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. I | FRIDAY,DECEMBER 27, 2013 ADVERTISING SUPPLEMENT INTERNATIONAL NEW YORK TIMES INTERNATIONAL NEW YORK TIMES ADVERTISING SUPPLEMENT FRIDAY,DECEMBER 27, 2013 | II The Vienna Philharmonic Orchestra at the New Year’s concert of 2013, THE VIENNA conducted by Franz Welser-Möst. PHILHARMONIC ORCHESTRA CENTER STAGE NEW YEAR’S CONCERT DANIEL BARENBOIM RINGS IN 2014 Talking to Daniel Barenboim, conductor of the 2014 New Year’s concert with the Vienna Philharmonic Orchestra, it is hard not to be swept along by the enthusiasm he brings to all his projects. At one moment, he recalls with pleasure the rapturously received concert perfor- mances of the epic Wagner ‘‘Ring’’ cycle at PHILOSOPHY AND TRADITION the 2013 London Proms (held over the course of a week), where he instructed his AN ORCHESTRA UNLIKE ANY OTHER orchestra to ‘‘tell the whole story through the music.’’ At another moment, he speaks with The Vienna Philharmonic Orchestra is a as the State Opera was called then, decided equal excitement about the short pieces name instantly recognizable in the wider to present a series of concerts independ- that make up the forthcoming New Year’s world, in large part thanks to its celebrated ently. It is a unique institution, entirely self-gov- program in the Musikverein in Vienna. The RITTERSHAUS New Year concerts, which are broadcast live erning and independent, and the orchestra’s concert will mark 25 years of Barenboim’s in more than 80 countries every year, but also president and general manager are elected association with the Vienna Philharmonic as because of the consistently high quality of its by members of the orchestra. a conductor, and, as he points out, consider- MONIKA music-making, both in Vienna and abroad. Clemens Hellsberg, first violinist and pres- ably more years as a piano soloist. Clearly The 2014 New Year’s concert marks 25 years of Daniel Barenboim’s association with the VPO. The Vienna Philharmonic’s structure and ident, says: ‘‘Playing in the Golden Hall as a the occasion will be a celebratory affair. ways of working have endured for 171 years, member of the Vienna Philharmonic orches- Asked about the particular qualities of he says, referring to Johann Strauss II, ‘‘was being played on a plane or in an elevator, you ever since musicians from the Court Opera, tra makes one aware that our predecessors such a long-established orchestra, Baren- a lifelong friend of Brahms.’’ Far from being hear it without really listening, but having it in played under the baton of Richard Wagner, boim praises the players for their desire to easy to conduct, the Strauss waltzes need aconcert forces the public to listen.’’ Baren- that they played in front of Johannes Brahms, make significant individual contributions particular treatment, the maestro insists, boim calls the piece ‘‘a masterpiece.’’ sitting next to Antonin Dvorak; that Gustav while at the same time achieving the re- with a variety of articulation and phrasing in ‘‘The secret of the ‘Blue Danube,’’’ he Mahler conducted the orchestra; that Richard markable homogeneous sound for which order to attain the famous Viennese lilt. says, ‘‘is in its magical introduction. There is Strauss conducted many, many concerts.’’ SCHUSTER the Vienna Philharmonic is renowned. Discussing the planning of the program a sense of expectation that is bewildering.’’ The musicians perform double duties as Barenboim first conducted the orches- for the concert, he says that it was much Barenboim is adhering to along tradition the orchestra for the Vienna State Opera, tra’s New Year’s concert in 2009, and he ex- more difficult to construct aseries of small of not revealing the exact lineup of the con- with whom they give some 300 performanc- RICHARD claims: ‘‘I was stunned at the degree of curi- pieces than it would have been to place a cert program until just before the event, but es a year, and working with a series of guest LINKE osity that the players brought to such single Bruckner symphony on the program. he does reveal that the program will contain conductors rather than (as is the case in appropriate for that player to continue as a promoters on the choice of program for each promotion of new music. With a history of familiar music. They were so alive and inter- He acknowledges that there is adanger of a piece by another Viennese composer with most orchestras) with a chief conductor. TERRY member. concert. Conductors initially express their nearly 300 premiered works by the Vienna ested, engaged in avoyage of discovery, having simply a concert of encores, and for the surname Strauss, the great operatic ‘‘Daily work in the opera is artistically very Clemens Hellsberg, first violinist and president of Flury points out that ‘‘for those very few preferences, and choices are made depend- Philharmonic, explains Flury, there is astrong MARKING THE VIOLENT BIRTH OF THE 20TH CENTURY and yet with so much knowledge.’’ this reason he was eager to find connec- composer Richard Strauss, who is unrelated important for the orchestra,’’ says Dieter the Vienna Philharmonic Orchestra. cases where a member does not keep up the ing on other pieces played in the season or in desire to continue this tradition. Few single events have shaped history 100 years later, the Vienna Philharmonic, Austrian soul, which is sometimes so As for the waltz music of the Strauss tions between the pieces and to make units to the Johann Strauss family. What better Flury, first flutist and the orchestra’s general level, a social solution has to be found. With- recent seasons. ‘‘We are privileged that even with so-called in as catastrophic a way as the two gun- under the baton of Franz Welser-Möst, will close to the grave.’’ Brahms’s choral work family, Barenboim emphasizes that it forms of works within the program. way to mark 2014, the 150th anniversary of manager and artistic director. ‘‘The singing There is astrict process for joining the Vi- out a chief conductor, it has to be part of the Orchestra members also make sugges- difficult programs,’’ he says, ‘‘we manage to shots that were fired in the city of Sarajevo be performing in Sarajevo a program care- ‘‘Schicksalslied’’ (Song of Destiny) —set part of a long tradition of 19th-century mu- Of the most familiar Viennese waltz, he his birth, than in the company of his illustri- voice forms us.’’ It gives the players a unique enna Philharmonic. Each player has to over- democratic process.’’ The responsibility of tions and, true to the democratic spirit of the fill halls. We are very proud that in Carnegie on June 28, 1914. The assassination of fully devised to reflect the ways in which to a work by the German Romantic poet sic. ‘‘We should not forget that one of them,’’ says: ‘‘When you hear the ‘Blue Danube’ ous namesakes? n opportunity to phrase their playing in tandem come three hurdles: First, players must be in- making afull contribution to the orchestra’s orchestra, often those proposals come to Hall in 2010, for instance, we had three sold- Archduke Franz Ferdinand of Austria, the the old world met anewer, harsher one. Friedrich Hölderlin in which the ancient with the human voice, almost breathing to- vited for an audition. Second, they need to be sound, listening to the other players and the fruition in concerts. It is perhaps inevitable out evenings with works by Schoenberg, presumptive heir to the Austro-Hungarian The concert will include Haydn’s ‘‘Kaiser’’ Greek concept of the tragic fall is evoked LINKE gether, he explains. After three years in the or- successful in the audition, which, in order to sense of privilege of belonging to such a cel- that concert promoters prefer the estab- Webern and Boulez, and only two symphonies Empire, and his wife Sophie led directly to quartet, reflecting the Danube monarchy, —will reflect the gravity of the occasion. CARNEGIE HALL SERIES chestra, each player becomes an active ensure absolute impartiality, takes place be- ebrated institution help the players to main- lished classics, and there is no shortage of by Beethoven.’’ Among future projects, the Vi- the declaration of war by Austria-Hungary and Schubert’s Unfinished Symphony, de- Finally, Ravel’s ‘‘La Valse’’ will recall the TERRY member of the association, with the right both hind a curtain. Third, after a probationary peri- tain the highest standards, he says. works from which to choose in the great 19th- enna Philharmonic will be performing the on Serbia, which in turn unleashed the hor- scribed by Dieter Flury, the orchestra’s Viennese tradition of the waltz, seen A TIME OF CULTURAL FLORESCENCE Dieter Flury, first flutist, is the general manager to elect members of the association and to od of up to two years, a jury made up of mem- One of Flury’s tasks as artistic director is century Viennese repertoire. The Vienna Phil- premiere of anew work by the Austrian com- rors of the First World War. Next June 28, artistic director, as ‘‘music to paint the through the lens of the 20th century. and artistic director of the Vienna Philharmonic. be elected as an officer. bers of the orchestra discusses whether it is to negotiate with conductors and concert harmonic, however, is eager to continue its poser Olga Neuwirth in May 2015. n The Vienna Philharmonic Orchestra en- posia on an extraordinary time not only for Theodor Berger, not to forget the Johann joys taking up residency at New York’s music but also for other arts and sciences. Strauss family. As the Vienna Philharmonic’s Carnegie Hall each spring, usually perform- No fewer than four great conductors — principal flutist and artistic director, Dieter CONDUCTORS & COMPOSERS ing three concerts on Friday and Saturday Franz Welser-Möst, Daniele Gatti, Andris Nel- Flury, puts it: ‘‘Without the base of a pyramid, evenings and Sunday afternoon.