[00:00.000] 作曲 : Not Applicable
[00:00.365]The Vienna Philharmonic's New Year's Concert is being
[00:03.308]conducted for the first time by Christian Thielemann in 2019.
[00:07.524]Thielemann has been closely associated with the orchestra since
[00:11.206]2000 and has distinguished
[00:13.204]himself in music by the Strauβ family at least since 2008,
[00:17.253]when he opened that year's Philharmonic Ball.
[00:20.324]This year's programme begins with a march by Carl Michael
[00:23.612]Ziehrer dedicated to -
[00:25.300]and named after - Anton von Schönfeld,who was General of
[00:29.189]the Artillery and General Inspector of Troops
[00:31.876]in the Austro-Hungarian Empire.As music director of the
[00:35.357]Fourth Imperial and Royal Infantry Regiment -
[00:38.212]also known as the Hoch- und Deutschmeister - Ziehrer
[00:41.548]was one of those military bandmasters
[00:43.740]who additionally wrote music in the final decades
[00:46.220]of the Habsburg monarchy,
[00:48.285]in which capacity he also gave public concertswith
[00:50.997]his orchestra.
[00:53.037]Josef Strauβ wrote his waltz Transactionen
[00:56.356](Transactions)in the summer of 1865
[00:59.756]for a benefit concert in the Imperial and
[01:02.172]Royal People's Park in Vienna,
[01:04.172]after which he left for an urgently needed holiday.
[01:07.020]Its title harks back to his Action Waltz from
[01:10.974]the previous Carnival.
[01:12.117]In 2019 the title Transactions is also a
[01:15.806]suitable motto for the
[01:17.629]150th anniversary of the resumption of
[01:20.308]diplomatic relations between Austria and Japan.
[01:23.636]When the Meiji dynasty came to power in Japan in
[01:27.629]1868,it ended the country's traditional isolation and
[01:31.644]introduced a far-reaching programme of reforms at
[01:34.708]home.A prominent role in this process was played
[01:37.908]by the introduction of western music,which
[01:40.470]primarily meant German and Austrian music.
[01:43.196]The first Austrian soloists appeared in Japan,
[01:46.197]and in 1888,on the recommendation of
[01:48.932]Vienna's Gesellschaft der Musikfreunde,
[01:52.804]Bruckner's pupil Rudolf Dittrich was named
[01:54.708]director of the newly founded State Academy
[01:57.452]of Music in Tokyo.Three years later
[02:00.372]the first Japanese student - Nobu Koda -
[02:03.133]enrolled at the Gesellschaft's Conservatory.
[02:06.716]The Vienna Philharmonic first went on tour to
[02:09.292]Japan in 1956 under Paul Hindemith
[02:12.236]and since then has visited the country no
[02:15.164]fewer than thirty-six times,enjoying
[02:17.413]a degree of popularity with local audiences
[02:20.037]that can only be expressed in superlatives.
[02:22.957]Transactionen was even heard in Japan in 1983
[02:24.661]and 1986.since 1978 the New Year's Concert
[02:31.652]has been broadcast in Japan,making it an integral
[02:34.724]part of Austro-Janpenese musical relations.Strangely
[02:38.965]enough,it was on 19
[02:40.100]May That the Japenese broadcaster NHK first showed a
[02:44.756]New Year's Concert from Vienna.
[02:47.164]Mono broadcasts on 1 January began in 1984,and since
[02:51.740]1987 the concerts have been relayed live in stereo on
[02:55.445]both television and radio.
[03:01.060]It was Josef Hellmesberger(II)who was instrumental in
[03:04.580]ensuring Dittrich's appointment in Japan.
[03:06.572]"Peipi"Hellmesverger held a variety of posts in the
[03:09.900]musical life of Vienna:as
[03:11.700]solo violinist in the Court Opera Orchestra and with
[03:14.821]the Vienna Philharmonic,Court Kapellmeister,
[03:17.692]Mahler's successor as conductor of the Philharmonic's
[03:21.262]subscription concerts,and professor
[03:24.028]of violin at the Gesellschaft's Conservatory.During his
[03:27.348]period of military service he had also been the concert-master
[03:31.100]of the
[03:31.388]Hoch- und Deutschmeister regiment.His gossamer-light
[03:34.622]Elfenreigen(Elfin Dance)was written in 1903
[03:39.534]within the context of his work at the Court Opera.
