History | Gesellschaft der Musikfreunde in Vienna From 1812 to today 1812 The Gesellschaft der Musikfreunde in Vienna is founded, in response to the overwhelming success of a charitable concert hosted by the Gesellschaft adeliger Frauen zur Beförderung des Guten und Nützlichen (Noblewomen’s Society for the Advancement of Good and Benevolence) at the Imperial Winter Riding School (known today as the Spanish Riding School): A choir and orchestra of approximately 600 people, most of them amateurs, performs Handel’s oratorio “Timotheus oder Die Gewalt der Musik” for an audience of 5,000. The rapturous reception for the concert leads to an immediate commitment to undertake a second performance, and the suggestion to bring the friends of music in Vienna together in the form of an association. Joseph Sonnleithner, the enterprising secretary of the Gesellschaft adeliger Frauen, makes an invaluable contribution, laying the foundations for the new society and collecting signatures in support. By the end of the year, 507 “Friends of Music” have declared their support for the initiative. They become the founding members of the Gesellschaft der Musikfreunde in Vienna. 1813 The society’s statutes are put forward for approval. The Friends of Music announce their arrival on the music scene in an impressive manner with a new performance of “Timotheus” in two concerts, each involving more than 600 participants. 1814 Imperial consent for the foundation of the society is granted, and the Gesellschaft der Musikfreunde in Vienna is able to begin its work. Its first secretary is Joseph Sonnleitner. The patron of the society is Archduke Rudolph , brother of the reigning Emperor and personal friend of Ludwig van Beethoven. The statutes define the “main object” of the society as “the promotion of music in all its branches” . With this ambitious aim, the Musikverein commits itself from the outset to an open and dynamic approach of continual development and improvement. An abundance of activities serve this purpose. The newly founded Gesellschaft not only hosts concerts (performed exclusively by practising members of the society), but also founds a conservatory and an archive for the purposes of musical study. For almost 100 years, this private conservatory is the premiere musical academy of the Habsburg monarchy, coming into state ownership in 1911. The archive, library and collections remain key constituent elements of the society, which on this basis possesses the most important private musical collection in the world today. By 1814 the Musikverein has already gained prominence as a concert-giving institution, performing Handel’s “Samson” for the participants of the Congress of Vienna . 1815 The Kleiner Redoutensaal of the imperial Hofburg palace plays host to the first subscription concert of the Gesellschaft. The idea that amateur music lovers should perform only for one another and that only they might be members is soon revised. The interest among non-members is so great that a third concert by the society has to be moved to a larger venue: the Großer Redoutensaal. 1817 The Konservatorium of the Gesellschaft der Musikfreunde begins its work with two singing classes. The director of this “singing school” is Antonio Salieri. P a g e 1 | 12 History | Gesellschaft der Musikfreunde in Vienna From 1812 to today 1818 With the introduction of “musical evening entertainments” the Gesellschaft der Musikfreunde sets the fundamental tone for its programme policy. Alongside large choral and orchestral works, regular chamber music, lieder and polyphonic vocal performances are scheduled. 1822 The Gesellschaft rents premises within a building on the Tuchlauben in Vienna, “Zum roten Igel”. 1826 Ludwig van Beethoven is made an honorary member of the Gesellschaft der Musikfreunde in Vienna. Franz Schubert dedicates his Great C Major Symphony to the society. Both artists are also closely involved with the Musikverein. In 1827, Schubert becomes a member of the Board of Representatives, a managing body of the Gesellschaft der Musikfreunde. 1829 The Gesellschaft der Musikfreunde buys “Zum roten Igel”, the building it had formerly rented, planning to replace this with a new building bringing the diverse activities of the Musikverein together under one roof. 1830 The Gesellschaft der Musikfreunde invites guests to dance with the establishment of its first Ball. The tradition lives on – albeit with some breaks -for more than 100 years. The last Gesellschaft der Musikfreunde Ball takes place in 1951. 