Daniel Barenboim

Born November 15, 1942 (1942-11-15) (age 66)

Buenos Aires, Argentina
Genre(s) Classical
Occupation(s) Conductor, pianist
Instrument(s) Piano
Years active 1950-present
Associated acts Berlin State Opera
Berlin Staatskapelle
La Scala
Chicago Symphony
Orchestre de Paris
West-Eastern Divan
Daniel Barenboim (born November 15, 1942) is a renowned pianist and conductor.
He lives in Berlin and holds citizenship in Argentina, Israel, Spain and Palestine.[1]
He was born in Buenos Aires, Argentina; his grandparents were Russian Ashkenazi
Jews. Barenboim first came to fame as a pianist but now is as well-known as a
conductor, and for his work with an orchestra of young Arab and Jewish musicians,
based in Seville, Spain, called the West-Eastern Divan Orchestra, which he cofounded with the late Palestinian-American intellectual and activist Edward Said,
whom Barenboim called his best friend. Barenboim has been an outspoken critic of
the Israeli settlements and of Israel's government since Rabin, and supporter of
Palestinian rights. In 2001, he sparked a controversy in Israel by conducting the
music of Wagner in concert, as had not been done in Israel since 1938, and was
informally taboo.
Daniel Barenboim married the famous British cellist Jacqueline du Pr at the
Western Wall, Jerusalem in 1967.[2] The marriage lasted until her death in 1987. His
friendship with musicians Itzhak Perlman, Zubin Mehta, and Pinchas Zukerman, and
marriage to du Pr led to the famous film by Christopher Nupen of their Schubert
"Trout" Quintet. Collectively, the five referred to themselves as The Kosher Nostra.
[3]
Du Pr developed advanced multiple sclerosis and retired in 1973. In the early
1980s, Barenboim began a relationship with the Russian pianist Elena Bashkirova,
with whom he had two sons: David Arthur, a manager-writer for the German hip-hop
band Level 8, born 1983 in Paris, and Michael Barenboim, a violinist, born 1985 in
Paris. Both were born prior to du Pr's death. Barenboim tried to keep the
relationship with Bashkirova hidden from du Pr and believes he succeeded.[4]
Barenboim and Bashkirova married in 1988.

Barenboim started piano lessons at the age of five with his mother, continuing to
study with his father Enrique, who remained his only teacher. In August 1950, when
he was only seven years old, he gave his first formal concert in Buenos Aires.

In 1952, the Barenboim family moved to Israel. Two years later, in the summer of
1954, his parents brought him to Salzburg to take part in Igor Markevitch's
conducting classes. During that summer he also met and played for Wilhelm
Furtwngler, who has remained a central musical influence and ideal for Barenboim.
[5] Furtwngler called the young Barenboim a "phenomenon" and invited him to
perform the Beethoven First Piano Concerto with the Berlin Philharmonic, but
Barenboim's father told the maestro that it was too soon after the Holocaust for a
Jewish child to be performing in Berlin.

In 1955 Barenboim studied harmony and composition with Nadia Boulanger in Paris.

Barenboim made his debut as a pianist in Vienna and Rome in 1952, Paris in 1955,
London in 1956, and New York in 1957 under the baton of Leopold Stokowski.
Regular concert tours of Europe, the United States, South America, Australia and the
Far East followed thereafter.

Barenboim made his first recording in 1954 and went on to record several complete
cycles:

the piano sonatas of Wolfgang Amadeus Mozart

the piano sonatas of Ludwig van Beethoven
the piano concertos by Mozart, as both conductor and pianist
the piano concertos of Beethoven, first with Otto Klemperer and later as conductor
and pianist with the Berlin Philharmonic
the piano concertos of Johannes Brahms, with John Barbirolli and Zubin Mehta
the piano concertos of Bla Bartk, with Pierre Boulez
Following his debut as a conductor with the Philharmonia Orchestra in London in
1967, Barenboim was invited to conduct by many European and American
symphony orchestras. Between 1975 and 1989 he was music director of the
Orchestre de Paris, where he conducted much contemporary music.

Barenboim made his opera conducting debut in 1973 with a performance of

Mozart's Don Giovanni at the Edinburgh Festival. He made his debut at Bayreuth in
1981, conducting there regularly until 1999.