[03:42.012]Johann Strauβ's polka schnell Expreβ was written in
[03:47.012]the wake of the
[03:47.988]Austro-Prussian War of 1866,a war lost with remarkble
[03:52.942]speed by the Austrian army,
[03:54.812]but no one listening to this piece would guess its
[03:57.308]bellicose background.In the aftermath of the war,
[04:00.348]the Strauβ brothers launched their Biennese season
[04:03.212]only in the late autumn.First performed in the People's Garden,
[04:07.125]the Expreβ polka strikes a demonstratively carefree note.
[04:11.300]In the late 1870s Strauβ,recently remarried,spent his
[04:17.870]summer vacations on the North Frisian
[04:20.900]island of Föhr,where the couple were treated as celevrities.
[04:24.661]Husum's mayor,for example,insisted
[04:27.564]on writing a poem in honour of Strauβ's new wife,Angelika.
[04:31.244]Their 1879 visit to the island found
[04:33.964]expression in the elaborate tone-painterly walyz
[04:37.140]Nordseebilder(Pictures of the North Sea)that was
[04:40.917]premiered by Eduard Strauβ in Vienna's Musikvereinssaal
[04:44.181]the following autumn.Curiosly enough,the title-page
[04:47.668]of the printed edition does not depict a low-lying
[04:50.300]beach lapped by the waves of the North Sea
[04:53.324]as suggested by the introduction and first waltz
[04:55.908]theme but a gloomy fjord of a kind that
[04:58.829]the widely travelled Strauβ never saw.The great
[05:02.781]Austro-Hungarian expedition to the North Pole -
[05:06.140]rather than the North Sea - had taken place only
[05:08.460]a few years earlier,resulting not least in the
[05:12.366]Arctic archipelago being named Franz Josef Land,
[05:15.868]a name that it retains to this day.
[05:18.606]Eduard Struaβ's polka schnell Mit Extrapost
[05:22.108](Post-Haste)dates from the final phase
[05:26.364]of the Strauβ Orchestra's existence and refers
[05:28.420]to what was then the fastest form of horse-drawn
[05:31.868]transport.But by the date of its first performance
[05:35.157]in 1887 this form of transport was already
[05:38.948]becoming an anachronism.For decades relatively
[05:42.780]lengthy sections of a journey could be covered
[05:45.068]more quickly and more comfortable by rail,a mode of
[05:48.660]transport that the Strauβ brothers used extensively,
[05:51.708]while in 1888 Bertha Benz
[05:54.861]ushered in the age of the automobile with her
[05:57.164]exhibition ride fom Mannheim to Pforzheim.
[06:00.916]By the time that Johann Struaβ's operetta Der
[06:03.532]Zigeunerbaron(The Gypsy Baron)was first
[06:06.132]performed at Vienna's Theater an der Wien in 1885,
[06:10.244]it could look back on a lengthy genesis,
[06:13.364]having begun life as a Hungarian comic opera before
[06:16.812]finally mutating into an operetta set in the
[06:19.796]region between the multiethnic border area of the
[06:23.084]Banat of Temeswar and Vienna.Both of these worlds
[06:27.076]can already be identified in the potpourri overture:
[06:30.365]on the one hand we have constrastive minor-key
[06:33.572]tonalities,syncopations and the sounds of the cimbalo,
[06:37.300]and on the other the waltz
[06:39.844]"Nach dem schönen Wien/Zieht mich Herz und Sinn"
[06:42.876](Heart and mind draw me to beautiful Bienna),
[06:45.806]which revels in string sonorities and major-key
[06:49.053]tonalities.The action unfolds against the
[06:52.172]historically inaccurate background of the War of
[06:54.772]the Austrian Succession and required an
[06:57.612]external enemy to restore unity to Austria-Hungary,
[07:01.206]which at the time of the work's first
[07:03.325]performance was already beginning to fracture in
[07:05.588]spite of the political settlemente,or Ausgleich,of 1867.
[07:10.868]Josef Strauβ's polka française Die Tänzerin
[07:15.260](The Ballerina)was written for the New World
[07:18.068]in 1867,although in this case the New World
[07:21.933]was not the Americas but a pleasure dome with
[07:24.109]music pavilions not far from Schönbrunn Palace
[07:28.532]in the up-market district of Hietzing.
[07:31.300]Although contemporary audiences enjoyed Die
[07:33.492]Tänzerin,the work failed to maintain a place
[07:37.068]for itself in the repertory and in 2019 it is
[07:39.869]being heard for the first time at
[07:41.581]one of the Vienna Philharmonic's New Year's Concerts.
