New Year's Concert for 2026 from the Wiener Philharmoniker

[(poco) Sforzando]

That the music chosen was not the most exciting ever I'm not going to dispute. And I'm beginning to understand the reason why the French loved ballets within operas so much: if the music is dull, one can at least have a feast for the eyes. Slim ladies with long and agile legs, what's not to like?

Conversely, Balanchine said that if one does not enjoy the dancing, they can close their eyes and listen to a concert.

[Florestan]

Conversely, Balanchine said that if one does not enjoy the dancing, they can close their eyes and listen to a concert.

I strongly disagree.

[Florestan]

And for some, she also offers a feast for the eyes.

Count me in.

[(poco) Sforzando]

I strongly disagree.

You disagree that Balanchine said that?

[Florestan]

You disagree that Balanchine said that?

No. 

I disagree that closing one's eyes is a good idea. Ballet must be both seen and heard, otherwise what's its point?

[LKB]

I would suggest (particularly if you look back on versions from previous decades) that it's all about encouraging tourism to Vienna and Austria more generally.
The Wiener Philharmoniker does not need to raise funds;  it is backed by the Austrian government and is their national marque, and a source of  pride in its heritage.

That little country punches well above its weight on most metrics, by the way.  Having lived there I can tell you that the Viennese people take their eponymous orchestra very seriously indeed.

Normally, I would have remembered that the orchestra had state support, I've actually known that for years.

Then again, normally I wouldn't be here posting at all while intoxicated, which I was at the time yesterday. Not only did I forget about the orchestra's funding, I also forgot that posting anything, anywhere while under the influence is nearly always a bad choice.

I went back up and read my long-ish post, and I don't remember doing it at all... 

Ah well. Better to be driving your computer when you're plastered, as opposed to a vehicle.

[Belle]

Normally, I would have remembered that the orchestra had state support, I've actually known that for years.

Then again, normally I wouldn't be here posting at all while intoxicated, which I was at the time yesterday. Not only did I forget about the orchestra's funding, I also forgot that posting anything, anywhere while under the influence is nearly always a bad choice.

I went back up and read my long-ish post, and I don't remember doing it at all...  {/quote]

Thank you for your reply and honesty!!  I've long suspected that many people on other message boards to which I've contributed have been intoxicated when writing - particularly the trolls - and in an abusive mindset.  There are certain giveaways which weren't in evidence with yours.  In fact, with one of the said trolls (a reason I've moved here to GMG ) I actually wrote "in vino veritas" underneath his comment!!  One of these was a recently-arrived troll who has pursued me across the boards for 15 years - believe it or not!!!!!!  He's a big drinker.

[AnotherSpin]

Its (New Year's Day Concert from Vienna) association with the Third Reich has always been a turn-off (literally and metaphorically) for me. As one of my brother's (non Jewish) friends said recently 'it's a bit too Anschlussy for me'.

Yes, that is correct. The Vienna New Year's Concert has historical roots in the Third Reich. It began during the Nazi period, shortly after the Anschluss, with the first concert held on 31 December 1939 under Clemens Krauss and explicitly dedicated to the Nazi Winter War Relief fund. From 1941 it moved to New Year's Day and became a regular radio broadcast, serving as gently uplifting wartime propaganda, with Strauss repurposed as suitably German cultural comfort.

The Vienna Philharmonic itself was deeply entangled with the regime, with a large proportion of its players NSDAP members and its Jewish musicians dismissed, deported or killed. Today the concert is a cheerful, seemingly apolitical global ritual, watched by millions, while the orchestra openly acknowledges that the tradition dates back to the National Socialist era and was enthusiastically misused for propaganda. The contrast between waltzing innocence and its original purpose remains one of classical music's neater ironies.

All of which made the 2026 choice of Yannick Nézet-Séguin, an openly gay conductor, feel quietly surreal. A very modern figure presiding over one of the most tradition soaked and historically burdened events in music history.

Not that this adds much to the already impressive absurdity of the contemporary world.

[vandermolen]

Yes, that is correct. The Vienna New Year's Concert has historical roots in the Third Reich. It began during the Nazi period, shortly after the Anschluss, with the first concert held on 31 December 1939 under Clemens Krauss and explicitly dedicated to the Nazi Winter War Relief fund. From 1941 it moved to New Year's Day and became a regular radio broadcast, serving as gently uplifting wartime propaganda, with Strauss repurposed as suitably German cultural comfort.

