A151 FIRST SEMESTER SESSION 2015/2016

VSMF2031 ORCHESTRA III

GROUP B

INDIVIDUAL ASSIGNMENT

NAME

: GOH PEI PEI

MATRIC NO. : 232636

LECTURER

: MR. MOHD RIZAL BIN RAMLE

SUBMITTED DATE: 19 NOVEMBER 2015

Content
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Introduction
Section of Orchestra
Function of Instrument and Members
The String Family
Violin
Viola
Cello
Double Bass
Harp
The Woodwind Family
Flute
Piccolo
Oboe
English Horn
Clarinet
E-flat Clarinet
Bass Clarinet
Bassoon
Contrabassoon
The Brass Family
Trumpet
French Horn
Trombone
Tuba
The Percussion Family
Timpani
Xylophone
Cymbals
Triangle
Snare Drum
Bass Drum
Tambourine
Maracas
Gong
Chimes
Castanets
Celesta
Piano
Conductor
Concert Master
The Vienna Philharmonic
Conclusion

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Introduction
An orchestra (/rkstr/ or US /rkstr/;
Italian: [orkstra]) is a large instrumental
ensemble used in classical music that
contains sections of string (violin, viola,
cello and double bass), brass, woodwind,
and
percussion
instruments.
Other
instruments such as the piano and celesta
may sometimes be grouped into a fifth
section such as a keyboard section or may
stand alone, as may the concert harp and,
for 20th and 21st century compositions,
electric and electronic instruments. The term orchestra derives from the Greek , the
name for the area in front of an ancient Greek stage reserved for the Greek chorus. The orchestra
grew by accretion throughout the 18th and 19th centuries, but changed very little in composition
during the course of the 20th century.
Early history
The first orchestras were made up of small groups of musicians that gathered for festivals,
holidays, or funerals. It was not until the 11th century that families of instruments started to
appear with differences in tones and octaves. True modern orchestras started in the late 16th
century when composers started writing music for instrumental groups. In the 15th and 16th
centuries in Italy the households of nobles had musicians to provide music for dancing and the
court, however with the emergence of the theatre, particularly opera, in the early 17th century,
music was increasingly written for groups of players in combination, which is the origin of
orchestral playing. Opera originated in Italy, and Germany eagerly followed. Dresden, Munich
and Hamburg successively built opera houses. At the end of the 17th century opera flourished in
England under Henry Purcell, and in France under Lully, who with the collaboration of Molire
also greatly raised the status of the entertainments known as ballets, interspersed with
instrumental and vocal music.
In the 17th century and early 18th century, instrumental groups were taken from all of the
available talent. A composer such as Johann Sebastian Bach had control over almost all of the
musical resources of a town, whereas Handel would hire the best musicians available. This
placed a premium on being able to rewrite music for whichever singers or musicians were best
suited for a performance Handel produced different versions of the Messiah oratorio almost
every year.
As nobility began to build retreats away from towns, they began to hire musicians to form
permanent ensembles. Composers such as the young Joseph Haydn would then have a fixed
body of instrumentalists to work with. At the same time, traveling virtuoso performers such as
the young Wolfgang Amadeus Mozart would write concerti that showed off their skills, and they
would travel from town to town, arranging concerts along the way. The aristocratic orchestras
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worked together over long periods, making it possible for ensemble playing to improve with
practice.
Mannheim school
This change, from civic music making where the composer had some degree of time or control,
to smaller court music making and one-off performance, placed a premium on music that was
easy to learn, often with little or no rehearsal. The results were changes in musical style and
emphasis on new techniques. Mannheim had one of the most famous orchestras of that time,
where notated dynamics and phrasing, previously quite rare, became standard (see Mannheim
school). It also attended a change in musical style from the complex counterpoint of the baroque
period, to an emphasis on clear melody, homophonic textures, short phrases, and frequent
cadences: a style that would later be defined as classical.
Throughout the late 18th century composers would continue to have to assemble musicians for a
performance, often called an "Academy", which would, naturally, feature their own
compositions. In 1781, however, the Leipzig Gewandhaus Orchestra was organized from the
merchants concert society, and it began a trend towards the formation of civic orchestras that
would accelerate into the 19th century. In 1815, Boston's Handel and Haydn Society was
founded, in 1842 the New York Philharmonic and the Vienna Philharmonic were formed, and in
1858, the Hall Orchestra was formed in Manchester. There had long been standing bodies of
musicians around operas, but not for concert music: this situation changed in the early 19th
century as part of the increasing emphasis in the composition of symphonies and other purely
instrumental forms. This was encouraged by composer critics such as E. T. A. Hoffmann who
declared that instrumental music was the "purest form" of music. The creation of standing
orchestras also resulted in a professional framework where musicians could rehearse and perform
the same works repeatedly, leading to the concept of a repertoire in instrumental music.
Performance standards
In the 1830s, conductor Franois Antoine Habeneck, began rehearsing a selected group of
musicians in order to perform the symphonies of Beethoven, which had not been heard in their
entirety in Paris. He developed techniques of rehearsing the strings separately, notating specifics
of performance, and other techniques of cuing entrances that were spread across Europe. His
rival and friend Hector Berlioz would adopt many of these innovations in his touring of Europe.
Instrumental craftsmanship
The invention of the piston and rotary valve by Heinrich Stlzel and Friedrich Blhmel, both
Silesians, in 1815, was the first in a series of innovations, including the development of modern
key work for the flute by Theobald Boehm and the innovations of Adolphe Sax in the
woodwinds. These advances would lead Hector Berlioz to write a landmark book on
instrumentation, which was the first systematic treatise on the use of instrumental sound as an
expressive element of music.
The effect of the invention of valves for the brass was felt almost immediately: instrumentmakers throughout Europe strove together to foster the use of these newly refined instruments
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and continuing their perfection; and the orchestra was before long enriched by a new family of
valved instruments, variously known as tubas, or euphoniums and bombardons, having a
chromatic scale and a full sonorous tone of great beauty and immense volume, forming a
magnificent bass. This also made possible a more uniform playing of notes or intonation, which
would lead to a more and more "smooth" orchestral sound that would peak in the 1950s with
Eugene Ormandy and the Philadelphia Orchestra and the conducting of Herbert von Karajan
with the Berlin Philharmonic.
During this transition period, which gradually eased the performance of more demanding
"natural" brass writing, many composers (notably Wagner and Berlioz) still notated brass parts
for the older "natural" instruments. This practice made it possible for players still using natural
horns, for instance, to perform from the same parts as those now playing valve instruments.
However, over time, use of the valve instruments became standard, indeed universal, until the
revival of older instruments in the contemporary movement towards authentic performance
(sometimes known as "historically informed performance").
At the time of the invention of the valve brass, the pit orchestra of most operetta composers
seems to have been modest. An example is Sullivan's use of two flutes, one oboe, two clarinets,
one bassoon, two horns, two cornets (a piston), two trombones, drums and strings.
During this time of invention, winds and brass were expanded, and had an increasingly easy time
playing in tune with each other: particularly the ability for composers to score for large masses of
wind and brass that previously had been impractical. Works such as the Requiem of Hector
Berlioz would have been impossible to perform just a few decades earlier, with its demanding
writing for twenty woodwinds, as well as four gigantic brass ensembles each including around
four trumpets, four trombones, and two tubas.
Wagner's influence
The next major expansion of symphonic practice came from Richard Wagner's Bayreuth
orchestra, founded to accompany his musical dramas. Wagner's works for the stage were scored
with unprecedented scope and complexity: indeed, his score to Das Rheingold calls for six harps.
Thus, Wagner envisioned an ever-more-demanding role for the conductor of the theatre
orchestra, as he elaborated in his influential work On Conducting. This brought about a
revolution in orchestral composition, and set the style for orchestral performance for the next
eighty years. Wagner's theories re-examined the importance of tempo, dynamics, bowing of
string instruments and the role of principals in the orchestra. Conductors who studied his
methods would go on to be influential themselves.
20th century orchestra
As the early 20th century dawned, symphony orchestras were larger, better funded, and better
trained than ever before; consequently, composers could compose larger and more ambitious
works. The influence of Gustav Mahler was particularly innovation; in his later symphonies,
such as the mammoth Symphony No. 8, Mahler pushes the furthest boundaries of orchestral size,
employing huge forces. By the late Romantic era, orchestras could support the most enormous
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forms of symphonic expression, with huge string sections, massive brass sections and an
expanded range of percussion instruments. With the recording era beginning, the standards of
performance were pushed to a new level, because a recorded symphony could be listened to
closely and even minor errors in intonation or ensemble, which might not be noticeable in a live
performance, could be heard by critics. As recording technologies improved over the 20th and
21st centuries, eventually small errors in a recording could be "fixed" by audio editing or
overdubbing. Some older conductors and composers could remember a time when simply
"getting through" the music as best as possible was the standard. Combined with the wider
audience made possible by recording, this led to a renewed focus on particular star conductors
and on a high standard of orchestral execution. After sound was added to silent film, the lush
sound of a full orchestra became a key component of popular film scores.
Counter-revolution
In the 1920s and 1930s, economic as well as artistic considerations led to the formation of
smaller concert societies, particularly those dedicated to the performance of music of the avantgarde, including Igor Stravinsky and Arnold Schoenberg. This tendency to start festival
orchestras or dedicated groups would also be pursued in the creation of summer musical
festivals, and orchestras for the performance of smaller works. Among the most influential of
these was the Academy of St Martin in the Fields under the baton of Sir Neville Marriner.
With the advent of the early music movement, smaller orchestras where players worked on
execution of works in styles derived from the study of older treatises on playing became
common. These include the Orchestra of the Age of Enlightenment, the London Classical Players
under the direction of Sir Roger Norrington and the Academy of Ancient Music under
Christopher Hogwood, among others.
Recent trends in the United States
In the United States, the late 20th century saw a crisis of funding and support for orchestras. The
size and cost of a symphony orchestra, compared to the size of the base of supporters, became an
issue that struck at the core of the institution. Few orchestras could fill auditoriums, and the timehonoured season-subscription system became increasingly anachronistic, as more and more
listeners would buy tickets on an ad hoc basis for individual events. Orchestral endowments and
more centrally to the daily operation of American orchestrasorchestral donors have seen
investment portfolios shrink or produce lower yields, reducing the ability of donors to contribute;
further, there has been a trend toward donors finding other social causes more compelling. Also,
while government funding is less central to American than European orchestras, cuts in such
funding are still significant for American ensembles. Finally, the drastic falling-off of revenues
from recording, tied to no small extent to changes in the recording industry itself, began a period
of change that has yet to reach its conclusion.
U.S. orchestras that have gone into Chapter 11 bankruptcy include the Philadelphia Orchestra (in
April 2011), and the Louisville Orchestra, in December 2010; orchestras that have gone into
Chapter 7 bankruptcy and have ceased operations include the Northwest Chamber Orchestra in
2006, the Honolulu Orchestra in March 2011, the New Mexico Symphony Orchestra in April
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2011, and the Syracuse Symphony in June 2011. The Festival of Orchestras in Orlando, Florida
ceased operations at the end of March, 2011.
One source of financial difficulties that received notice and criticism was high salaries for music
directors of US orchestras, which led several high-profile conductors to take pay cuts in recent
years. Music administrators such as Michael Tilson Thomas and Esa-Pekka Salonen argued that
new music, new means of presenting it, and a renewed relationship with the community could
revitalize the symphony orchestra. The American critic Greg Sandow has argued in detail that
orchestras must revise their approach to music, performance, the concert experience, marketing,
public relations, community involvement, and presentation to bring them in line with the
expectations of 21st-century audiences immersed in popular culture.
It is not uncommon for contemporary composers to use unconventional instruments, including
various synthesizers, to achieve desired effects. Many, however, find more conventional
orchestral configuration to provide better possibilities for colour and depth. Composers like John
Adams often employ Romantic-size orchestras, as in Adams' opera Nixon in China; Philip Glass
and others may be freer, yet still identify size-boundaries. Glass in particular has recently turned
to conventional orchestras in works like the Concerto for Cello and Orchestra and the Violin
Concerto No. 2.
Along with a decrease in funding, some U.S. orchestras have reduced their overall personnel, as
well as the number of players appearing in performances. The reduced numbers in performance
are usually confined to the string section, since the numbers here have traditionally been flexible
(as multiple players typically play from the same part).
Type of Orchestra
There are few type of orchestra which is symphony orchestra, chamber orchestra and string
orchestra. A symphony orchestra consists of a group of 50 to 100 musicians. It contains string,
brass, woodwind and percussion instruments. The average size of a full orchestra is about 80
players. A modern orchestra may consist of nine woodwind instruments, 10 brass instruments, 12
percussion and 50 to 60 string instruments. It is not uncommon for a city to have more than one
orchestra--New York has a symphony and philharmonic, which have the same structure but
different names to tell them apart. Symphonies play various types of music from classical to film
scores and jazz. They are always led by a conductor. However, a chamber orchestra is a smaller
version of a symphony and has less than 50 musicians. The name means the orchestra is small
enough to fit in the chamber room of a private home or public hall. It uses one musician per
musical part, unlike the two to three musicians playing the same part in a symphony. An
exception is the amount of string instruments, which are generally the same in chamber and
symphony orchestras. The type of music played is identical to a symphony orchestra. They are
also led by a conductor. At last, the smallest orchestra is the string orchestra, which is comprised
solely of string instruments such as the violin, viola and cello. The size of a string orchestra
averages eight instruments, though it can reach 12 to 18 with the addition of more violins. The
repertoire of a string orchestra consists of special musical compositions written exclusively for