Barenboim served as music director of the Chicago Symphony Orchestra from 1991
up to 17 June 2006. Barenboim expressed frustration at his fund-raising duties in
America as part of being a music director of an American orchestra.[6]

Barenboim, whose home is in Berlin, has been music director of the Staatsoper
Unter den Linden (Berlin State Opera) and the Berlin Staatskapelle since 1992. He
has tried to maintain the orchestra's traditional East-Germanic sound and style. He
has constantly worked to maintain the independent status of the Staatsoper.[7] He
now is conductor for life at the Berlin State Opera.[8] On 15 May 2006 Barenboim
was named principal guest conductor of the La Scala opera house, in Milan, Italy.[9]

In 2006, Barenboim was the BBC Reith Lecturer, giving five lectures called 'In the
Beginning was Sound' from London, Chicago, Berlin, and twice from Jerusalem in
which he meditated on music, how it is created, one's experience of it, and its place
in life.[10] In the autumn of 2006, Barenboim gave the Charles Eliot Norton Lectures
at Harvard University entitled 'Sound and Thought'.[11]

In November 2006, Lorin Maazel caused some controversy by submitting to the

board of directors of the New York Philharmonic (NYP) Barenboim's name as his
nominee to succeed him as the NYP's music director.[12] Barenboim, in turn,
responded that while he was flattered, "nothing could be further from my thoughts
at the moment than the possibility of returning to the United States for a permanent
position."[13] In January 2007, Barenboim further demurred on this question by
generally stating his lack of interest in any American music directorship, "at the
moment."[14] In April 2007, it was reported that Barenboim expressed no interest in
either the New York Philharmonic's music directorship or their newly created
principal conductor position.[15]

In 2008 he was given the honour to conduct the world famous New Year Concert of
the Vienna Philharmonic Orchestra on the first of january 2009.
Daniel Barenboim leads a rehearsal of the West-East Divan, 2005.Daniel Barenboim
is considered one of the most prominent musicians of the late twentieth and early
twenty-first centuries, as both pianist and conductor. He is noted for his mastery of
conveying musical structure, and for a deep sensitivity to harmonic nuances.

In the beginning of his career, Barenboim gained widespread acceptance mainly as

a pianist. He concentrated on music of the classical era, as well as some romantic
composers. Notable classical recordings include: the complete cycles of Mozart's
and Beethoven's piano sonatas, and Mozart's piano concertos (in the latter, taking
part as both soloist and conductor). Notable Romantic recordings include: Brahms's
piano concertos (with John Barbirolli), Mendelssohn's Lieder ohne Worte, and
Chopin's nocturnes. Barenboim also recorded many chamber works, especially in
collaboration with his first wife, Jacqueline du Pr, the violinist Itzhak Perlman, and
the violinist and violist Pinchas Zukerman. Noted performances include: the
complete Mozart violin sonatas (with Perlman), Brahms's violin sonatas (live concert
with Perlman, previously in the studio with Zukerman), Beethoven's and Brahms's
cello sonatas (with du Pr), Beethoven's and Tchaikovsky's piano trios (with du Pr
and Zukerman), and Schubert's Trout Quintet (with du Pr, Perlman, Zukerman, and
Zubin Mehta).

Notable recordings as a conductor include: the complete symphonies of Beethoven,

Brahms, Bruckner and Schumann, many operas by Wagner, and various concertos.
Barenboim has written about his changing attitude to the music of Gustav Mahler;
[16] he has recorded Mahler's Fifth, Seventh and Ninth Symphonies and Das Lied
von der Erde.

In his later years, Barenboim widened his concert repertoire, performing works by
baroque as well as twentieth-century classical composers. Examples include: Bach's
Well-Tempered Clavier (which he has played since childhood) and Goldberg
Variations, Albeniz's Iberia, and Debussy's preludes. In addition, he turned to other
musical genres, such as jazz,[17] and the folk music of his birthplace, Argentina. He
conducted the 2006 New Year's Eve concert in Buenos Aires, in which Tangos were
played. [18]

