Performance Friday, March 1, 2013 | 8 PM

Vienna Philharmonic Orchestra

Stern Auditorium / Perelman Stage
Dvořák intended his Seventh Symphony to be a truly moving statement; as he put it, the work “must be capable of stirring the world.” This tragically beautiful work marks the finale of a concert by the incomparable Vienna Philharmonic Orchestra and Franz Welser-Möst that also includes, as a lighthearted contrast, an operetta overture by Suppé and lieder by Richard Strauss with tenor Herbert Lippert.


  • Vienna Philharmonic Orchestra
    Franz Welser-Möst, Conductor
  • Herbert Lippert, Tenor


  • SUPPÉ Poet and Peasant Overture
  • R. STRAUSS "Ich liebe dich," Op. 37, No. 2
  • R. STRAUSS "Liebeshymnus," Op. 32, No. 3
  • R. STRAUSS "Verführung," Op. 33, No. 1
  • R. STRAUSS "Winterliebe," Op. 48, No. 5

  • Encore:
  • R. STRAUSS "Freundliche Vision," Op. 48, No. 1
  • DVORÁK Symphony No. 7

  • Encores:
  • DVORÁK Slavonic Dance in E Minor, Op. 72, No. 2
  • JOSEF STRAUSS "Galoppin": Polka- schnell, Op. 237


  • Vienna Philharmonic Orchestra

    There is perhaps no other musical ensemble more consistently and closely associated with the history and tradition of European classical music than the Vienna Philharmonic Orchestra. In the course of its 171-year history, the musicians of this most prominent orchestra of the capital city of music have been an integral part of a musical epoch that-thanks to an abundance of gifted composers and interpreters-must certainly be regarded as unique. Additionally, the Vienna Philharmonic's extensive touring schedule, prolific recordings, and global television broadcasts allow the orchestra's artistry to be experienced around the world.

    The orchestra's close association with this rich musical history is best illustrated by the statements of countless preeminent musical personalities of the past. Wagner described the orchestra as being one of the most outstanding in the world; Bruckner called it "the most superior musical association"; Brahms counted himself a "friend and admirer"; Gustav Mahler claimed to be joined together with the orchestra through "the bonds of musical art"; and Richard Strauss summarized these sentiments by saying, "All praise of the Vienna Philharmonic reveals itself as understatement."

    The Vienna State Opera Orchestra holds a special relationship with the private association known as the Vienna Philharmonic. In accordance with Philharmonic statutes, only a member of the Vienna State Opera Orchestra can become a member of the Vienna Philharmonic. The engagement in the Vienna State Opera Orchestra provides the musicians a financial stability that would be impossible to attain without relinquishing their autonomy to private or corporate sponsors. Over the course of more than one and a half centuries, this chosen path of democratic self-administration has experienced slight modifications, but has never been substantially altered. The foremost ruling body of the organization is the orchestra itself.

    The Vienna Philharmonic Orchestra's mission is to communicate the humanitarian message of music into the daily lives and consciousness of its listeners. For more than a decade, the orchestra has been giving benefit concerts in support of humanitarian causes around the world, and since 1999, makes an annual donation of 100,000 Euros from its New Year's concert to a variety of international charitable organizations. In 2005, the orchestra was named Goodwill Ambassador for the World Health Organization. As of November 2008, Rolex is the worldwide presenting sponsor of the Vienna Philharmonic. The musicians endeavor to implement the motto with which Ludwig van Beethoven, whose symphonic works served as a catalyst for the creation of the orchestra, prefaced his Missa solemnis: "From the heart, to the heart."

    Franz Welser-Möst

    One of today's most celebrated conductors, Franz Welser-Möst leads two of the world's great cultural institutions as music director of The Cleveland Orchestra and general music director of the Vienna State Opera.

    The 2012-2013 season marks his 11th year in Cleveland, and in 2008 his contract was extended until the orchestra's centennial year in 2018. With The Cleveland Orchestra, he has built close relationships with Carnegie Hall, Vienna's Musikverein, and the Lucerne Festival. Recent seasons have also included residencies at the Salzburg Festival and at Suntory Hall in Tokyo. Since 2007, Mr. Welser-Möst and the orchestra have held an annual residency in Miami, and in 2011, they began a biennial residency at the Lincoln Center Festival.

