The History of the New Year's Concert
The worldwide popularity of the New Year's Concert gives the impression that the receptivity of the orchestra to the music of Johann Strauss goes all the way back to the "King of the Waltz" himself. The historical facts, however, tell quite a different story. Despite the fact that many future Philharmonic members began their careers in Strauss' orchestra, the "Philharmonic Concert Association", as it was called at the time, generally ignored the most charming and "Viennese" music which has ever been written. Probably the musicians did not wish to jeopardize the social advancement they had experienced upon becoming members of the Philharmonic by associating themselves with dance and entertainment music. It should be noted, however, that the Strauss dynasty enjoyed the highest respect among great composers of the day, such as Richard Wagner and Johannes Brahms. The Philharmonic musicians themselves, through several encounters with Johann Strauss, had many opportunities to observe the importance of this music and the charismatic personality of its creator, which had enraptured all of Europe.
1873: The First Encounter
The very first encounter between Johann Strauss, Jr., and the musicians of the Vienna Philharmonic was a premiere in more than one sense. Strauss had composed the waltz "Wiener Blut" , op. 354 for the Vienna Opera Ball, which was held at the main hall of the Musikverein on Apr. 22, 1873, and he personally conducted its first performance at this event as was his custom, with violin in hand. According to a contemporary report, "...the Court Opera Orchestra carried out its duties in such an earnest and devoted manner, that it contributed greatly to Strauss' success...". The work was encored, and the collaboration between the "serious" Philharmonic musicians and the "King of the Waltz" was considered a veritable sensation: "...at this moment, the high point of the evening was reached..." . Their next encounter took place on Nov. 4, 1873, when Strauss and the Philharmonic performed a concert for the Vienna World Exposition featuring works by Strauss Sr., Josef Lanner, and including "An der schönen blauen Donau (The Blue Danube)" op. 314, as well. This event was soon followed by a rather unusual series of concerts, the so-called "Soiree" in the Court Opera House, where Strauss conducted the premiere performance of his "Reminiscences of Old and New Vienna", a potpourri based upon themes of his own works, as well as those of his father. The manuscript has since been lost, but the piece was intended to describe "...Vienna as it at one time danced, and as it intends to dance this evening..." . The concert was such a success that this program had to be repeated at a third soirée on Feb. 23, 1878, once again conducted by Strauss himself.
1899: Farewell to the King of the Waltz
Although there were no further concerts after the one mentioned above, relations between the orchestra and the omposer remained cordial. On Oct. 14, 1894, the Philharmonic took part in a concert for the celebration of Strauss' fiftieth conducting anniversary, at which time he expressed his appreciation by presenting the orchestra with a commemorative medal accompanied by a telegram saying "...Warmest appreciation to the great artists of the famous Philharmonic, not only for your masterful playing, but also for the expression of your kind sentiments, which has given me great joy... Johann Strauss". The next encounter between the orchestra and Strauss was destined to have tragic consequences. On May 22, 1899, the composer conducted the overture to "Die Fledermaus" for the first and only time at the Vienna Court Opera House. While doing so Strauss took a cold which developed into pneumonia, proving fatal on June 3, 1899.
1921: The Johann Strauss Memorial
Even after the composer's death, the Philharmonic musicians did not immediately become great advocates of Strauss' music. There was one concert in 1902 in which the orchestra played "Frühlingsstimmen" op. 410, "Wein, Weib und Gesang" op. 333 and ballet music from "Ritter Pazman" under Josef Hellmesberger, Jr., but this remained a singular occasion. In 1921, however, things began to change. For the occasion of the unveiling of the Johann Strauss memorial statue in Vienna's City Park, Arthur Nikisch conducted "Künstlerleben" op. 316, "An der schönen blauen Donau" and "Wein, Weib und Gesang". Under this outstanding conductor's interpretation, the music made a lasting impression on the orchestra. Finally, at the celebration of Strauss' 100th birthday (Oct. 25, 1925) a major precedent was set. As part of the regular program of the orchestra's subscription concerts of Oct. 17 and 18, 1925, Felix von Weingartner conducted "An der schönen blauen Donau", a work which up until that time had only been played as an encore on foreign tours, and on Oct. 25, 1925, a program was given by the Vienna Philharmonic consisting entirely of Strauss' works, also with Weingartner conducting.