string instruments, mostly in the classical or baroque styles. A string orchestra does not require a
conductor because of its smaller size.
Orchestras are usually led by a conductor who directs the performance by way of visible
gestures. The conductor unifies the orchestra, sets the tempo and shapes the sound of the
ensemble.

Section of Orchestra
When we talk about musical instruments, we often talk about them as being part of a family.
That's because, just like in human families, the instruments in a particular family are related to
each other. They are often made of the same types of materials, usually look similar to one
another, and produce sound in comparable ways. Some are larger and some are smaller, just as
parents are bigger than children.

The String Family

When you look at a string instrument, the first thing you'll probably notice is that it's made of
wood, so why is it called a string instrument? The bodies of the string instruments, which are
hollow inside to allow sound to vibrate within them, are made of different kinds of wood, but the
part of the instrument that makes the sound is the strings, which are made of nylon, steel or
sometimes gut. The strings are played most often by drawing a bow across them. The handle of
the bow is made of wood and the strings of the bow are actually horsehair from horses' tails!
Sometimes the musicians will use their fingers to pluck the strings, and occasionally they will
turn the bow upside down and play the strings with the wooden handle.
The strings are the largest family of instruments in the orchestra and they come in four sizes: the
violin, which is the smallest, viola, cello, and the biggest, the double bass, sometimes called the
contrabass. (Bass is pronounced "base," as in "baseball.") The smaller instruments, the violin and
viola, make higher-pitched sounds, while the larger cello and double bass produce low rich
sounds. They are all similarly shaped, with curvy wooden bodies and wooden necks. The strings
stretch over the body and neck and attach to small decorative heads, where they are tuned with
small tuning pegs.