The Vienna Philharmonic itself was deeply entangled with the regime, with a large proportion of its players NSDAP members and its Jewish musicians dismissed, deported or killed. Today the concert is a cheerful, seemingly apolitical global ritual, watched by millions, while the orchestra openly acknowledges that the tradition dates back to the National Socialist era and was enthusiastically misused for propaganda. The contrast between waltzing innocence and its original purpose remains one of classical music's neater ironies.

All of which made the 2026 choice of Yannick Nézet-Séguin, an openly gay conductor, feel quietly surreal. A very modern figure presiding over one of the most tradition soaked and historically burdened events in music history.

Not that this adds much to the already impressive absurdity of the contemporary world.
[/quote

Yes, that is correct. The Vienna New Year's Concert has historical roots in the Third Reich. It began during the Nazi period, shortly after the Anschluss, with the first concert held on 31 December 1939 under Clemens Krauss and explicitly dedicated to the Nazi Winter War Relief fund. From 1941 it moved to New Year's Day and became a regular radio broadcast, serving as gently uplifting wartime propaganda, with Strauss repurposed as suitably German cultural comfort.

The Vienna Philharmonic itself was deeply entangled with the regime, with a large proportion of its players NSDAP members and its Jewish musicians dismissed, deported or killed. Today the concert is a cheerful, seemingly apolitical global ritual, watched by millions, while the orchestra openly acknowledges that the tradition dates back to the National Socialist era and was enthusiastically misused for propaganda. The contrast between waltzing innocence and its original purpose remains one of classical music's neater ironies.

All of which made the 2026 choice of Yannick Nézet-Séguin, an openly gay conductor, feel quietly surreal. A very modern figure presiding over one of the most tradition soaked and historically burdened events in music history.

Not that this adds much to the already impressive absurdity of the contemporary world.

Many thanks for the intetesting explanation.

[pjme]

what to think him kissing a musician in the neck, or kissing a violinist on the cheek uninvited

just to be clear, it was organised by the orchestra:  YSN's husband Pierre was "smuggled"  into the viola section as a surprise. 

[Florestan]

just to be clear, it was organised by the orchestra:  YSN's husband Pierre was "smuggled"  into the viola section as a surprise.

You serious?

[Harry]

You serious?

I afraid he is,  the fact is still horrible.

[Belle]

I afraid he is,  the fact is still horrible.

Just unprofessional.

[Brian]

This is consistent with all my previous impressions of YNS, which are that he's musically uninteresting but so personally agreeable that musicians love working with him. If they didn't like him, they wouldn't condone husband-smuggling antics...

[Florestan]

This is consistent with all my previous impressions of YNS, which are that he's musically uninteresting but so personally agreeable that musicians love working with him. If they didn't like him, they wouldn't condone husband-smuggling antics...

I wonder: had a straight conductor asked that his wife be smuggled in the orchestra so that he could kiss her neck before Radetzky-Marsch, would the request have been granted? 

[Papy Oli]

The husband is a violist. Was he in the section the whole concert and play?

[Florestan]

The husband is a violist. Was he in the section the whole concert and play?

I don't know, I only noticed that YNS kissed a violist on the neck and thought "Hey, that's too much! What if he's straight?". It's only yesterday that I've been made aware of the gimmick. I still think it was a tasteless and gratuitous moment.

[ritter]

I really cannot understand what all the fuss is about...

[Papy Oli]

I really cannot understand what all the fuss is about...

Well, You wouldn't see Celibidache kiss the first chair.

He'd yell at him... In slow motion 

[brewski]

Just a polite weigh-in, from a listener who watches the annual concert now and then, but not every year. I don't have a problem with YNS kissing his husband; it was New Year's Day, everyone was in a festive mood, and YNS is known for both camaraderie and for openly expressing his admiration for musicians. Most every musician I have talked with has enjoyed working with him, and while not all of his results are "fantastic," he has had plenty of "wow" moments, e.g., last year's concert version of Tristan and the previous year's Mahler 3.