[07:44.932]The whole of 1867 was overshadowed by Austria's
[07:47.916]defeat at the hands of the Prussians
[07:51.036]in the previous year's Seven Week's War.Many of
[07:53.900]Vienna's traditional balls had to be abandoned,
[07:56.949]but in spite of this,the Artists' Association
[07:59.389]Hesperus invited Johann Struaβ to write a
[08:02.756]particularly elegant and perhaps less boisterous
[08:05.940]waltz for its ball in the Diana Hall.
[08:08.444]Titled Künstlerleben(Artist's Life),it was premiered
[08:12.604]three days after the Blue Danube waltz.
[08:15.637]Strauβ took it with him to the World Fair in Paris in
[08:18.693]1867,an event that provided the militarily weekend
[08:22.324]Habsburg monarchy with a
[08:23.716]welcome opportunity to return to the international
[08:26.148]stage.Strauβ's first wife,Henriette,
[08:29.556]wrote home to report on the concerts in Paris:"
[08:33.030]People here are simply mad about this Viennese music."
[08:36.692]Viennese audiences,conversely,were so spoilt by
[08:40.644]this music that Strauβ's first operatta,
[08:43.172]Indigo und die vierzig Räuber(Indigo and the Forty Thieves),
[08:47.444]encountered a relatively
[08:49.196]lukewarm response when it was premiered in February 1871,
[08:53.037]a response due above all to its libretto.
[08:55.892]By contrast,his polka schnell Die Bajadare(The Bayadè),
[09:00.324]which comprises the coda to the ballet
[09:01.262]music and motifs from the second and third acts,was
[09:04.324]greeted with great enthusiasm when it was performed
[09:07.036]for the first time at a
[09:08.381]concert with the Strauβ Orchestra under Eduard Strauβ
[09:11.125]in the People's Park in Vienna.
[09:13.596]The concert also included a scene from Meyerbeer's
[09:16.542]grand opera Les Huguenots and overture from Wagner's opera Rienzi.
[09:20.644]The world premiere of Eduard Strauβ's polka françise
[09:25.125]Opern-Soirée(Opera Soirée)in
[09:26.813]December 1877 was reported by the Wiener Zeitung:"
[09:30.404]Johann Strauβ had scarcely laid
[09:33.780]aside his baton when Eduard Strauβ appeared on the
[09:36.932]platform in order to take it up
[09:38.868]himeself.This was the sign for the ball to begin,the
[09:42.180]second and most eagerly awaited
[09:44.645]part of the programme."This first ball by the Court
[09:48.364]Opera artists in the opera house
[09:50.412]on the Ring-the building is celebrating its 150th
[09:53.828]anniversary in 2019-was the
[09:54.812]forerunner  of today's Vienna Opera Ball.By imperial
[10:00.020]decree audiences were supposed
[10:02.093]to restrict themselves to listening to the music,but
[10:04.693]under Eduard Strauβ the space
[10:06.662]was abruptly cleared for dancing,with the Strauβ
[10:09.228]Orchestra replacing the Court Opera
[10:11.708]Orchestra.As a result the Vienna Philharmonic is
[10:14.892]performing the Opern-Soirée polka for
[10:17.036]the first time at its 2019 New Year's Concert.
[10:20.533]Conversely,it was the Vienna Philharmonic in its
[10:24.652]capacity as the Court Opera Orchestra
[10:26.788]that did the honours at the first performance of
[10:29.220]Johann Strauβ's Ritter Pásmán(Knight Pázmán)
[10:33.444]on 1 January 1892,when the composer himeself
[10:36.428]conducted the work.Viennese reactions to his
[10:40.740]only actual opera were among the greatest disappointments
[10:44.220]of his life.This time it was not
[10:46.516]just the banal plot to which audiences took exception -
[10:49.740]the action recolves around an
[10:51.900]extramarital kiss - but also the piece's failure to
[10:55.181]conform to expectations of what a "comic opera"should be.
[10:59.324]Among the scenes to which
[11:01.188]audiences responded more favourably was the waltz song sung
[11:04.548]by Eva - the wife of
[11:05.836]Knight Pázmán and the recipient of the harmless kiss - in Act
[11:09.412]Two.The version of the
[11:11.453]Eva Waltz that was played at a military concert only two days
[11:14.877]after the premiere of
[11:15.868]the opera itself at the Court Opera was prepared by the
[11:18.788]conductor Josef Schlar,who
[11:21.188]was Strauβ's assistant at the Court Opera but whose
[11:23.940]arrangement failed to meet with
[11:25.420]the composer's approval.
[11:28.252]If Ritter Pásmán was a flop.Strauβ's Csárdás remains
[11:31.485]one of the most popular of
[11:33.916]his compositions.This rhythmically accentuated dance
[11:37.126]derives its name from the
[11:39.076]Hungarian word for a country inn(csárda)but was widely
[11:42.540]found in the traditional
[11:43.884]music of the Roma in neighbouring countries as well.