The Woodwind Family

The instruments in this family all used to be made of wood, which gives them their name. Today,
they are made of wood, metal, plastic or some combination. They are all basically narrow
cylinders or pipes, with holes, an opening at the bottom end and a mouthpiece at the top. You
play them by blowing air through the mouthpiece (that's the "wind" in "woodwind") and opening
or closing the holes with your fingers to change the pitch. Metal caps called keys cover the holes
of most woodwind instruments.
The mouthpieces for some woodwinds, including the clarinet, oboe and bassoon, use a thin piece
of wood called a reed, which vibrates when you blow across it. The clarinet uses a single reed
made of one piece of wood, while the oboe and bassoon use a double reed made of two pieces
joined together. Just as with the stringed instruments, the smaller woodwinds play higher pitches
while the longer and larger instruments play the lower notes. The woodwind family of
instruments includes, from the highest sounding instruments to the lowest, the piccolo, flute,
oboe, English horn, clarinet, E-flat clarinet, bass clarinet, bassoon and contrabassoon.
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The Brass Family

If you think the brass family got its name because the instruments are made of brass, you're
right! This family of instruments can play louder than any other in the orchestra and can also be
heard from far away. Although their early ancestors are known to have been made of wood,
tusks, animal horns or shells, today's modern instruments are made entirely of brass. Brass
instruments are essentially very long pipes that widen at their ends into a bell-like shape. The
pipes have been curved and twisted into different shapes to make them easier to hold and play.
Like the woodwind family, brass players use their breath to produce sound, but instead of
blowing into a reed, you vibrate your own lips by buzzing them against a metal cup-shaped
mouthpiece. The mouthpiece helps to amplify the buzzing of the lips, which creates the sound.
Most brass instruments have valves attached to their long pipes; the valves look like buttons.
When you press down on the valves, they open and close different parts of the pipe. You change
the pitch and sound by pressing different valves and buzzing your lips harder or softer. The brass
family members that are most commonly used in the orchestra include the trumpet, French horn,
trombone, and the tuba.

The Percussion Family

The percussion family is the largest in the orchestra. Percussion instruments include any
instrument that makes a sound when it is hit, shaken, or scraped. It's not easy to be a
percussionist because it takes a lot of practice to hit an instrument with the right amount of
strength, in the right place and at the right time. Some percussion instruments are tuned and can
sound different notes, like the xylophone, timpani or piano, and some are untuned with no
definite pitch, like the bass drum, cymbals or castanets. Percussion instruments keep the rhythm,
make special sounds and add excitement and color. Unlike most of the other players in the
orchestra, a percussionist will usually play many different instruments in one piece of music. The
most common percussion instruments in the orchestra include the timpani, xylophone, cymbals,
triangle, snare drum, bass drum, tambourine, maracas, gongs, chimes, celesta and piano.

Conductor
Conducting is the art of directing a musical performance, such as an orchestral or choral concert,
by way of visible gestures with the hands, arms, face and head. The primary duties of the
conductor are to unify performers, set the tempo, execute clear preparations and beats (meter),
and to listen critically and shape the sound of the ensemble.
The conductor typically stands on a raised podium and he or she may or may not use a baton. In
the 2010s, most conductors do not play an instrument when conducting, although in earlier
periods of classical music history, leading an ensemble while playing an instrument was
common. In Baroque music from the 1600s to the 1750s, conductors performing in the 2010s
may lead an ensemble while playing a harpsichord or the violin. Conducting while playing a
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piano may also be done with musical theatre pit orchestras. Communication is typically nonverbal during a performance (this is strictly the case in art music, but in jazz big bands or large
pop ensembles, there may be occasional spoken instructions). However, in rehearsals, frequent
interruptions allow the conductor to give verbal directions as to how the music should be played
or sung.
Conductors act as guides to the orchestras and/or choirs they conduct. They choose the works to
be performed and study their scores, to which they may make certain adjustments (e.g., regarding
tempo, repetitions of sections, and so on), work out their interpretation, and relay their vision to
the performers. They may also attend to organizational matters, such as scheduling rehearsals,
planning a concert season, hearing auditions, and promoting their ensemble in the media.
Orchestras, choirs, concert bands and other sizable musical ensembles such as big bands are
usually led by conductors.

Concert Master
The concertmaster (from the German Konzertmeister) is the second-most significant person in an
orchestra, symphonic band or other musical ensemble after the conductor or director. In the UK,
the term commonly used is "leader".
In an orchestra, the concertmaster is the leader of the first violin section. There is another violin
section, the second violins, led by the principal second violin. Any violin solo in an orchestral
work is played by the concertmaster (except in the case of a concerto, in which case a guest
soloist usually plays). It is usually required that the concertmaster be the most skilled musician in
the section, experienced at learning music quickly, counting rests accurately and leading the rest
of the string section by his or her playing and bow gestures.
The concertmaster sits to the conductor's left, closest to the audience, in what is called the "first
stand" or "first desk" (in the UK). He or she makes decisions regarding bowing and other
technical details of violin playing for the violins, and sometimes all of the string players. The
concertmaster leads the orchestra in tuning before concerts and rehearsals, and other technical
aspects of orchestra management. Leading the orchestral tuning is not just a mere formality; if
the concertmaster believes that a section is not adequately tuned, he or she will signal to the oboe
player to play another "A". Several larger orchestras have one or more assistant concertmasters,
who lead the orchestra in the concertmaster's absence.
The concertmaster, along with the conductor and section principals, will normally participate in
the auditions of important musicians (e.g., principal players) in the orchestra.
However, the concertmaster in a standard concert band is the principal clarinet, oboe, flute or
saxophone and leads the ensemble's tuning. The first-chair clarinet concertmaster will, in
common practice, play all solos for their instrument. Often the lead flautist will receive similar
responsibilities to the clarinet concertmaster, depending on several factors such as age, skill and
time spent in the ensemble. The concertmaster will, in both orchestral and wind band settings,
also coordinate with other principals and section leaders, in most cases being their senior in
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terms of group pecking order. In brass bands, the role of concertmaster is often filled by the
principal solo cornet or trumpet.
The concertmaster has the duty of tuning the orchestra or band at rehearsals and performances.
Sometimes, especially in performances given in America and/or featuring American or British
orchestras, the concertmaster walks onstage individually after the rest of the orchestra is seated,
takes a bow, and receives applause before the conductor appears. In continental European
orchestras, this practice is uncommon. There, the concertmaster usually walks onstage with the
rest of the orchestra. He or she is also the person in the orchestra or ensemble that shakes hands
with the conductor at the beginning or end of a concert.

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Function of Instrument and Members

The String Family
The Violin
The violin is the baby of the string family, and like babies, makes the
highest sounds. There are more violins in the orchestra than any other
instrument (there can be up to 30!) and they are divided into two
groups: first and second. First violins often play the melody, while
second violins alternate between melody and harmony. A typicalsized violin is around 24 inches (two feet) long, with a slightly longer
bow. You play the violin by resting it between your chin and left
shoulder. Your left hand holds the neck of the violin and presses down
on the strings to change the pitch, while your right hand moves the
bow or plucks the strings.