1831 The Gesellschaft der Musikfreunde opens the doors to its new premises in the Tuchlauben, Vienna. Designed by Franz Lössl, the building also contains a concert hall for c. 700 people. This is Vienna’s first purpose-built concert hall – previously, concerts took place in salons or theatres that served multiple purposes. Upon the death of Archduke Rudolph, the Gesellschaft der Musikfreunde in Vienna inherits his music library. With the arrival of 90 chests, each weighing 250 kilogrammes, priceless musical artefacts become part of the Musikverein’s collection. 1837 The Gesellschaft der Musikfreunde celebrates its 25 th anniversary in the Imperial Winter Riding School. More than 1000 people take part in two concerts performing Haydn’s “Creation”. 1847 Once again, more than 1000 participants are scheduled to take part in a music festival hosted by the society, at which Felix Mendelssohn Bartholdy is to conduct his work “Elias”. The posters are already printed by the time news of the 38-year-old composer’s death reaches Vienna. The performance becomes a moving memorial concert for his early death. 1848 The revolutionary unrest of the times also affects the Gesellschaft der Musikfreunde. For nine months, the society gives no concert performances and teaching is temporarily suspended at the Konservatorium. The Musikverein faces a severe financial crisis. P a g e 2 | 12 History | Gesellschaft der Musikfreunde in Vienna From 1812 to today 1851 The Gesellschaft der Musikfreunde itself undertakes a comprehensive reform of the organisation to overcome the crisis. The number of members continues to grow and the Konservatorium is able to resume its activities. Alongside streamlining the internal structure, a new artistic direction proves decisive: the orchestra for the society’s concerts is from now on to be no longer composed of practising members, i.e. amateurs, but rather of professional musicians. The Gesellschaft der Musikfreunde’s professionalisation is also a response to the founding of the Vienna Philharmonic in 1842. 1857 The Musikverein also receives help to overcome the financial crisis due to a significant bequest. Karl Czerny, Beethoven’s famous pupil and a composer, pianist and piano teacher, leaves a quarter of his large fortune to the Gesellschaft. 1858 While orchestral music is put into the hands of professionals, the Gesellschaft der Musikfreunde takes another approach with choral music. This remains the domain of practising amateur members – albeit in a new and highly efficient form. Thus the Singverein is founded as a branch society of the Gesellschaft der Musikfreunde, with rising star Johann Herbeck as its first choral director. Under his leadership, the choir soon develops into an outstanding vocal ensemble in much demand among composers. Up to the present day – in principle at least – not much has changed. The Singverein of the Gesellschaft der Musikfreunde is an “amateur choir”, while also being one of the best concert choirs in the world. 1859 To provide the instrumentalists among their members with a forum of their own, the Gesellschaft der Musikfreunde founds a second branch society, the Orchesterverein . This too keeps the tradition of “practising members” alive. The Orchesterverein today remains an enthusiastic amateur orchestra with a very active role in concert life. 1862 The celebratory performance of the “Messiah” to mark the 50th anniversary of the Musikverein testifies to its extraordinary cultural importance. Emperor Franz Joseph I. and Empress Elisabeth attend the concert together with other members of the imperial family and government representatives of the highest level. 1863 The Vienna Ringstrasse era heralds an opportunity for the Musikverein to erect a new and magnificent building of its own. As early as 1858 – just as the demolition of the medieval city wall was beginning – the Gesellschaft had approached the Emperor with a plea for a building plot to be granted, as a larger building is deemed urgently necessary. This time now arrives, and the Emperor gifts the Gesellschaft a building plot on the left bank of the river Wien. 1865 Schubert’ss “Unfinished” symphony receives its premiere performance at a concert given by the Gesellschaft. The conductor is Johann Herbeck, who has recently received the manuscript from Schubert’s friend Anselm Hüttenbrenner. 1867 The architect Theophil Hansen is contracted to build the new Musikverein building. The funding comes not only from the Austrian state – the Emperor grants funding from the state lotteries – but also and mainly from private donors. Members and friends of the Musikverein are closely involved with the fundraising effort and contribute to the P a g e 3 | 12 History | Gesellschaft der Musikfreunde in Vienna From 1812 to today building costs. The Gesellschaft itself creates incentives by providing special privileges to “Benefactors“ and “Founders”. The Singverein and the orchestra of the Gesellschaft under Johann Herbeck stage the premiere performance of Brahms’ “German Requiem”. 1868 Anton