First of all: I try to argue beyond good and evil, right or wrong.  The
only truth is that there is no truth.  So: I don't say that the Vienna
Philarmonics are bad musicians or whatever.  I just say I don't "like"
them.  There are different reasons for that and some of them have already
vanished or might disappear in the future.

* Their standpoint "towards(!)" women is unacceptable, ridiculous and a
real shame.  The head of them stated not so long ago that there might not
be female players who are good enough for them...but now due preassure from
the government (eventually!), American Womens Lib groups and others things
may finally change.  By the way: they could have been forced to accept
female members in their function as Orchestra of The Vienna State Opera
(for those who might not know that: every Philarmoniker is member of the
Opera Orchestra - but not the other way around.  As "Wiener Philarmoniker"
they are "in private" and may do as they please.  But government froze
fundings unlessthey will change their wiew on that old topic.

* Non musical reason: Ever been to a "Philarmonisches" (concert)? means
the abonnoment-concerts.  Jurassic Park (when it comes to age - but that is
by no means necessarily a problem for me - but when it comes to "points of
wiew".  They are so up-tight & conservative, the "old Vienna" is present.
Most of them would like to hear Beethovens 5th till they drop dead (again
- nothing against Beethoven) If theres Berg or Webern or even Zemlinsky
on the programe a lot of them (who paid a lot of money) do not even show
up...With these few examples I mean that I do not like flair, the "aura"
of them.  I mean - compare it to the "cool" guys & dolls from the period
orchestras.  They are much more open-minded.  But again: I think a change
is in progress.  Karajans dedicated followers will be sad but do I care....

* I like an ardent, passionate & scientific approach towards music.  The
VPO are still very conservative and I despise that.  But: fortunately
things are looking up: ie: They now work very well together with John
Eliot Gardiner (who is one of my favourites - and VERY popular in Vienna,
as well).  Furthermore I think their collaboration with Boulez truly
enchants me (Hear the Mahler 6 & 7!!!) I heard the recorded performance
of the 6th in the Musikverein and it was overwhelming - they took up a lot
from Boulez (as they did from Gardiner - the Mendelssohn sounded completely
different from the "Kapellmeister-sound" of Boehm or Karajan (the great
equalizer).

* As a musicologist and music lover Im very much interested in authentic
performance.  I know that ideals can never be reached but if that be reason
for quitting we might as well all kill ourselves.  But: Gardiner sounds
more like Mozart than Karajan (my favourite scapegoat) - of course you can
say: "I don't care what it might have sounded like!" - fine with me.  But
I definitely prefer Gardiner, Harnouncourt, Norrington, Hodwood, Christie
etc.  because they struggle for an authentic text (even if that means going
to Vienna (MusikVerein-Archiv) to look at some scores (as thes guys do).
They dont just take some old incorrect edition (Schubert!!  The poor
symphonies!) and play Vivaldi like it is Puccini.  This is due a changed
wiew of History and Art.  It is no longer viewed as a process that leads up
(in a way thought of as positive) e.g.  from Bach to Haydn but gives "each
his own".  From Baroque to the Classic eraits a step from one to another,
not from good to better, bad to worse or whatever.A "Naturhorn" is no
longer viewed as a bad instrument but as a DIFFERENT one.  We have
different kinds of music so I think it only appropriate to have different
kinds of sound, style, articualtion, instrumentation etc.  I mean that is
why composers write detailed scores.  (but noyt that detailed - thats what
we musicologists are good for...) So far the VPO had one sound for all
(mainly) which resulted in my opinion in a dull and boring and sweet Mozart
sound and a great Richard Strauss sound.  They should keep their sound
where its appropriate but pleeeaase: NB: Vivaldi is Vivaldi and Puccini
is Puccini.  (think of Karajans Quattro Stagnioni: counter-measure: Il
Giardino Armonico)

Id be very much interested in talking with other "authentic
performance-practice"-devotees.  So fel fre to send me an email.  To all
the Karajan-fans: Well all men are brothers (and sisters)...PS: being
style conscious does not necessarily mean the lack of personal style.  They
are just a little more modest and take the score more seriously.  Brahms
said (roughly translated): I am busy enough playing whats in the score
(talking about beethovens symphonies...  The time of the great dictators is
over and a lot of people respond to musicians in a diffesrent manner.  I
think the time of thrones and statues should be over....

James Zehm, musicologist from Uppsala
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