The Viola
The viola is the older sister or brother of the violin. It is slightly larger,
just over two feet long, and has thicker strings, which produce a richer,
warmer sound than the violin. There are usually 10 to 14 violas in an
orchestra and they almost always play the harmony. You play the viola
the same way as you do the violin, by resting it between your chin and
shoulder. Your left hand holds the neck of the viola and presses down
on the strings to change the pitch, while your right hand moves the
bow or plucks the strings.
The Cello
The cello looks like the violin and viola but is much larger (around 4
feet long), and has thicker strings than either the violin or viola. Of all
the string instruments, the cello sounds most like a human voice, and
it can make a wide variety of tones, from warm low pitches to bright
higher notes. There are usually 8 to 12 cellos in an orchestra and they
play both harmony and melody. Since the cello is too large to put
under your chin, you play it sitting down with the body of the cello
between your knees, and the neck on your left shoulder. The body of
the cello rests on the ground and is supported by a metal peg. You
play the cello in a similar manner to the violin and viola, using your
left hand to press down on the strings, and your right hand to move
the bow or pluck the strings.
The Double Bass
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This is the grandfather of the string family. At over 6 feet long, the
double bass is the biggest member of the string family, with the
longest strings, which allow it to play very low notes. The 6 to 8
double basses of the orchestra are almost always playing the
harmony. They are so big that you have to stand up or sit on a very
tall stool to play them, and it helps if you have long arms and big
hands. Like the cello, the body of the double bass stands on the
ground, supported by a metal peg, and the neck rests on your left
shoulder. You produce sound just like on a cello, using the left hand
to change pitch and the right to move the bow or pluck the string.

The Harp
The harp is different from the other stringed instruments. It's tall,
about six feet, shaped a little like the number 7, and has 47 strings of
varying lengths, which are tuned to the notes of the white keys of the
piano. There are usually one or two harps in an orchestra and they
play both melody and harmony. You play the harp sitting down with
your legs on either side, with the neck of the harp leaning on your
right shoulder. Each string sounds a different note (they come in
different colors to help you tell one from another) and you play them
by plucking the strings with your fingertips and thumb. Attached to
the bottom of the harp are seven foot pedals, which change the pitch
of each string and allow them to sound the pitches of the black keys
on the piano.

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The Woodwind Family

The Flute
The flute is the oldest of all instruments that produce
pitched sounds (not just rhythms), and was originally
made from wood, stone, clay or hollow reeds like
bamboo. Modern flutes are made of silver, gold or
platinum; there are generally 2 to 4 flutes in an
orchestra. A standard flute is a little over 2 feet long and
is often featured playing the melody. You play the flute
by holding it sideways with both hands and blowing across a hole in the mouthpiece, much like
blowing across the top of a bottle. Your fingers open and close the keys, which changes the pitch.

The Piccolo
A shorter version of the flute is called the piccolo, which means small in Italian. At half the size
of a standard flute, piccolos play the highest notes of all the woodwinds; in the orchestra one of
the flute players will also play piccolo if that instrument is required. The high piping sound of the
piccolo is also heard in traditional drum corps and marching band music.
The Oboe
The oboe is a 2 foot long black cylinder with metal keys covering its
holes, and its mouthpiece uses a double reed, which vibrates when you
blow through it. This vibration of the reed makes the air inside the
oboe move, and thus creates sound. To play it, hold the oboe upright,
blow through the double reed in your mouth, and use both hands to
press down on the keys to open and close the holes and change the
pitch. There are usually 2 to 4 oboes in an orchestra and they produce
a wide range of pitches, from haunting sounds to warm, velvety
smooth notes, which make the sound of the oboe very memorable. In
addition to playing in the orchestra, the first oboist is also responsible
for tuning the orchestra before each concert. Listen for the special note
"A" that the oboe plays before the music begins.
The English Horn
Despite its name, it isn't English and it isn't a horn. The English horn is actually closely related to
the oboe, also uses a double reed, and is played in the same manner. It's longer than an oboe and
its tube is a bit wider. At the bottom end of the English horn it opens out into a rounded bell
shape, which gives it a warmer, fuller sound. Because it's larger, the English horn also has a
lower pitch range than an oboe. An oboe player will also play English horn if it is needed.
The Clarinet
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The clarinet could easily be mistaken for an oboe, except for the
mouthpiece, which uses a single reed. Clarinets come in a
number of different sizes, and the standard B-flat clarinet is just
over 2 feet long. Some musical works require the clarinetist to
play several types of clarinet in the same piece. The 2 to 4
clarinets in the orchestra play both melodies and harmonies, and
they have a dark rich sound in their lower notes, while the upper
part of the clarinet's range is bright and resonant. You play the
clarinet as you do an oboe, by holding it upright, blowing
through the reed, and using your hands to change the pitches by
opening and closing the keys with your fingers.
The E-flat Clarinet
The smaller E-flat clarinet is just like a standard clarinet, but
about half the length. Its shorter size allows it to play higher
notes.
The Bass Clarinet
This is the grandfather of the clarinet family. The bass clarinet is so large that its top and bottom
are bent to make it easier for musicians to hold and play. Its greater length allows it to play some
of the lowest notes in the orchestra.
The Bassoon
The bassoon is a long pipe, doubled in half, made of wood, with
many keys. The bend in the pipe makes it possible for musicians
to play it comfortably. If it were straight, the bassoon would be
around 9 feet long! Like the oboe, the bassoon uses a double reed,
which is fitted into a curved metal mouthpiece. There are 2 to 4
bassoons in an orchestra and they have a similar range to that of
the cello. Bassoons usually play lower harmonies, but you will
sometimes hear their hollow low notes featured in a melody. You
play the bassoon by holding it upright and blowing through the
double reed. The air travels down the tube and then makes a uturn and goes up and out the top. Just like the oboe, you use both
hands to press on the keys to open and close the holes and change
the pitch.
The Contrabassoon
Imagine a longer bassoon with a wider pipe. The contrabassoon is the grandfather of the wind
section and is so much larger than a regular bassoon that its tube is doubled over twice to allow
the player to hold it. It takes a lot of breath to make sound come out of such a long pipe! The
lone contrabassoon plays the lowest notes in the entire orchestra.
15

The Brass Family

The Trumpet
The ancestors of the modern trumpet have been a part of human
culture for a very long time. Old trumpet-like instruments played by
ancient peoples were made of conch-shell, animal horn, wood or
metal. Throughout history the trumpet has been used to sound alarms,
gather people together, as a call to war, and to add luster to parade
music. Like the violin, the trumpet is the smallest member of its
family and plays the highest pitches with its bright and vibrant sound.
Today's modern trumpet is a slender brass pipe with three attached
valves, which is curved and bent into long loops. If you stretched out
the trumpet to its full length, it would be 6 feet long! There are 2 to
4 trumpets in an orchestra and they play both melody and harmony and also support the rhythm.
You play the trumpet by holding it horizontally, buzzing your lips into the mouthpiece, and
pressing down the three valves in various combinations to change pitch.
The French Horn
Unlike the English horn, which is neither English nor a horn, the
French horn does originally come from France and is unquestionably
a horn. It comes from the French hunting horn of the 1600s, and
produces a wide variety of sound ranging from very loud to very soft,
and from harsh and blaring to mellow and smooth. The French horn's
18 feet of tubing is rolled up into a circular shape, with a large bell at
its end. There are anywhere from 2 to 8 French horns in an orchestra,
and they play both melody and harmony as well as rhythm. To play
the French horn, hold it with the bell curving downward and buzz
into the mouthpiece. Your left hand plays the three valves and you
can change the type of sound you make by the way you place your
right hand in the bell.
The Trombone

16

The trombone is the only instrument in the brass family that uses a
slide instead of valves to change pitch. A standard trombone is made
of long thin brass pipes. Two U-shaped pipes are linked at opposite
ends to form an "S." One pipe slides into the other so the total length
of the pipe can be extended or shortened. You play the trombone by
holding it horizontally, buzzing into the mouthpiece, and using your
right hand to change pitch by pushing or pulling the slide to one of
seven different positions. If you stretch the trombone out straight, it is
about 9 feet long. There are usually 3 trombones in the orchestra and
they play pitches in the same range as the cello and bassoon. The
three trombones often play harmonies together.
The Tuba
This is the grandfather of the brass family. The tuba is the largest and lowest brass
instrument and anchors the harmony not only of the brass family but the whole
orchestra with its deep rich sound. Like the other brasses, the tuba is a long metal
tube, curved into an oblong shape, with a huge bell at the end. Tubas range in size
from 9 to 18 feet; the longer they are, the lower they sound. Standard tubas have
about 16 feet of tubing. There is generally only one tuba in an orchestra and it
usually plays harmony. You play the tuba sitting down with the instrument on your
lap and the bell facing up. You blow and buzz into a very large mouthpiece and use
your hand to press down on the valves which changes the sound. It takes a lot of
breath to make sound with the tuba!