    Since 2010, Mr. Welser-Möst has served as general music director of the Vienna State Opera. His long partnership with the company has included an acclaimed new production of Wagner's Ring cycle with director Sven-Eric Bechtolf and critically praised new productions of Hindemith's Cardillac, Janáček's Katya Kabanová and From the House of the Dead, and Verdi's Don Carlo. In 2012-2013, he leads, among other performances, new productions of Ariadne auf Naxos and Tristan und Isolde, and a reprise of the Ring cycle.

    As a guest conductor, Mr. Welser-Möst enjoys an exceptionally close and productive relationship with the Vienna Philharmonic Orchestra. In 2013, he had the honor of leading the orchestra's celebrated New Year's Day Concert for the second time in three years, and the CD recording of his appearance in 2011 has reached double-platinum sales status. He has also performed with the orchestra at the Salzburg and Lucerne festivals, the BBC Proms, Suntory Hall, in the Sommernacht concert on the grounds of Schönbrunn Palace, and on a regular basis in the orchestra's subscription series at the Musikverein.

    Mr. Welser-Möst has guest-conducted all the leading orchestras in Europe and the US. He was music director of the London Philharmonic Orchestra from 1990 to 1996, and led the orchestra and ensemble of the Zurich Opera as general music director from 1995 to 2008.

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  • Herbert Lippert

    A native of Upper Austria, former Vienna Boys Choir member Herbert Lippert is one of the most sought-after tenors of our time. The first conductors to recognize his talent were Sir Georg Solti and Wolfgang Sawallisch, with whom he performed in various recordings of works such as Die Schöpfung, Don Giovanni, and Die Meistersinger von Nürnberg. In 1997, Mr. Lippert won a Grammy Award for his performance in the role of David in Die Meistersinger under the baton of Sir Georg Solti.

    Mr. Lippert has performed frequently on the operatic stage and in concert with the Vienna Philharmonic Orchestra, as well as in operettas with a specially formed group of musicians from the orchestra (Herbert Lippert and his Philharmonic Friends). He has also had tremendous success in song repertoire and has performed in recitals with Wolfgang Sawallisch and Maurizio Pollini.

    Highlights of Mr. Lippert's 2013-2014 season will include recordings and concerts with Nikolaus Harnoncourt, Fabio Luisi, and Franz Welser-Möst. Engaged as a soloist since 2010 by the Vienna State Opera, his 2013-2014 roles will include Florestan (Fidelio), Erik (Der fliegender Holländer), Eisenstein (Die Fledermaus), Drum Major (Wozzeck), Narraboth (Salome), Froh (Das Rheingold), and Matteo (Arabella) under the batons of Mr. Welser-Möst, Peter Schneider, and Christian Thielemann.

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Dvořák's Symphony No. 7 (Scherzo vivace)
Vienna Philharmonic Orchestra | Lorin Maazel, Conductor
Deutsche Grammophon

At a Glance

This concert presents the music of two composers firmly in the Austro-German tradition alongside that of a Czech nationalist who sought "respectability" by making his Seventh Symphony more Germanic. Franz von Suppé's Poet and Peasant Overture is one of the most popular curtain-openers in the repertory, a combination of sizzling energy and languorous sentiment that has invaded popular culture in cartoons, advertisements, and jazz riffs. Richard Strauss's lieder are not widely known (certainly not as celebrated as his tone poems and operas), partly because there are so many of them, more than 200 in all. The selections on this program are love songs that invite the listener into Strauss's unique world of sensuality and rapture. Antonín Dvořák's Seventh Symphony, regarded by many critics as his greatest, aspires to be a "tragic" Germanic work that transcends Bohemian nationalism. Though it does present a new seriousness and ambition, Dvořák's irrepressible Slavonic sensibility bursts forth repeatedly, especially in folkloric dance music and pastoral melodies.
Program Notes