Independence, democracy and autonomy: the orchestra has been following this path for around 180 years. It has no principal conductor, but works exclusively with the very best conductors of our time. In this Musica episode we show how the orchestra works and what it means to be part of this legendary institution. We accompany flutist Karin Bonelli in her daily work and explore what it takes to maintain this high level over the long term. We also go on tour with the Vienna Philharmonic and experience the hustle and bustle of touring life and the emotions that come from bringing the unique Viennese sound to the world.
A Life for Music
Numerous rehearsals, evening performances at the Musikverein and the Opera, in between teaching and then on tour. The Vienna Philharmonic Orchestra has dedicated its life to music. Full of passion, they carry on the great tradition and thus maintain the excellence of this world-famous orchestra.
“That’s the special moment, you stand backstage, then the door opens, then the communication with the audience is there immediately.”
Daniel Froschauer
Chairman of the Vienna Philharmonic
Belgian Anneleen Lenaerts has been principal harpist of the Vienna Philharmonic since 2010, she says: “When you’re on tour, you’re always excited, and you wonder what the atmosphere is like in the hall. It’s a completely different acoustic.”
Like Anneleen Lenaerts, Karin Bonelli is one of the few female Philharmonic musicians. The flutist has been part of the unique “ocean of sound called the Vienna Philharmonic” since 2012. She was the first woman to be engaged in the wind section of the orchestra. For her, the seconds before the concert begins “that moment, going out there, is like going into the arena for an athlete, very special. “
What are the requirements to play in one of the biggest orchestras in the world?
Your whole life revolves around music. They perform over 300 operas and 100 symphonic concerts a year, sharing their art and passion with audiences around the world.
Karin Bonelli experiences her profession as a calling: “As much time as we spend with our profession.”
For solo harpist Anneleen Lenaerts, it’s the lack of routine that makes the work extremely exciting, “not a single day is the same”, and she says: “We also know each other quite well because we have so much to do together in Vienna, then when we travel, we’re actually almost like a big family.”
The harp is always transported in cargo, of course, Anneleen Lenaerts sees her instrument an hour before the concert starts at most, while many another colleague has time to play in their hotel room, “sometimes that makes it very difficult on tour. It’s like sport. You would actually have to train every day.”
The Belgian came to the harp rather by chance. She started with piano, she says, then wanted to play in the local orchestra: “My first choice was clarinet or oboe, so I could go to rehearsals with a small suitcase. But the conductor really wanted a harp and thought I should play that.”
For Karin Bonelli it’s more of a “family curse”, she says: “My parents, my family are almost all flautists. My uncle was a flautist, my brother is a flautist, so it really runs in the family. I’ve always been surrounded by this instrument. “
Deep passion
She feels it is her mission to express her emotions through music and thus awaken those around her. She passes on her passion by letting young flute players discover their own qualities and holds teaching positions at the University of Music in Graz (2017/18) and currently at the University of Music and Performing Arts in Vienna.
“Especially in this audition training, you try to learn to deal with this situation, to mentally adjust to it,” says Anna Karanitsch, one of her students. “That’s what Karin always teaches me, that you really go deep, get the most out of your game.”
You can imagine it like a top athlete who is at the starting line and has a few minutes to perform at his best, says Bonelli: “You have to deal with the situation mentally and also physically. It’s simply up to each individual to go in search of it. As a teacher, you can only be something like a mountain guide, but the students have to go up the mountain themselves.”
After years of hard work and dedication, Karin became the first woman to play in the wind section of the orchestra: “Of course, that was the fulfilment of a childhood dream. I’ve been sitting in front of the TV on 1 January since I was four years old and said, ‘I want to go there, Mum!’ And she always said: ‘Yes, yes, let’s see!’ At 23, this dream came true. That was incredible. “
The musical heritage is guarded
The musical heritage of the Vienna Philharmonic is passed on from one generation to the next. The rich legacy is documented in the orchestra’s Historical Archive
Sylvia Kargl shows a particularly valuable piece by Ludwig van Beethoven and explains: “It is a piano reduction of his opera Fidelio. This is a very rare edition. There are only five copies in the world.”
The research assistant guards this treasure trove. It includes thousands of unique items, letters and photographs. One of the most valuable documents refers to the orchestra’s origins, Kargl says:
“It doesn’t look spectacular, it’s more like a note, but de facto it’s the founding decree of the Vienna Philharmonic from 1842, written by Otto Nicolai. It contains the most important principles that are still upheld by the Vienna Philharmonic today. “
Democratic self-government
The musicians elect their conductors themselves according to a democratic procedure. This is something quite new. The musicians organise their rehearsals and their concerts themselves and share the income among themselves.
The orchestra is still self-governing today and takes care of ticket sales, programmes and tours.
“I think self-administration is the most important and highest good we have, when everyone can decide with whom, when, where and which pieces we play, it’s a very beautiful thing,” says Daniel Froschauer, first violinist and chairman of the Vienna Philharmonic. “Of course, with 148 members you get 300 opinions. It’s a challenge that I enjoy very much.”
The musicians of the Vienna Philharmonic also play in the orchestra of the Vienna State Opera. They divide their time between the orchestra pit and the concert stage.
“Working in the opera has become something indispensable for me. We have the same breathing technique as the singers, you can learn an incredible amount and I also just enjoy it insanely.”
Karin Bonelli
Flutist with the Vienna Philharmonic
World-renowned tenor Juan Diego Flórez appreciates the orchestra’s excellence: “At the Vienna State Opera they have to play many different pieces, they have to listen. They have to have this sensitivity to follow a singer, to be with him, to breathe with him, and they know how to do that,” says the tenor: “A singer has to feel that the orchestra is with him. The sound that carries you envelops you and you also feel the emotions of the orchestra, which is wonderful.”
For Daniel Froschauer, experiencing this community is also “something really great, and now with the many young colleagues who are so wonderfully involved. That’s the best thing for me.”
Independence, democracy, autonomy and a very big family, Karin Bonelli says: “For me, being part of the Vienna Philharmonic means living my life’s dream and being able to cover all aspects of being a musician with my instrument. “