17

The Percussion Family

Timpani
Timpani look like big polished bowls or upsidedown teakettles, which is why they're also called
kettledrums. They are big copper pots with
drumheads made of calfskin or plastic stretched
over their tops. Timpani are tuned instruments,
which means they can play different notes. The
timpanist changes the pitch by stretching or
loosening the drumheads, which are attached to a
foot pedal. Timpani are a central part of the percussion family because they support rhythm,
melody and harmony. Most orchestras have four timpani of different sizes and tuned to different
pitches and they are usually played by one musician, who hits the drumheads with felt-tipped
mallets or wooden sticks. The timpani player must have a very good ear because he/she usually
needs to change the pitches of the drums during performances.
Xylophone
The xylophone originally came from Africa and Asia,
but has a Greek name that means "wood sound." The
modern xylophone has wooden bars or keys arranged
like the keys of the piano, which the player hits with a
mallet. You can change the quality of the pitch by
using different kinds of mallets (hard or soft), and by
hitting the wooden bars in different ways. Attached to
the bottom of the wooden bars are metal tubes called
resonators, where the sound vibrates. This gives the xylophone its bright bell-like sound.
There are several other instruments similar to the xylophone, which are also part of the
percussion family. They include the marimba, a larger version of a xylophone with wood or
plastic resonators attached to the bottom of the wooden keys, which give it a mellower, more
rounded sound, and the vibraphone (known as vibes), which has both metal bars and metal
resonators, with small rotating disks inside. The disks are attached to a rod, which is turned by an
electric motor. When you play a sustained note on the vibes and the motor is running, the disks
create vibrato, or a wiggly pitch. In addition, percussionists often play a glockenspiel
(pronounced GLOCK-en-shpeel), which is a miniature xylophone with metal bars instead of
wood. The percussionist uses hard mallets to play the glockenspiel, which sounds like clear
tinkling bells.

18

Cymbals
Cymbals are the biggest noisemakers of the orchestra. They
are two large metal discs, usually made of spun bronze.
Cymbals, which are untuned, come in a range of sizes, from
quite small to very large. The larger the cymbal, the lower the
sound they make. Cymbals can be used for drama and
excitement, to accent the rhythm or create delicate sound
effects. You can play the cymbals either by hitting one cymbal
against the other, or you can use sticks, mallets or brushes to
hit one or both cymbals.

Triangle
You've probably played a triangle yourself at one time or another.
It's a small metal bar that's bent into the shape of a triangle and
makes a ringing sound when you hit it. There are many sizes of
triangles and each one sounds a different pitch. You play the triangle
by holding it on a string and striking it with a metal beater. The size
and thickness of the beater can change the sound the triangle makes.
Snare Drum
The snare drum is a smallish drum made of wood or brass with
drumheads made of calfskin or plastic stretched over both ends of
a hollow cylinder. It has a set of wire-wrapped strings stretched
across the bottom head (the snare), which give the snare drum its
unique "rattling" sound when the drum is hit. A small switch on
the side of the drum allows the player to turn the snare on or off
depending on the requirements of the piece. The snare drum is an
untuned drum, so it doesn't sound distinct pitches. It is often used
in military music and is a central part of any marching band. Snare
drums are used to keep the rhythm and make special sounds, such
as drumrolls. You play the snare drum by hitting the top with
drumsticks, mallets or brushes.
Bass Drum

19

The bass drum, like the double bass, is the biggest member of the
percussion family and therefore makes the lowest sounds. The
bass drum is built like a very large snare drum, although without
the snare; it is also an untuned instrument. You play the bass drum
by hitting either drumhead with sticks that have large soft heads,
often covered with sheepskin or felt. It can produce a lot of
different sounds from roaring thunder to the softest whispers.

Tambourine
Have you played one of these? A tambourine is a small drum with
metal jingles set into the edges. Both the drumhead and the jingles are
untuned. To play it, you hold it in one hand and tap, shake or hit it,
usually against your other hand.

Maracas
Maracas come from Mexico. They are rattles, often made from gourds (a
kind of squash), filled with dried seeds, beads or even tiny ball bearings
that make them rattle. Maracas can also be made of wood or plastic; the
sound they make depends on what they're made of. To play them, you hold
them in your hands and shake.
Gong
The gong, also known as the tamtam, is a very large metal plate that hangs
suspended from a metal pipe. It looks similar to a cymbal and is also
untuned, but is much larger and has a raised center. To play it, you hit the
center with a soft mallet. Depending on how hard you hit it, you can make
a deafening crash or the softest flicker of sound.
Chimes
Chimes are metal tubes of different lengths
that are hung from a metal frame. When you
strike the tubes with a mallet, they sound like
the ringing bells of a church. Each chime
sounds a different pitch.

Castanets

20

These fun wooden instruments come

from Spain and are used to punctuate the
music with a distinctive clickety-clack.
Castanets are made of two pieces of
wood tied together. To play them, you
hold them with your fingers and click
the two pieces of wood together. In the
orchestra, castanets are sometimes
mounted on a piece of wood, and the
percussionist plays them by hitting them
with his/her hands.
Celesta
The celesta looks like a tiny upright
piano and sounds a lot like the
glockenspiel with its delicate bell-like
tone. Celestas usually have a keyboard of
49-65 keys. As with the piano, you make
sound on the celesta by pressing down on
a key with your finger, which lifts a
hammer inside and strikes a metal bar.
You can play many notes at once using
both your hands.

The Piano

21

People disagree about whether the piano is a percussion or a string instrument. You play it by
hitting its 88 black and white keys with your fingers, which suggests it belongs in the percussion
family. However, the keys lift hammers inside the piano that strike strings (indeed, the piano has
more strings than any other string instrument), which produce its distinctive sound. Which family
do you think it belongs to? Wherever it fits in, there's no disputing the fact that the piano has the
largest range of any instrument in the orchestra. It is a tuned instrument, and you can play many
notes at once using both your hands. Within the orchestra the piano usually supports the
harmony, but it has another role as a solo instrument (an instrument that plays by itself), playing
both melody and harmony.

Conductor
The roles of a conductor vary
a great deal between different
conducting positions and
different ensembles. In some
cases, a conductor will also be
the musical director of the
symphony,
choosing
the
program for the entire season,
including concerts by guest
conductors, concerto soloists,
pop concerts, and so on. A
senior conductor may attend
some or all of the auditions for
new members of the orchestra,
to ensure that the candidates have the playing style and tone that the conductor prefers. Some
choral conductors are hired to prepare a choir for several weeks which will subsequently be
directed by another conductor. The choral conductor is usually acknowledged for their
preparatory work in the concert program.
Some conductors may have a significant public relations role, giving interviews to the local news
channel and appearing on television talk shows to promote the upcoming season or particular
concerts. On the other hand, a conductor hired to guest conduct a single concert may only have
the responsibility of rehearsing the orchestra for several pieces and conducting one or two
concerts. While a handful of conductors become well-known celebrities, most are only known
within the Classical music scene.

Concert Master

22

There are few of responsibilities of concert faster.