Barenboim has rejected musical fashions based on current musicological research,

such as the authentic performance movement (see quotation at the end of this
paragraph). A notable example is his preference for some traditional practices,
rather than fully adhering to Brenreiter's new edition (edited by Jonathan Del Mar)
of Beethoven's symphonies, in his recording of those works.[19] Barenboim has
opposed the practice of choosing the tempo of a piece based on historical evidence,
such as composer metronome marks. He argues instead for finding the tempo from
within the music, especially from its harmony and harmonic rhythm. The general
tempi chosen in his recording of Beethoven's symphonies, reflecting this belief,
usually adhere to early twentieth-century tradition, and are not influenced by faster
tempos chosen by other conductors such as Roger Norrington and David Zinman.
[20] In Barenboim's recording of the Well-Tempered Clavier he makes frequent use
of the right-foot sustaining pedal, a device absent from the keyboard instruments of
Bach's time (although the harpsichord was highly resonant) producing a sonority

very different from the "dry" and often staccato sound favored by the influential
(and highly individual) pianist Glenn Gould. Moreover, in the fugues, one voice is
often played considerably louder than the others, a practice impossible on a
harpsichord, that according to some scholarship, began in Beethoven's time (see,
for example, Matthew Dirst's book The Iconic Bach). Indeed, when justifying his
interpretation of Bach, Barenboim claims that he is interested in the long tradition of
playing Bach, that has existed for two and a half centuries, rather than in the exact
style of performance that existed in Bach's time:

The study of old instruments and historic performance practice has taught us a
great deal, but the main point, the impact of harmony, has been ignored. This is
proved by the fact that tempo is described as an independent phenomenon. It is
claimed that one of Bach's gavottes must be played fast and another one slowly.
But tempo is not independent! ... I think that concerning oneself purely with historic
performance practice and the attempt to reproduce the sound of older styles of
music-making is limiting and no indication of progress. Mendelssohn and Schumann
tried to introduce Bach into their own period, as did Liszt with his transcriptions and
Busoni with his arrangements. In America Leopold Stokowski also tried to do it with
his arrangements for orchestra. This was always the result of "progressive" efforts
to bring Bach closer to the particular period. I have no philosophical problem with
someone playing Bach and making it sound like Boulez. My problem is more with
someone who tries to imitate the sound of that time...[21]

Barenboim has continued to perform and record chamber music, sometimes with
members of the orchestras he has led. Some examples include: the Quartet for the
End of Time by Messaien with members of the Orchestre de Paris during his tenure
there, Richard Strauss with members of the Chicago Symphony Orchestra during his
tenure there, and the Clarinet Trio of Mozart with members of the Berlin
Staatskapelle.

Daniel Barenboim has been named as conductor of the Vienna Philharmonic

Orchestra's New Year's Day Concert 2009, (http://www.wienerphilharmoniker.at/)

[edit] Conducting Wagner in Israel

On July 7, 2001, Barenboim led the Berlin Staatskapelle in part of Richard Wagner's
opera Tristan und Isolde at the Israel Festival in Jerusalem. The concert sparked
controversy. Wagner's music had been unofficially taboo in Israel concert halls
(although recordings of it were widely purchased and listened to) since the
Kristallnacht in 1938, because of revulsion with the racial anti-Semitism that
Wagner had espoused in print - which presaged and quite likely influenced Hitler.

Previously the Palestine Philharmonic had performed Wagner's music. Barenboim

had long opposed the ban, regarding it as reflecting what he calls a "diaspora"
mentality that is no longer appropriate to Israel. In a conversation with Edward Said
(published in the book Parallels and Paradoxes) he says that "Wagner, the person, is
absolutely appalling, despicable, and, in a way, very difficult to put together with
the music he wrote, which so often has exactly the opposite kind of feelings ...
noble, generous, etc." He calls Wagner's anti-Semitism obviously "monstrous," and
feels it must be faced, and argues that "Wagner did not cause the Holocaust."

Barenboim originally had been scheduled to perform the first act of Die Walkre
with three singers, including tenor Plcido Domingo. However, strong protests by
some Holocaust survivors, as well as the Israeli government, led the festival
authorities to ask for an alternative program. (The Israel Festival's Public Advisory
board, which included some Holocaust survivors, had originally approved the
program.) [22]

Barenboim agreed to substitute music by Robert Schumann and Igor Stravinsky, for
the offending piece, but expressed regret at the decision. At the end of the concert
he announced that he would play Wagner as an encore and invited those who
objected to hearing the music to leave, saying, "Despite what the Israel festival
believes, there are people sitting in the audience for whom Wagner does not spark
Nazi associations. I respect those for whom these associations are oppressive. It will
be democratic to play a Wagner encore for those who wish to hear it. I am turning to
you now and asking whether I can play Wagner. [23] [24] [25] [26] A half-hour
debate ensued in Hebrew in the hall, with some audience members calling
Barenboim a "fascist." In the end, according to reports in the Israeli press, about 50
attendees walked out, and about 1000 remained, applauding loudly after the
performance. (According to Israeli newspaper interviews, at least one who remained
in attendance was a Holocaust survivor, again undermining the simple assertion
that all survivors opposed the performance of Wagner in Israel.)

