In the throes of his mortal illness, Franz Schubert (1797-1828) heroically succeeded in putting to paper his splendid last symphony, whose “divine lengths” are truly unique. Composed in 1825/26, Schubert’s largest symphonic work was first discovered after his death by Robert Schumann and first performed one year later, in 1839, by Felix Mendelssohn Bartholdy in the Leipzig Gewandhaus. In marked contrast to the equally beloved “Unfinished” Symphony, Schubert devises a labyrinth of harmonies in a piece full of artless directness and joyful dance-like rhythms. Echoes of the visionary secrets of Romanticism surface from the depths of the work, only to be washed away by the inexorable current of the melodies. Never did Schubert write with such a lavish and impetuous hand than in his Ninth Symphony: “…it bears the eternal seed of youth within it.” (Robert Schumann) Karl Böhm rehearses the Wiener Symphoniker in this recording made in the mid 1960s.
Schubert, Symphony No.7 in C major, D. 944
In the throes of his mortal illness, Franz Schubert (1797-1828) heroically succeeded in putting to paper his splendid last symphony, whose “divine lengths” are truly unique. Composed in 1825/26, Schubert’s largest symphonic work was first discovered after his death by Robert Schumann and first performed one year later, in 1839, by Felix Mendelssohn Bartholdy in the Leipzig Gewandhaus. In marked contrast to the equally beloved “Unfinished” Symphony, Schubert devises a labyrinth of harmonies in a piece full of artless directness and joyful dance-like rhythms. Echoes of the visionary secrets of Romanticism surface from the depths of the work, only to be washed away by the inexorable current of the melodies. Never did Schubert write with such a lavish and impetuous hand than in his Ninth Symphony: “…it bears the eternal seed of youth within it.” (Robert Schumann) Karl Böhm conducts the Wiener Symphoniker in this recording made in the mid 1960s.
Rehearsal for Beethoven, Symphony No.7 in A major, op.92
After four years of symphonic silence, Beethoven presented Vienna with his Seventh Symphony in 1813. The first performance of this work was a spectacular event. The long awaited Seventh was completed in May 1812 when the Austrian capital was recovering from the French occupation. The defeat of Napoleon’s armies made the concert an occasion for celebration, and this historical event helped ensure the work’s enormous popularity and the composer’s lasting fame. The Seventh Symphony is essentially rhythmic, rather then thematic, to such a degree that Wagner called it “an apotheosis of the dance”. it is one of the best examples of how Beethoven used simple harmonies and filled them with energetic, repetitive rhythms, which never become monotonous because of the fresh harmonic progressions that accompany them. Karl Böhm rehearses the Wiener Symphoniker in this recording made in the mid 1960s.
Beethoven, Symphony No.7 in A major, op.92
After four years of symphonic silence, Beethoven presented Vienna with his Seventh Symphony in 1813. The first performance of this work was a spectacular event. The long awaited Seventh was completed in May 1812 when the Austrian capital was recovering from the French occupation. The defeat of Napoleon’s armies made the concert an occasion for celebration, and this historical event helped ensure the work’s enormous popularity and the composer’s lasting fame. The Seventh Symphony is essentially rhythmic, rather then thematic, to such a degree that Wagner called it “an apotheosis of the dance”. it is one of the best examples of how Beethoven used simple harmonies and filled them with energetic, repetitive rhythms, which never become monotonous because of the fresh harmonic progressions that accompany them. Karl Böhm rehearses the Wiener Symphoniker in this recording made in the mid 1960s.
Rehearsal for Schumann, Symphony No.4, op.120
Schwanensee (Swan Lake)
Perhaps the most popular ballet in the world, Tchaikovsky’s “Swan Lake” has been given a compelling new interpretation by Rudolf Nureyev. The Russian dancer, a towering figure in 20th-century ballet, placed greater emphasis on the character of Prince Siegfried. First produced in Vienna in 1964, Nureyev’s choreography has been hailed as one of the most fascinating ever. Nureyev and his partner Dame Margot Fonteyn perfectly embodied the noble and more volatile style of classical ballet performance featured here.
Coppélia
“Coppélia” was premiered with great success at the Théâtre Impérial de l’Opéra de Paris on 25 May 1870. Since then, the ballet has lost none of its freshness and popularity. The librettist of “Coppélia”, Charles Nuitter, found the subject of his work in a tale by E.T.A. Hoffmann, “The Sandman”. “Coppélia” is the first of many ballets which take as their theme the humanization of mechanical objects.
Vienna Prater Picnic Concert 2025
The Wiener Symphoniker once again welcomed the summer with their yearly open-air concert in the heart of Vienna. For the fourth time, the Kaiserwiese – set against the iconic Giant Ferris Wheel – becomes the backdrop of a shared musical experience connecting generations, styles and stories. With a cross-genre programme combining operetta, musical, jazz and pop, the orchestra traces a lively Viennese tradition that has been bringing people together since the 19th century. Bass-baritone Thomas Quasthoff brought Frank Sinatra’s repertoire to life with his unmistakable voice, joined by soprano Alina Wunderlin, who moved effortlessly between classical music, operetta and jazz. Double bassist and composer Georg Breinschmid and his trio offered a jazz-inflected tribute to Johann Strauss, while singer-songwriter Lemo added a contemporary touch.
125 Years Wiener Symphoniker – The Anniversary Concert
The Wiener Symphoniker celebrate their anniversary at the Wiener Musikverein, the very place where their inaugural concert took place 125 years ago. The concert looks back to the orchestra’s very first program in 1900 with Wagner’s rarely performed Faust Overture. It also celebrates two landmark premieres: In Alban Berg’s Seven Early Songs, “the orchestra provided Hanna-Elisabeth Müller with a soundscape reminiscent of an Art Nouveau painting” (Kurier); Anna Vinnitskaya’s performance of Ravel’s Piano Concerto for the Left Hand was “gripping and full of energy” (Der Standard) The evening concludes with Mozart’s Jupiter Symphony, performed an extraordinary 282 times over the orchestra’s 125-year history. PROGRAM Wagner: Faust Overture; Berg: Sieben Frühe Lieder (Seven Early Songs); Ravel: Piano Concerto for the Left Hand; Mozart: Symphony No. 41
The Vienna Christmas Concert at St. Stephen’s Cathedral
From traditional Christmas carols to John Williams soundtracks – the Vienna Christmas Concert in Vienna’s grand St. Stephen’s cathedral is sure to put anybody in a festive mood! This edition features French conductor Stéphane Denève at the helm of the Wiener Symphoniker and the Singverein der Gesellschaft der Musikfreunde, presenting a programme that spans the gamut of festive music, including Mozart’s Laudate Dominum with soprano Rosa Feola, to Saint- Saëns’ Ave Maria with mezzo-soprano Kate Lindsey, pieces from Humperdinck’s Hänsel und Gretel and chorus hits from the beloved Christmas film Home Alone