1929: The Beginning of the Johann Strauss Tradition
In Salzburg on August 11, 1929, Clemens Krauss, the conductor who remains to this day the foremost apologist of Strauss' music, initiated the Vienna Philharmonic's Strauss tradition when he conducted a concert made up exclusively of works of Johann Strauss, Jr. Due to this concert's great success, Krauss conducted another such program annually through 1933, including music from the other members of the Strauss dynasty in the programs as well, and thus anticipating the format of the future New Year's Concerts.
1939: The First New Year's Concert
At first glance the inception of what is probably the most popular concert in the world seems paradoxical considering the dark phase of the orchestra's history in which it was established. It was, however, at this most precarious time in regard to the orchestra's future autonomy that the members dared to set a precedent with political as well as musical significance. In performing a concert consisting entirely of works of the Strauss dynasty, the orchestra subtly underscored Austrian nationality at a time when the country had disappeared from the world map through its annexation by Nazi Germany. This event, with the simple title of "Special Concert", was conducted by Clemens Krauss on Dec. 31, 1939, with an open dress rehearsal on Dec. 30th, which added another paradox to Austrian cultural history - the fact that the New Year's Concert actually had its beginning on New Year's Eve instead of New Year's Day.
The first true "New Year's Concert" took place on Jan. 1, 1941, also under the baton of Krauss, who led these "Johann Strauss Concerts" until the end of the war. Even in the worst of times, in January of 1945, the orchestra carried on this Austrian tradition, repeating the concert on Jan. 2nd as well. The title "New Year's Concert" was used officially for the first time in 1946. There was a change in the artistic direction in 1946/47 when Josef Krips conducted instead of Krauss, but after the allies lifted the two year conducting ban on Krauss, he returned and conducted seven New Year's concerts and two New Year's Eve concerts (these being added for the first time on Dec. 31, 1952) before his death in 1954. In a total of thirteen productions, Krauss formed the concerts into a specifically Viennese event. He was not able to witness the quantum leap which the concerts made through the introduction of televised broadcasts, but his well documented interpretations of workthe s of the Strauss dynasty remain to this day the standard by which his successors are measured.
1955: 25 Years with Willi Boskovsky
The unexpected passing of Clemens Krauss in 1954 caused a great dilemma for the orchestra in determining his successor. Only after much deliberation did the members decide to entrust concertmaster Willi Boskovsky with the artistic direction of the New Year's Concerts. This choice, not uncontroversial at first, turned out to be another of several fortuitous decisions made at various times throughout the orchestra's history. Boskovsky conducted this concert 25 times, from 1955 until 1979, and put the stamp of his charming personality upon it so uniquely that when forced to relinquish his position for health reasons, it signaled the end of an era of Austria's past which was captured not in nostalgic daydreams, but rather most aptly in the magic of the music of the Strauss dynasty. No other has personified this like Boskovsky, when, like Strauss himself, he took up his violin, and together with his Philharmonic colleagues offered the modern world around him an escape into a charming past through the magic of the musical moment. During this era, the concert for the Austrian armed forces was added every year on Dec. 30th; but most importantly, the live television broadcasts were initiated, transforming the New Year's Concert from a local event into a world wide symbol of the essence of Viennese musical culture.
1980: A New Chapter in the History of the New Year's Concert
When Boskovsky was forced to relinquish the concert of 1980, the Philharmonic chose Lorin Maazel, an internationally prominent conductor, to direct the concerts through Jan. 1, 1986. In 1986, the musicians made the decision to vary conductors each year. This new format began with Herbert von Karajan's unforgettable concert of 1987, and has since been followed by Claudio Abbado (1988, 1991), Carlos Kleiber (1989, 1992), Zubin Mehta (1990, 1995, 1998, 2007), Riccardo Muti (1993, 1997, 2000, 2004) Lorin Maazel (1994, 1996, 1999, 2005), Seiji Ozawa (2002), Nikolaus Harnoncourt (2001, 2003), Mariss Jansons (2006), Georges Prêtre (2008) and Daniel Barenboim (2009). All of these conductors are included in the exclusive circle of Philharmonic subscription concert conductors.
- Prof. Dr. Clemens Hellsberg |