Barenboim regarded the performance of Wagner as a political statement, and said

he had decided to defy the taboo on Wagner when a news conference he held the
previous week was interrupted by the ringing of a mobile phone to the tune of
Wagner's Ride of the Valkyries.[27] "I thought if it can be heard on the ring of a
telephone, why can't it be played in a concert hall?" he said.

[edit] Israel and Palestine

With respect to the Israel-Palestinean conflict, Barenboim has spoken about the
need for both sides to begin to understand each other:

"There is no way Israel will deal with the Palestinians if the Palestinians do not
understand the suffering of the Jewish people ... [N]ow fifty years after that we have
to accept co-responsibility for Palestinian suffering. Until an Israeli leader is able to
utter those words there will be no peace."[28]

In an interview with British music critic Norman Lebrecht in 2003, he accused the
Israeli government of behaving in a manner which was, "morally abhorrent and
strategically wrong", and, "putting in danger the very existence of the state of
Israel." [29]

As a gesture of solidarity with the Palestinians, Barenboim has given performances

in the West Bank. In one case he sneaked into Ramallah under cover of night to give
a piano recital, after the Israeli government had told him that it would not permit
him to go there because conditions were too dangerous.[30]

In 1999, Barenboim jointly founded the West-Eastern Divan orchestra with the late
Palestinian-American intellectual and humanist Edward Said, who was a close friend.
[31] [32] It is an initiative to bring together, every summer, a group of talented
young classical musicians from Israel and Arab countries.[33] [34][35] Barenboim
and Said were among the recipients of the 2002 Prince of Asturias Awards for their
work in "improving understanding between nations".

Barenboim wrote a book together with Said, Parallels and Paradoxes, based on a
series of public discussions held at New York's Carnegie Hall.[36]

In September 2005, Barenboim refused to be interviewed by uniformed Israel Army

Radio reporter Dafna Arad, considering the wearing of the uniform insensitive to the
Palestinians present. Then Israeli Minister of Education, Limor Livnat (Likud), was
quoted as describing Barenboim as "a real Jew hater" and "a real anti-semite". [37]

In December 2007, Barenboim and a group of some 20 musicians from England, the
United States, France and Germany, and one Palestinian were scheduled to play a
baroque music in Gaza.[38] Although they had received authorization from Israeli
authorities, the Palestinian was stopped at the Israel-Gaza border and told that he
needed individual permission to enter.[38] The group waited seven hours at the
border, and then canceled the concert in solidarity.[38]

Barenboim commented: "A baroque music concert in a Roman Catholic church in

Gaza - as we all know - has nothing to do with security and would bring so much joy
to people who live there in great difficulty."[38]

On January 12, 2008, after a concert in Ramallah, he declared that he had accepted
honourary Palestian citizenship, in what he hopes will serve as a public gesture of
peace.[39][40]

I hope that my new status will be an example of Israeli-Palestinian co-existence, I

believe that the destinies of the Israeli people and the Palestinian people are
inextricably linked.

Some Israelis have criticized Barenboim's decision to accept Palestinian citizenship.

The leader of the Shas party demanded that Barenboim be stripped of his Israeli
citizenship. [41]

[edit] Awards and recognitions

Royal Philharmonic Society Gold Medal, 2008[42]
Goethe Medal, Praemium Imperiale, 2007
Commandeur de la Lgion dHonneur, 2007[43]
Buber-Rosenzweig-Medal, 2004
Wolf Prize in Arts, 2004 (According to the documentary "Knowledge Is the
Beginning," Barenboim donated all the proceeds to music education for Israeli and
Palestinian youth)
Wilhelm Furtwngler Prize, 2003 (with Staatskapelle Berlin)
Tolerance Prize, Evangelische Akademie Tutzing, 2002
Prince of Asturias Awards, 2002 (jointly with Edward Said)
Groes Bundesverdienstkreuz, 2002
Honorary degrees
Doctor of Philosophy - Ph.D., Hebrew University of Jerusalem, 1996
Vrije Universiteit Brussel, 2003
Doctor of Music - D.Mus., University of Oxford, 2007