First, making a grand solo entrance. He/she will
sometimes bow or greet the audience.
Second, leading the orchestra in tuning. The
concertmaster gives the signal to the oboist to play
the tuning pitch for the winds and brass, then
provides the tuning pitch for the strings.
Third, acting as an intermediary between the
conductor and violinists/all strings. In many
professional orchestras, the conductor can't be bothered to respond to individual queries from the
100+ orchestra members. Thus, the concertmaster will communicate back and forth between the
violinists (or possibly all strings) and the conductor to reach an understanding about the music
and its interpretation. The conductor is the mastermind; the concertmaster must help the
orchestra carry out his/her vision, even down to technical aspects of playing. And when guest
conductors come, the concertmaster must adapt to their preferences, too - preferably even before
the first rehearsal!
Fourth, settling matters of bowing and phrasing for the strings. String sections look much more
interesting when bowings are coordinated between sections. The concertmaster will work with
the principals of other sections to make sure phrasings and bowings match between sections that
have similar parts.
Fifth, may lead the orchestra in ensembles without conductors. In some smaller orchestras, there
is no conductor. In situations like these, the concertmaster will often set tempi and guide
interpretation.
Sixth, in ensembles with conductors, leading the violins. Naturally, leading involves playing with
confidence, but also listening closely to see what others are doing, and observing other sections
and the conductor closely to make sure there's cohesion within the orchestra.
Seventh, playing orchestral violin solos. When a piece calls for a brief solo within the 1st violin
section of the orchestra, it will be played by the concertmaster, just as orchestral viola solos are
played by the principal violist, etc.
At last, representing the orchestra at important functions like fundraisers.
Being a concertmaster requires much more than excellent technique and the ability to learn
music quickly. An effective concertmaster must communicate and get along well with other
orchestra members, act as a liaison between the conductor and the orchestra, and understand
orchestra members' individual styles.

23

The Vienna Philharmonic

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. In the
course of its 170 year history, the musicians of this most
prominent orchestra of the capital city of music have been an
integral part of a musical epoch which due to an abundance of
uniquely gifted composers and interpreters must certainly be
regarded as unique. The orchestra's close association with this
rich musical history is best illustrated by the statements of
countless pre-eminent musical personalities of the past.
Richard Wagner described the orchestra as being one of the most outstanding in the world; Anton
Bruckner called it "the most superior musical association"; Johannes Brahms counted himself as
a "friend and admirer"; Gustav Mahler claimed to be joined together through "the bonds of
musical art"; and Richard Strauss summarized these sentiments by saying: "All praise of the
Vienna Philharmonic reveals itself as understatement."
A Symbiotic Relationship: Vienna State Opera / Vienna Philharmonic
When Hans Knappertsbusch said that the Philharmonic was
"incomparable," his comment was correct in more ways than
one. One notable aspect of this incomparability is certainly
the unique relationship between the Vienna State Opera
Orchestra and 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. Before joining the
Philharmonic therefore, one must first successfully audition
for a position with the State Opera Orchestra and prove oneself capable over a period of three
years before becoming eligible to submit an application for membership in the association of the
Vienna Philharmonic.
The independence which the Philharmonic musicians enjoy through the opera is returned in kind
due to a higher level of artistic performance gained through the orchestra's experience on the
concert podium. Without the Vienna State Opera there would be no Vienna Philharmonic as we
know it, and in Vienna it is common knowledge that this symbiosis is advantageous for both
institutions, and that it greatly enriches the city's musical life.
Democratic Self-Administration

24

Over the course of 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 full orchestra
membership itself. In addition to the yearly general business
meeting (required by law), several additional meetings of the
full orchestra take place during the year. At these meetings,
any and every issue may be brought up and voted upon. In
actual practice, numerous decisions are delegated to the
twelve elected members of the administrative committee.
These members find out at periodically scheduled elections if their decision-making still inspires
the trust of the entire orchestra. With the exception of changes to the statutes, which require a 4/5
majority, all decisions are made based on a simple majority, and the execution of those votes is
the responsibility of the administrative committee. While the expansion into a mid-sized business
enterprise has required the hiring of some extra administrative personnel, it is nevertheless the
elected officials, members of the orchestra alone who make decisions and carry ultimate
responsibility.
Artistic and Entrepreneurial Autonomy
Since its inception through Otto Nicolai in 1842, the
fascination which the orchestra has exercised upon prominent
composers and conductors, as well as on audiences all over the
world, is based not only on a homogenous musical style which
is carefully bequeathed from one generation to the next, but
also on its unique structure and history. The desire to provide
artistically worthy performances of the symphonic works of
Mozart and Beethoven in their own city led to the decision on
the part of the court opera musicians to present a "Philharmonic" concert series independent of
their work at the opera, and upon their own responsibility and risk. The organizational form
chosen for this new enterprise was democracy, a concept which in the political arena was the
subject of bloody battles only six years later.
The Message of Music
The Vienna Philharmonic has made it its mission to
communicate the humanitarian message of music into the
daily lives and consciousness of its listeners. In 2012, the
Vienna Philharmonic became the first Goodwill Ambassador
for the International Institute for Applied Systems Analysis
(IIASA). The musicians endeavour to implement the motto
with which Ludwig von Beethoven, whose symphonic works
served as a catalyst for the creation of the orchestra, prefaced
his "Missa Solemnis" - "From the heart, to the heart".

25

The History of the Vienna Philharmonic - Dr. Clemens Hellsberg

Early History
Until the first Philharmonic concert on March 28, 1842, the
city which gave its name to the Viennese classics - Joseph
Haydn, Wolfgang Amadeus Mozart and Ludwig van
Beethoven - had no professional concert orchestra. Concerts
of symphonic works were played by ensembles specially
assembled for the occasion. Orchestras composed entirely of
professional musicians were found only in the theaters.

Mozart, Beethoven, Lachner

The logical step of playing a concert with one of these orchestras was taken at the end of the 18th
century, when Wolfgang Amadeus Mozart engaged the orchestra of the Vienna Court Theater for
a cycle of six concerts in 1785. Ludwig van Beethoven also engaged this ensemble on April 2,
1800 for a concert in which he premiered his first symphony. On May 24, 1824 the orchestra of
the Gesellschaft der Musikfreunde (Society of the Friends of Music) and the court orchestra
joined forces with the court opera orchestra for the premiere of Beethoven's Ninth Symphony.
Despite these promising beginnings, however, the largest and finest ensemble in Vienna only
managed to become an organizer of classical symphonic concerts in a very roundabout way. The
Bavarian composer and conductor Franz Lachner, conductor at the court opera theater from
1830, played symphonies by Beethoven in the intervals of ballet performances. From these
experiments to the court opera orchestra's first entrepreneurial activities was only a small step,
and in 1833 Lachner founded the Knstler-Verein for this purpose. However, the society
disbanded after only four concerts due to organizational shortcomings.
The Founding: Otto Nicolai
Otto Nicolai (1810-1849) was appointed conductor at the
Krntertortheater in 1841. Encouraged by influential figures
of Vienna's musical life, he revived Lachner's idea and on
March 28, 1842 conducted a "Grand Concert" in the Groer
Redoutensaal which was presented by "all the orchestra
members of the imperial "Hof-Operntheater". This
"Philharmonic Academy", as it was originally called, is
rightly regarded as the origin of the orchestra, because all the
principles of the "Philharmonic Idea", which still apply today,
were put into practice for the first time:
Only a musician who plays in the Vienna State Opera
Orchestra (originally Court Opera Orchestra) can
become a member of the Vienna Philharmonic
26

