ALMOST FIFTEEN years ago, feminists in California and New York picketed the Vienna Philharmonic in protest of its refusal to hire women musicians. The protests were influential and the orchestra hired its first full-time female member at that time. The protests did not, however, lead to the rapid change that has occurred elsewhere. The Vienna Philharmonic, one of the world’s premier orchestras, remains remarkably and refreshingly traditional, stubbornly resistant to both feminism and multiculturalism despite concessions to both.
See this shocking group photo which depicts a nearly all-male, all-white ensemble. Though it appointed its first female concertmaster last year, the Philharmonic still has only six full-time female members. Its concerts are reminiscent of a relatively recent era, when you would not have seen a heavily pregnant concertmaster, as I did at a recent performance of an American orchestra, or women in the front row playing violin in pants, their legs spread-eagled before the audience, or a significant Asian presence. It is difficult to imagine Marin Alsop, the openly lesbian conductor of the Baltimore Symphony Orchestra, conducting for this venerated institution in her scarlet-accented high heels.
During its 160-year history, the Wiener Philharmoniker, with its characteristic “Viennese Sound,” has been led by many of the greatest conductors and praised by famous composers such as Wagner, Bruckner, Brahms, Mahler (who conducted it from 1898 to 1901) and Richard Strauss. The waiting period for weekend ticket subscriptions is 13 years. At this time of year, the orchestra’s New Year’s Day concert, which features Strauss waltzes and ends with a rousing version of The Radetzky March under the chandeliers of the Musikverein, is especially popular and is broadcast on PBS in this country. (See yesterday’s performance of the Radetzky March, conducted by Mariss Jansons, here.) The orchestra has held a concert each New Year’s Day since 1941.
Members of the orchestra have openly stated in the recent past that the ideal member is a Central European man. They have even gone so far as to state that the orchestra’s sound can only be achieved by musicians who possess the appropriate cultural “soul.”
The Philharmonic did not allow women to become full members until 1997. Between 1997 and 2010, a period during which many other orchestras became heavily female, it hired only three women. Paul Fürst, a violist, once stated in a documentary on women conductors:
There is no ban on women musicians playing here but the Vienna Philharmonic is by tradition an all-male orchestra. Our profession makes family life extremely difficult, so for a woman it’s almost impossible. There are so many orchestras with women members so why shouldn’t there be – for how long I don’t know – an orchestra with no women in it … A woman shouldn’t play like a man but like a woman, but an all-male orchestra is bound to have a special tone. [Wikipedia] Read More »