.” I felt guilty, because I never said hello to any of them, and my face was always full of anger/misery/depression. The younger they were, the easier it was to communicate with them, and it was simply because they were enjoying the same pop music as I did. Unlike Europe, where the pop music culture is still developing(?), Great Britain is where brainy youngsters can enjoy top of top-rate pop music.

I was the one, like most Asian girls perhaps, who believed that classical music students should not listen to pop music. It was no problem until my study in America. Whether enjoying pop music or not, this similar musical taste resulted in Struggling Beethoven. (Please check Struggling Beethoven, Boulez, Wonder, Ellington, and Barenboim (Mar 24, 2008). in My-Previous-Messages.) It was after finishing this writing that I realized it would be like entering into the heaven while listening to this Beethoven. One surely knows how much Americans hate music of Beethoven; ugly, aggressive, and boring… And they prefer American Jazz. I’m pretty sure the same thing is happening in Great Britain.


La Voce del Loggione (15 Giugno 2008).: Vedere poi Maurizio Pollini in platea ad applaudire in piedi il suo collega (è stato uno degli ultimi ad abbandonare la sala)
(JIWON: This is not Pollini’s first time. Please check the FrontPage of this blog, The Art of Criticism. There, one can also find terrific comments from La Voce del Loggione.)

This is the musician, who’s never stopped thinking or questioning about the ‘notes’ during the performance since 1960. This is the friend, who wants to communicate through music. Is there a better friend for musician Barenboim? Please compare this guy with Mehta or Zukermann, who always pretend their friendship but never communicate with Barenboim on the stage. I’ve never heard them listen to Barenboim when he was on. I’ve never heard them give Barenboim good advises when he was off. I only heard their busy steps, building their pro-career by selling Barenboim’s ‘real’ friendship and patriotism. They preferred Barenboim’s failing, either as a guy or a musician, if it could protect their egocentric music business, if it could exist for their private happiness; fame or sex or whatever.

This bimbo-battle has been more than ten years, and finally I’ve come to the conclusion that it is impossible for orchestra members to communicate each other. Then, I saw Simon Bolivar orchestra. The Venezuelan youngsters were communicating each other, first with their instrument and then with their ensemble partners, whenever the conductor didn’t destroy their pure, warm sound.

I promise. This real friend of Barenboim will agree with every each word of my analysis on Martha Argerich, who was born a greatest talent but now sounds less than half of her ability after years of her ‘grouping’ with Kremer-Gang. How many real musicians’ pure-therefore-weak talent have Gidon+Elena Kremer destroyed? Both always sound the worst in chamber ensemble and try to find another victim after destroying their ensemble partner’s native talents.

Argerich’s present poor sound/music may be still OK. Then what about her poor health? I even heard that she once hurt herself to avoid planned performance. It told me so much, because I know exact feeling/situation of this female musician, whose talent can’t digest Kremer/Mehta/Meier-like performance schedule. This is the musician, whose great talent should have been protected. This is the human being, who should have proved her real, heavenly pianism, if she wanted to enjoy happiest, healthiest life. For this reason, Nathan Milstein was the happiest bloke. I really feel pity for her poor life.

So… is Pollini going to join Mehta or Kremer and appear as Bashkirova’s mentor then suddenly proving bottomless failing?
The story has been like this.
Everybody, except Itzhak Perlman and Yo-Yo Ma, joined this SH*T.
This is how I lost all my favorite musicians, especially youngsters.

Dear-Forumites, (Please see all the way ABOVE, Dear-Forumites.)
It’s been since January, during which the Readers started to sneak into this place and know about Barenboim’s Angels. I wrote, “Perhaps, my insulting Barenboim’s Angels would rather evoke your sympathy and you would want to start supporting their future careers now and forever, as all the pros had been doing for last ten years. I don’t care. (…)”

Since then, everybody, including Loggioni, was going to feel pity on Barenboim’s Angels… and please check what’s been happening elsewhere; Jerusalem, Berlin, Chicago, New York, and so on. (Please check Court in my Knesset-blog, Barenboim Loves Knesset, and also here. Please see ABOVE.)

The Story Has Been Like This. And Everything Was Up To Barenboim.


Had someone told me when I was enough young, about what I learned during more-than-ten-years of this bimbo-battle, I could never have lost my golden youth on this trashy business… I could never have entered the music school, which was literallly a zero-brain factory. My family could never have wasted that amount of money, which could provide even my grand-kids with all the luxuries.

One day, I happened to find my old writing, which was written on the program note, Brahms. A teenager myself wrote it, and it was better than my present analysis.

Time To Travel All Over The World.
All the possible FEMALE SINGERS shall receive my invitation mail to this place.
Then, I will contact Ambassador of Israel to Korea
. This guy looks like a Likud man. Scary… Is he Arik’s man? Confused… Understanding the Middle East


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