 The orchestra is artistically, organizationally and financially autonomous, and all

decisions are reached on a democratic basis during the general meeting of all members.
The day-to-day management is the responsibility of a democratically elected body, the
administrative committee.
Thus, even before the political events of 1848, a revolutionary policy was adopted - democratic
self-determination and entrepreneurial initiative undertaken by an orchestra as a partnership which laid the foundations for technically and musically superior performances of classical
symphonic works. Of course, this was only the beginning. The association of musicians would
suffer serious setbacks and learn painful lessons before it finally achieved true stability.
The 'Golden Era' of Hans Richter
There has been no other conductor in the history of the Vienna
Philharmonic who left such a long-lasting impression on the
orchestra as Hans Richter (1843 - 1916), the legendary
conductor of the premiere of Wagner's tetralogy "The Ring of
the Nibelungen" in Bayreuth. This is not only an appraisal in
hindsight, but was also the predominant opinion of the
musicians of that time. Richter conducted at least 243 concerts and presided over the
organization with a one-year interruption from 1875 - 1898.
The artistic partnership between Richter and the Philharmonic was characterized by the fervor of
individuals of flesh and blood. The era of Hans Richter, which is referred to as the 'Golden Era'
was not a time of static complacency, but rather the constant give-and-take between a headstrong
group of musicians and an outstanding conductor, who was in fact a member of the ensemble as
the first among equals.
Under Hans Richter the ensemble attained the status of a world class orchestra with an
incomparable tradition. Also contributing to this aura were encounters with Wagner, Verdi,
Bruckner, Brahms, Liszt and others who performed with the orchestra as conductors and soloists.
During the 'Golden Era' of Hans Richter Brahms' 2nd and 3rd Symphonies, Anton Bruckner's 4th
and 8th Symphonies as well as the Tchaikovsky Violin Concerto were premiered.
The Early 20th Century
The Vienna Philharmonic performed abroad for the first time at
the World Exhibition in Paris in 1900 with Gustav Mahler
(1860-1911) conducting. The orchestra, officially recognized by
the Austrian government as an association in 1908, did not start
touring with any regularity until 1922 under Felix von
Weingartner, who led the orchestra as far afield as South
America.
The Philharmonic's close relationship to Richard Strauss, of course, is of great historical
importance, and represents one of the many high points in the rich history of the orchestra.
27

Further musical highlights were artistic collaborations with Arturo Toscanini from 1933 to 1937,
and Wilhelm Furtwngler (1886-1954) who, despite the departure from the one subscription
concert conductor system, was in actuality the main conductor of the orchestra from 1933 to
1945, and again from 1947 to 1954.
The Vienna Philharmonic under National Socialism (1938 1945)
In 1938, politics encroached upon the Vienna Philharmonic in
the most brutal manner. The National Socialists dismissed all
Jewish artists from the Vienna State Opera and disbanded the
Association of the Vienna Philharmonic. It was only the
intervention of Wilhelm Furtwngler and other individuals
which achieved the nullification of the disbandment order and, with two exceptions, saved the
"half-Jews" and "closely-related" from dismissal from the Vienna State Opera Orchestra.
However, five members of the orchestra perished in concentration camps, despite the
intervention of the new Nazi chairman of the orchestra, who attempted to rescue them from
deportation. Another two members died in Vienna as a direct result of attempted deportation and
persecution.
A total of nine orchestra members were driven into exile. The eleven remaining orchestra
members who were married to Jewish women or stigmatized as "half-Jewish" lived under the
constant threat of revocation of their "special permission".
Yet also within the orchestra, as part of the NS Personnel Organization State Opera (NSBO),
there was an active illegal cell, so that even before 1938, when the ban of the NSDAP was in
effect, 20% of the members of the orchestra belonged to the Nazi party. In 1942, 60 of the 123
active orchestral musicians had become members of the NSDAP.
The Project "Vienna Philharmonic - A Historical Overview of the NS Era" - Oliver
Rathkolb
Since April 2011, Prof. DDr. Oliver Rathkolb has collected new material on members of the
Vienna Philharmonic who fell victim to the Nazis and/or were forced into exile. This material
now appears here on the orchestra's website. Much of it is derived from primary sources
regarding the lives of the two murdered members of the orchestra, of the five who died following
persecution and/or imprisonment in concentration camps and of the nine who were driven into
exile. The stories of the eleven members of the orchestra who had Jewish wives or were branded
half-Jews also receive close study and analysis.

28

In January 2013, the former chairman of the Vienna

Philharmonic, Professor Dr. Clemens Hellsberg, commissioned
an independent group of historians (Prof. DDr. Oliver Rathkolb
(Director), Mag.a Bernadette Mayrhofer, Dr. Fritz Trmpi) to
integrate the results of their research and publications, including
newly found documents in the Vienna Philharmonic archives,
into the orchestra's website.
Mag.a Bernadette Mayrhofer has written biographical sketches
of those members of the Vienna State Opera Orchestra and the
Vienna Philharmonic who were either forced into exile by the
Nazis or lost their lives as a result of Nazi persecution. As far
as the sources so far available have allowed this, these sketches
highlight a great number of biographical facettes in their quest
to do justice to the diversity and complexity of the biographies
of the exiled or murdered members of the Philharmonic. Her sketches address both the traumas
and the achievements of the nine exiles.
Dr. Fritz Trmpi provides an overview of the orchestras politicization during and after WWI and
of how this process developed in the First Republic and in the era of Austrofascism. Dr. Trmpi
deals in detail with the relationship between the Nazi regime and the Vienna Philharmonics
newly appointed governing body. Newly discovered sources form the basis for a study of the
history of the orchestra as an association. He interprets the Philharmonic repertoire in political
terms and studies the orchestras media presence in the Nazi era.
New sources play a similar part in Prof. DDr. Oliver Rathkolbs
analysis of the marginalization and exclusion of Jewish
sponsors and sections of the audience. The second focus in his
contribution is on the great number of honorary awards made to
Nazi potentates, including Arthur Seyss-Inquart and Baldur von
Schirach. The re-awarding in 1966-1967 of the Vienna
Philharmonics Honorary Ring to Baldur von Schirach shortly
after his release from Spandau the first award had been made in 1942 will be discussed in
this context and the veil of mystery that surrounds this incident will be at least partly lifted.
Another focus of Rathkolbs work is the genesis of the New Year's Concerts. A chapter on the
goals and the implementation of denazification focuses on continuities both in regard to
personnel and content. In both cases, these continuities stretch back to before the Nazi era. Out
of the 123 members of the association of the Vienna Philharmonic, 60 were either members of
the NSDAP or candidates for membership, two were members of the SS. After 1945 four
musicians were dismissed immediately and six were pensioned off. Of this group, two were later
readmitted to the State Opera Orchestra and the Vienna Philharmonic.
Fritz Trmpi & Bernadette Mayrhofer: "Orchestrierte Vertreibung. Unerwnschte Wiener
Philharmoniker - Verfolgung, Ermordung und Exil"

29

The presentation of the book "Orchestrierte Vertreibung

Unerwnschte Wiener Philharmoniker Verfolgung,
Ermordung und Exil" (Orchestrated Displacement - Unwanted
Members of the Vienna Philharmonic - Persecution, Murder
and Exile), which took place on November 6, 2014, in the
Jewish Museum of Vienna was accompanied by a memorial
concert in which compositions by displaced members of the
Vienna Philharmonic were played. Among these, members of
the Vienna Philharmonic performed the premiere of the
Serenade by the violinist Josef Geringer.
Chairman Andreas Grossbauer declared at the presentation
that, "with this volume, Mrs. Mayrhofer and Mr. Trmpi
have made an important contribution to the ongoing
documentation of the darkest chapter of the orchestra's history.
I take a great personal interest in this issue and we are grateful
for the work which has been done. We deeply regret the
manner in which our colleagues at that time were persecuted.
In the future, the Vienna Philharmonic will continue to take steps to further document its past.
We place high value on transparency of the historical and scholarly documentation."
The Modern Era - Prof. Dr. Clemens Hellsberg
After World War II the orchestra continued the policy it began
in 1933 of working with every conductor of repute. Especially
important in the history of the orchestra after 1945 were the
artistic collaborations with its two honorary conductors Karl
Bhm and Herbert von Karajan, and with its honorary member
Leonard Bernstein.
Through its busy concert schedule, recordings on film and record, tours all over the world, and
regular appearances at major international festivals, the Vienna Philharmonic meets all the
requirements of the modern multimedia music business while still managing to emphasize its
unique individuality, perhaps best exemplified in the annual New Year's Concert, and in the
pivotal role it plays each summer at the Salzburg Festival. Although the orchestra has moved
with the times, it remains faithful to traditional principles by retaining its autonomy and the
subscription concert series as the artistic, organizational and financial basis of its work.
The Vienna Philharmonic is not only Austria's most highly coveted "cultural export", it is also an
ambassador of peace, humanity and reconciliation, concepts which are inseparably linked to the
message of music itself. In 2005 the Vienna Philharmonic was named Goodwill Ambassador of
the World Health Organisation (WHO). For its artistic achievements the orchestra has received
numerous awards, gold and platinum disks, national honors, and honorary membership in many
cultural institutions.
Otto Dessoff
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Under the leadership of Otto Dessoff (1835-1892) the repertoire