Doctor of Music - D.Mus., SOAS, University of London, 2008

Grammy Award for Best Opera Recording:

Christoph Classen (producer), Eberhard Sengpiel, Tobias Lehmann (engineers),

Daniel Barenboim (conductor), Jane Eaglen, Thomas Hampson, Waltraud Meier,
Ren Pape, Peter Seiffert, the Chor der Deutschen Staatsoper Berlin & the
Staatskapelle Berlin for Wagner: Tannhuser (2003)
Grammy Award for Best Chamber Music Performance:

Daniel Barenboim, Dale Clevenger, Larry Combs, Daniele Damiano, Hansjrg

Schellenberger & the Berlin Philharmonic for Beethoven/Mozart: Quintets (ChicagoBerlin) (1995)
Daniel Barenboim & Itzhak Perlman for Brahms: The Three Violin Sonatas (1991)
Grammy Award for Best Orchestral Performance:

Daniel Barenboim (conductor) & the Chicago Symphony Orchestra for Corigliano:
Symphony No. 1 (1992)
Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra):

Martin Fouqu (producer), Eberhard Sengpiel (engineer), Daniel Barenboim, Dale

Clevenger, Larry Combs, Alex Klein, David McGill & the Chicago Symphony
Orchestra for Richard Strauss Wind Concertos (Horn Concerto; Oboe Concerto, etc.)
(2002)
Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra):

Daniel Barenboim (conductor), Itzhak Perlman & the Chicago Symphony Orchestra
for Elgar: Violin Concerto in B Minor (1983)
Daniel Barenboim (conductor), Arthur Rubinstein & the London Philharmonic
Orchestra for Beethoven: The Five Piano Concertos (1977) (also awarded Grammy
Award for Best Classical Album)

[edit] Wolf Prize

In May 2004, Barenboim was awarded the Wolf Prize at a ceremony at the Israeli
Knesset. Education Minister Livnat originally held up the nomination until Barenboim

apologized for his earlier performance of Wagner in Israel.[44] He took the

opportunity to express his opinions on the political situation:

"I am asking today with deep sorrow: Can we, despite all our achievements, ignore
the intolerable gap between what the Declaration of Independence promised and
what was fulfilled, the gap between the idea and the realities of Israel? Does the
condition of occupation and domination over another people fit the Declaration of
Independence? Is there any sense in the independence of one at the expense of the
fundamental rights of the other? Can the Jewish people whose history is a record of
continued suffering and relentless persecution, allow themselves to be indifferent to
the rights and suffering of a neighboring people? Can the State of Israel allow itself
an unrealistic dream of an ideological end to the conflict instead of pursuing a
pragmatic, humanitarian one based on social justice?"[45]

Education Minister Livnat and Israeli President Moshe Katsav criticized Barenboim
for his speech.[46]

Later, in March 2007, the New York Times quoted Barenboim as saying, "The whole
subject of Wagner in Israel has been politicized and is a symptom of a malaise that
goes very deep in Israeli society, a malaise that is also a result of being an
occupying power for 40 years. I dont believe that this is something that one can do
and not feel an effect upon oneself. I think that the occupation is morally abhorrent.
I dont think any country has a right to occupy another, and certainly not we, the
Jewish people, with our history. [47]

[edit] References
^ http://www.haaretz.com/hasen/pages/ShArt.jhtml?
itemNo=944235&contrassID=1&subContrassID=1
^ Jan Moir (6 April 2006). "The maestro and his demons", The Telegraph. Retrieved
on 23 April 2007.
^ Julian Lloyd Webber (21 July 2005). "Why make war when you can make music?",
Telegraph. Retrieved on 23 April 2007.
^ Michael Shelden (15 July 2004). "My affair? I don't think Jackie knew", Telegraph.
Retrieved on 23 April 2007.
^ Daniel Barenboim, "Why Wilhelm Furtwngler Still Moves Us Today". Entry from
Barenboim's blog, translated from an article originally published in Der
Tagesspiegel, November 2004.