[11:47.036]Its roots lie in the verbunkos
[11:49.317]of 18th-century taverns,where soldiers were conscripted
[11:52.492]into the Habsburg army.
[11:55.060]Whereas Hungarian elements are frequently found in
[11:59.013]Strauβ's music,his Egyptian
[12:00.356]March had little to do with Egypt,at least initially.
[12:03.916]Written at Pavlovsk near
[12:06.333]St Peterburg in the summer of 1869,it reflects the
[12:10.348]orientalism that was then in
[12:12.348]vogue.Within days of its first performance it was
[12:14.980]being repeated under the new
[12:16.622]name of the Circassian March but it soon reverted
[12:19.764]to its original title,a change
[12:21.732]presumably undertaken within the context of the
[12:23.821]sensational opening of the Suez Canal in November
[12:28.468]1869,an event that excited international attention.
[12:33.157]In addition to his many other appointments in Vienna,
[12:36.316]Josef Hellmesberger was also
[12:38.252]active as a composer and conductor of ballets.His
[12:42.029]librettist Leopold Krenn reports
[12:45.260]that "Hellmesberger wrote music with astonishing
[12:48.276]facility,Whenever the director of the
[12:50.756]Court Opera,Wilhelm Jahn,accepted a ballet and it
[12:53.980]turned out that an additional number
[12:57.068]was needed,Hellmesberger was able to provide entire
[13:00.166]divertissements within only a
[13:02.500]couple of days."His Entr'acte Waltz must have been
[13:06.604]used on several occasions,
[13:08.324]both as ballet music and in the concert hall.It is
[13:11.637]contained in a suite of ballet
[13:13.532]numbers published in 1905,where it appears under
[13:16.934]the title Tanz auf der Spitze(Dancing en Pointe).
[13:21.236]With Johann Strauβ's polka mazur Lob der Frauen
[13:24.764](In Praise of Women),the 2019 New Year's
[13:27.796]Concert returns to the 1867 Paris World Fair.For
[13:32.195]his guest performances Strauβ relied on
[13:35.133]the support of the Austrian ambassador,Prince
[13:37.652]Metternich,and his wife Pauline.He had also
[13:41.388]made contact with Benjamin Bilse,who had played
[13:44.028]in his father's orchestra in 1842 before
[13:47.412]running his own orchestra in Silesia and Berlin.
[13:50.893]It was from the Berlin-based
[13:52.614]Bilse'sche Kapelle that the Berlin Philharmonic
[13:55.612]emerged in 1882.In
[13:58.796]1867 Strauβ and Bilse shared the conducting of
[14:02.180]the latter's orchestra.Among the works
[14:04.460]Strauβ performed was Lob der Frauen,which had
[14:08.389]first been heard at the Vienna Carnival earlier that same year.
[14:11.405]If the official part of Christian Thielemann's
[14:14.116]programme for his first New Year's Concert
[14:16.516]ends with Josef Strauβ's waltz Sphärenklänge
[14:19.252](Music of the Spheres),then this makes logical
[14:21.884]sense since its introduction contals a number of
[14:25.268]reminiscences of Wagner.After all,Thieleman
[14:29.133]is only the second conductor in the history of the
[14:32.124]Bayreuth Festival  to have conducted all
[14:34.109]the canonical works there.With their distant echo of
[14:37.892]Act Three of Tannhäuser,the opening bars
[14:40.964]also recall the fact that the Strauβ
[14:43.244]Orchestra was performing excerpts from Wagner's operas
[14:46.645]and music dramas at its concerts
[14:48.900]long before these works had entered the Court Opera repertory.
[14:52.020]Josef Strauβ wrote his waltz
[14:54.660]for the Medics'Ball in 1868.This circumstance is referenced
[14:59.332]in the title inasmuch as Pythagoras,
[15:01.780]the Greek philosopher who advanced the geocentric theory of
[15:05.182]concentric celestial bodies sounding
[15:07.644]together in particular mathematical relationships,was aslo a
[15:11.733]physician in the widest sense  of the term.
[15:14.452]But according to a local newspaper,the Fremden-Blatt,the
[15:17.989]medically trained audience at the
[15:19.653]first performance of Josef Strauβ's Waltz heard nether
[15:22.623]Wagner nor the heavenly constellations
[15:25.300]in the opening chords but the afterlife.Yet this five-part
[15:29.892]series of waltzes soon livens up and
[15:32.764]gives us every reason to assume that the case
[15:34.693]is by no means hopeless.