was consistently enlarged, important organizational principles
(music archives, rules of procedure) were introduced and the
orchestra moved to its third new home. At the beginning of the
1870/71 season it began playing in the newly built Goldener Saal
in the Musikverein building in Vienna, which has proved to be
the ideal venue, with its acoustical characteristics influencing the
orchestra's style and sound.
The Philharmonic Subscription Concerts
When Otto Nicolai left Vienna permanently in 1847, the young
enterprise almost collapsed, having lost in one person not only its
artistic but also its administrative leader. Twelve years of stagnation followed before a new
innovation brought about the long-awaited change of fortune. On January 15, 1860, the first of
four subscription concerts took place in the Krntnertortheater under the baton of then opera
director Carl Eckert, and since that time, the "Philharmonic Concerts" have been staged without
interruption. The only significant change in all those years was to switch from having one
conductor for a complete season of subscription concerts to the present system of having various
guest conductors within a season.

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Social Responsibility of the Vienna Philharmonic

One of the characteristics of the Vienna Philharmonic, organized formally as a private
association, is its democratic self-management, with officials elected by the general assembly
being responsible for all management issues, in addition to their duties as musicians. A central
concern of the Vienna Philharmonic is to touch the hearts of people. This obviously includes its
music but also extends beyond that. The Vienna Philharmonic is involved socially, both
domestically and abroad, by means of numerous benefit concerts, substantial monetary and
lasting material donations (such as musical instruments) and by sharing their knowledge with
younger generations.

New Year's Concert Donations

In connection with the New Years Concert,
approximately 2,5 million have been donated since
1999, of which about 1 million have gone to "Licht ins
Dunkel". Since the year 2000, 100.000 from the
proceeds of the Preview Performance (the concert on
Dec. 30th) are donated annually to "Licht ins Dunkel".
Further donations have been made to the Red Cross,
Amnesty International and victims of land mines.

Ball Donations
Each year a social project is supported by the donations
for honorary tickets to the Vienna Philharmonic Ball. In
2014, this included a monetary donation and musical
instruments for the "Hilfswerk Concordia", so that
children in Romania, the Republic of Moldavia and
Bulgaria could be cared for in social centers and soup
kitchens

Music as Medicine
In the field of medicine field, the Vienna Philharmonic has supported the "CS Hospice Rennweg"
since 2001 with charity concerts.
Live music as a form of treatment constitutes a special type of involvement: Members of the
Vienna Philharmonic play in hospitals for seriously ill patients, in order to positively influence
their quality of life.

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Sinfona por el Per

The Vienna Philharmonics support of Juan Diego Flrez
foundation in Lima, Peru for musical education of children
constitutes a combination of multiple activities. In 2012,
the Vienna Philharmonic assisted the Sinfona por el Per
with the donation of instruments. In 2013, the orchestra
assumed sponsorship of the Sinfona por el Per and sent
musicians to Peru for master classes in order to prepare "William Tell" with the young musicians
of that orchestra.

Music Aid Fund

After the grave earthquake in Japan with devastating
ecological consequences, the Vienna Philharmonic
donated 1 million and founded the "Vienna
Philharmonic & Suntory Music Aid Fund". In this
context, the members of the Vienna Philharmonic gave
concerts, seminars, lessons and donated instruments for
the children. The goal was to alleviate, by means of music, the needs of individuals, and
especially children, who were affected by the ecological catastrophe.
Social responsibility is a
special concern to us. We feel
an obligation - in addition to
our artistic work - to set an
example by making a positive
contribution. For this reason,
we support people facing
particular challenges in their
lives, not only ideally, through
our music, but also by means
of regular material aid.
Andreas Grobauer, Vorstand

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Conclusion
An orchestra is a group of musicians who play together on various instruments. Sometimes it
performs alone, at other times it plays along with a group of singers. Orchestras give concerts
and play for ballets or operas. They also provide background music for movies and TV shows.
When we speak of orchestras we usually mean symphony orchestras. They have many
instruments and play mostly classical music which is performed in concerts.
Some symphony orchestras have only professional musicians. The most famous are in the larger
cities of the world. Among them are the Berlin Philharmonic, the Vienna Philharmonic, the New
York Philharmonic, the Boston and London Symphony. Orchestral music is written in the form
of a score, which shows the notes that are played by each instrument. Every musician only sees
the notes that he or she plays. The conductor stands in front of the orchestra and directs the
musicians.
An orchestra can have up to 20 kinds of different instruments. Large symphony orchestras can
have a hundred musicians. Smaller ones like chamber orchestras have between 5 and 40 players.
They originally were small enough to play in a chamber or hall.
A modern orchestra consists of four sections or families of instruments. The string section is the
most important part of a symphony orchestra. It has more than half of the musicians and consists
of violins, violas, cellos and string basses. The violinists play high sounds and are divided into
two groups. The first violins and the second violins usually play different parts. The leading first
violinist is the concertmaster of the orchestra. He helps the other musicians tune their
instruments and serves as the assistant. Cellos and string basses play low sounds.
The woodwind section consists of flutes, bassoons, oboes and clarinets. An orchestra can have
between two and four of each of these instruments. Sometimes these musicians change
instruments, for example, a flutist may switch to a piccolo. These two instruments have high
piercing tones, whereas the bassoon may have the lowest tones of the whole orchestra.
The brass section has several trumpets, French horns, trombones and one tuba. These instruments
are especially important in the loud, exciting parts of the music. Trumpets and horns play the
higher parts, trombones and tubas dominate the lower parts. This section is located mostly at the
centre and back of the orchestra.
The percussion section has all sorts of instruments, especially those that you can hit, rattle or
shake. The drums are the best known among these instruments. In a symphony orchestra,
kettledrums or timpani make the music more exciting. Other percussion instruments include
bells, cymbals, gongs, tambourines or xylophones.
Other instruments like the harp, piano or saxophone may be added to the orchestra if they are
needed.
The word orchestra was first used by the ancient Greeks and meant the front part of a stage.
During the middle ages it also included the musicians on the stage. The first orchestras were
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organized by kings and queens of France and in Italian churches and places during the late 6th
and early 7th centuries. Most of these orchestras used stringed instruments and played for ballets,
operas and at dance parties.
By the early 1700s some European composers, like Johann Sebastian Bach or George Frederic
Handel, wrote music just for orchestras. Joseph Haydn, Wolfgang A. Mozart and Ludwig van
Beethoven perfected the classical symphony in the late 1700s and early 1800s. In the 20th
century composers like Richard Strauss or Igor Stravinsk y created musical works that needed
large ensembles. Later on electronic instruments were added and new sounds created.
In conclusion, I have learned many information and knowledge about orchestra through this
investigation. I hope to learn more knowledge about music in future.

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