^ Michael Shelden (15 July 2004). "My affair? I don't think Jackie knew", Telegraph.
Retrieved on 23 April 2007.
^ Kate Connolly (15 November 2002). "Barenboim in battle to save Berlin opera
house", Telegraph. Retrieved on 23 April 2007.
^ Michael Henderson (20 June 2006). "Goodbye Chicago, hello world", Telegraph.
Retrieved on 23 April 2007.
^ Barbara McMahon (16 May 2006). "Barenboim to be La Scala's guest", The
Guardian. Retrieved on 23 April 2007.
^ a) Michael Henderson (1 April 2006). "Daniel in the circus lions' den", Telegraph.
Retrieved on 23 April 2007.
b) Kate Connolly (9 March 2006). "Maverick maestro plays a different tune",
Telegraph. Retrieved on 23 April 2007.
c) Daniel Barenboim (8 April 2006). "In the beginning, there was sound. Then came
Muzak", Telegraph. Retrieved on 23 April 2007.
d) Peter Beaumont (2 April 2006). "Maestro of the Middle East", The Observer.
Retrieved on 23 April 2007.
^ Richard Dyer (January-February 2007). "Ideas, Appassionato", Harvard Magazine,
pp. pp. 14-15. Retrieved on 23 April 2007.
^ Daniel J. Wakin (29 November 2006). "Unprompted, Lorin Maazel Nominates His
Successor", New York Times. Retrieved on 23 April 2007.
^ Mark Landler (30 November 2006). "Proposed Philharmonic Candidate Is
Flattered, if Coy", New York Times. Retrieved on 23 April 2007.
^ The New York Times (2 March 2007). "Musing on the Barenboim X-Factor", James
R. Oestreich. Retrieved on 23 April 2007.
^ Daniel J. Wakin, "Philharmonic to Add a Position at the Top". New York Times, 25
April 2007.
^ Daniel Barenboim, "Love, the hard way". The Guardian, 31 August 2001.
^ Stephen Moss, "Daniel in the lion's den". The Guardian, 22 October 1999.
^ Article in Argentinian newspaper "Clarn", 31-12-2006 (in spanish)
^ Barenboim's liner notes for his recording of Beethoven's symphonies, Teldec, ASIN
B00004S1EV, 2000.
^ Jed Distler. "Editorial review of Barenboim's recording of Beethoven's symphonies,
Amazon.com", Amazon.com. Retrieved on 14 June 2007.
^ Ich bin mit Bach aufgewachsen ("I was reared on Bach"), Barenboim's liner notes
for his recordings of Bach's Well-Tempered Clavier. Translated by Gery Bramall.
^ Ohad Gozani, "Israeli battle over Wagner". Telegraph, 5 June 2001.

^ [1]
^ Inigo Gilmore, "Barenboim shatters Israel taboo on Wagner". Telegraph, 9 July
2001.
^ Daniel Barenboim, "Those who want to leave, do so". The Guardian, 6 September
2002.
^ Will Hodgkinson, "Orchestral manoeuvres". The Guardian, 13 August 2004.
^ John Whitley, "Barenboim the taboo-breaker". Telegraph, 25 August 2001.
^ Luke Harding interview with Daniel Barenboim, 'Europe has to take the initiative
now'. The Guardian, 30 November 2004.
^ Norman Lebrecht, "Daniel Barenboim - Playing Politics". La Scena Musicale, 3
December 2003
^ Jonathan Steele (with Reuters), "Barenboim defies Israeli opinion". The Guardian,
11 September 2002
^ Suzie Mackenzie, "In harmony". The Guardian, 5 April 2003
^ Daniel Barenboim, "Sound and vision". The Guardian, 25 October 2004
^ Martin Kettle, "Everything to play for". The Guardian, 4 August 2001
^ Geraldine Bedell, "Daniel's codes of conduct". The Observer, 17 August 2003
^ Avi Shlaim, "Playing for peace". New Statesman, 31 October 2005
^ Michael Kennedy, "A duet for solo voice". Telegraph, 23 February 2003
^ Conductor Barenboim in radio row
^ a b c d Associated Press (17 December 2007). "Conductor Barenboim slams Israel
after musician barred from entering Gaza". Haaretz. Retrieved on 2007-12-17.
^ Israeli pianist Daniel Barenboim takes Palestinian citizenship, Haaretz, January 15,
2008
^ dpa. "Palestinians honour Barenboim". Deutsche Welle. Retrieved on 2008-01-13.
^ Independent Catholic News, 2008
^ "Gold Medal for Daniel Barenboim", The Royal Philharmonic Society (29 January
2008). Retrieved on 29 January 2008.
^ President Chirac's Speech on 2007-03-25 (in french only)
^ Ohad Gozani, "Barenboim changes tune". Telegraph, 17 December 2003.
^ Daniel Barenboim, "The Statement of Daniel Barenboim on May 9th 2004 at the
Knesset On the Occasion of Receiving the Wolf Prize."
^ "Barenboim Irks Israelis With Criticism". Associated Press, 10 May 2004.

^ [2]

[edit] External links

Wikimedia Commons has media related to:
Daniel BarenboimDaniel Barenboim official website
Daniel Barenboim at Allmusic
Daniel Barenboim Revealed on CNN.com
Parallels and Paradoxes, NPR interview with Barenboim and Edward Said, 28
December 2002
In harmony, [Guardian] newspaper feature on Barenboim and Said, 5 April 2003
In the Beginning was Sound, 2006 BBC Radio 4 Reith Lectures.
BBC Radio 3 interviews, November 1991
Discography at SonyBMG Masterworks
A BBC Report describing the incident in which Dafna Arad, an Israeli Army reporter
was refused an interview by Barenboim while wearing uniform.
Elgar Cello Concerto in E minor, opus 85 Jacqueline Du Pr with Daniel Barenboim
and The New Philharmonia Orchestra on YouTube
Preceded by
Sir Georg Solti Music Director, Orchestre de Paris
1975-1989 Succeeded by
Semyon Bychkov
Preceded by
Sir Georg Solti Music Director, Chicago Symphony Orchestra
1991-2006 Succeeded by
Riccardo Muti
Preceded by
Otmar Suitner Music Director, Berlin State Opera
1992present Succeeded by
incumbent
[show]v d eLaureates of the Wolf Prize in Arts

Architecture Ralph Erskine (1984) Fumihiko Maki / Giancarlo De Carlo (1988)

Frank Gehry / Jrn Utzon / Denys Lasdun (1992) Frei Otto / Aldo van Eyck (1997)
lvaro Siza Vieira (2001) Jean Nouvel (2005)

Music Vladimir Horowitz / Olivier Messiaen / Joseph Tal (1982) Isaac Stern /
Krzysztof Penderecki (1987) Yehudi Menuhin / Luciano Berio (1991) Zubin Mehta /
Gyrgy Ligeti (1996) Pierre Boulez / Riccardo Muti (2000) Mstislav Rostropovich /
Daniel Barenboim (2004) Giya Kancheli / Claudio Abbado (2008)

Painting Marc Chagall / Antoni Tpies (1981) Jasper Johns (1986) Anselm Kiefer
(1990) Gerhard Richter (1995) Louise Bourgeois (2003) Michelangelo Pistoletto
(2007)

Sculpture Eduardo Chillida (1985) Claes Oldenburg (1989) Bruce Nauman (1993)
James Turrell (1998) Louise Bourgeois (2002)

Agriculture Arts Chemistry Mathematics Medicine Physics

[show]v d eOrchestre de Paris Music Directors

Charles Mnch (1967) Herbert von Karajan (1969) Georg Solti (1972) Daniel
Barenboim (1975) Semyon Bychkov (1989) Christoph von Dohnnyi (1998)
Christoph Eschenbach (2000)

[show]v d eChicago Symphony Orchestra Music Directors

Theodore Thomas (1891) Frederick Stock (1905) Dsir Defauw (1943) Artur
Rodziski (1947) Rafael Kubelk (1950) Fritz Reiner (1953) Jean Martinon (1963)
Irwin Hoffman (1968) Georg Solti (1969) Daniel Barenboim (1991)

Retrieved from "http://en.wikipedia.org/wiki/Daniel_Barenboim"

Categories: 1942 births | Argentine classical pianists | Argentine conductors |
Argentine Jews | Grammy Award winners | Israeli classical pianists | Israeli
conductors | Jewish classical musicians | Living people | People from Buenos Aires |
Royal Philharmonic Society Gold Medallists