Cover Daniel Froschauer, first violionist and chairman of the Vienna Philharmonic Orchestra (Image: Courtesy of Julia Wesely)

According to Daniel Froschauer, the first violinist and chairman of the world’s greatest orchestra, Hong Kong has a special place in his and the Orchestra’s heart

Widely recognised as the world’s most prestigious orchestra, the Vienna Philharmonic Orchestra will perform in Hong Kong on October 24 and 25 as part of its Asia tour this year. Sponsored by the Hong Kong Jockey Club, this will be the city’s first concert by a major international orchestra since the start of the Covid-19 pandemic. Conducted by Franz Welser-Möst, the programme will include some of the most celebrated pieces by Wagner, Strauss, Dvořák and Brahms.

This 180-year-old orchestra debuted in 1842 with a performance of Beethoven’s famous Symphony No.7, and over the years have been conducted by some of history’s most famous composers, including Brahms and Strauss, as well as modern icons like Star Wars and Harry Potter composer John Williams. Its annual New Year and Summer concerts are also some of Europe’s most sought-after cultural events.

Tatler Asia
Above The Vienna Philharmonic under the baton of Daniel Barenboim during New Year's Concert 2022 in the Golden Hall of the Musikverein in Vienna (Image: courtesy of the Vienna Philharmonic and Dieter Nagl)

Tickets for their Hong Kong stop sold out within a few hours, but for those who can’t make the concert in-person, the performance will be livestreamed on RTHK TV32, RTHK Radio 4 and the Leisure and Cultural Services Department’s website.

Ahead of the concerts next week, Tatler talks to the Vienna Philharmonic Orchestra’s chairman and first violinist, Daniel Froschauer, about the group’s visit to Hong Kong, and the historical significance of the orchestra, which performed with Beethoven himself.

Don't miss: D’Strict, South Korean Art Tech Group, Brings Immersive Exhibition to Hong Kong

Tell us about the musical selection for the Hong Kong performances—why Wagner, Richard Strauss, Brahms and Dvořák?

We want to bring music that is very close to us. For example, Brahms lived in Vienna, and he was a friend of the Vienna Philharmonic. He supported our orchestra and we premiered some of his music. So he had a very close association with us. We met Strauss in Salzburg, and he conducted our orchestra from 1906 to 1944. In 1923, we went to South America on a big tour with him; he celebrated his 80th birthday with the orchestra. He was like family.

So, for all the pieces you will find on the programme, we have a close association with those composers and feel that they are our core repertoire. We don’t go to Hong Kong that often, and I’m so looking forward to sharing our music with audiences there.

What are you expecting from this upcoming performance and visit to Hong Kong?

We came to Hong Kong with maestro Herbert von Karajan, so it’s been more than 60 years since then. But I think what’s special about Hong Kong is the enthusiastic audience. We’re happy that we’re able to go to Hong Kong because the pandemic has made it very difficult for all travelling musicians.

I’ve been to Hong Kong several times. What stood out to me was the food, which was quite diverse culturally. When I was here in 1995, I took a nice walk up to Victoria Peak. I love taking photos—I took some of my most beautiful photos up there. The landscape is just unique. And the people of Hong Kong has such a great spirit.

In case you missed: The Best Hong Kong Hikes—Plus Where To Eat And Drink After

Tatler Asia
Above The Vienna Philharmonic in Salzburg (Image: courtesy of Salzburg Festival by Anne Zeuner)

Which is your favourite city you’ve performed in?

That’s a very difficult question. I love going to different places to share our music. New York’s Carnegie Hall, Tokyo, South Korea, Hong Kong, Beijing… I remember having great performances there, and the audience in each place is just unique, especially during the pandemic.

How has the pandemic affected the Vienna Philharmonic Orchestra?

Two years ago, we performed the New Year Concert without an audience. Last year, we could only perform for people seated in the balcony but not the stalls. It’s very difficult to make an impact via streaming [because] you don’t feel [a connection] from one human to another. So sharing music live has become important to us and to me. It’s fulfilling. It gives my life meaning.

Read more: ‘Hong Kong’s Met Gala’ K11 Night Names Director William Chang as Co-Chair

Describe a day in your life with the Vienna Philharmonic Orchestra, what’s your daily routine like?

In terms of operation, I’m a member of the Vienna State Opera, so I have to realise the plans set out by the Opera’s director. But within the Philharmonic, we are self-employed. Here, we make decisions on a democratic basis: what pieces we play; who is going to be the conductor; if there’s a tour, where we would go.

In terms of my practice as a musician, I practise four to five hours every day for this show. In my daily routine, there must be Bach music. These days, I work on the G minor in the morning, and Paganini’s 24 Caprices to keep my finger muscles strong so that I can play the music smoothly during the actual performance. With a classical musical instrument, it doesn’t get easier even when you have more experience. You need to train your hands every single day.

How has the Vienna Philharmonic Orchestra evolved its artistic direction?

We have a wide repertoire, from very modern pieces that are composed for us, to classical music like Bach, Beethoven, Brahms, Bruckner, Mahler, and Strauss. And last year we had contemporary composer John Williams, whose score for Jurassic Park and ET have touched many people’s hearts, conduct a concert with us. Another experience we had was playing a piece written just for us by British composer Thomas Adès.

We are open to any kind of music. Our Vienna New Year’s Concert’s repertoire is pretty much set, but we have the Summer Night Concert where we explore new music and sometimes do a little bit of crossover [in genres].

Tatler Asia
Above Vienna Philharmonic (Image: courtesy of Lois Lammerhuber)

How would you describe the Orchestra’s musical DNA?

Beethoven conducted his Symphony No.9 for the first time in 1824, and when the Vienna Philharmonic Orchestra was founded in 1842, it wasn’t quite experienced enough to “conquer” this difficult piece of music. So at our inaugural concert we played Beethoven’s Symphony No.7 instead; at the second concert, we played Beethoven’s Symphony No.5; and at the third concert, we played Beethoven's Symphony No.9. I think Symphony No.9 marked the true start of the idea that our orchestra was gearing towards excellency. Beethoven is our musical DNA. This process just shows how we want to do the best we can for music.

Tell us about yourself. How did you become a violinist?

My father was a musician, so I was exposed to a lot of music all the time. Pretty much from the moment I started, I knew that the violin was going to be my path.

In an orchestra, the violin is the top voice. I love expressing my feelings with the violin. To me, being a violinist is not just about playing at Carnegie Hall or Santorini Hall. Sometimes I play in hospitals on a one-to-one basis. Sharing the music that comes out of me with another person is a gift and my calling as a musician.

How would you describe Vienna’s education system and support for musicians?

In upper Austria, the school music programme is very good, all children [are taught] the trumpet, horn or trombone. Most of our orchestra’s brass players come from that area. They all know each other from when they played in youth music groups, and that friendship lasts into their professional life.

In the generation before me, most kids went into other careers—they aspired to become doctors or lawyers, but not a musician. But what I now see is that many of the children from my generation grew up to be very good musicians. This is nice to see.

What future plans does the Vienna Philharmonic Orchestra have as the world slowly opens up again?

After Hong Kong and Taiwan, we’ll return to Austria for a couple more concerts, and then we have our regular Summer and New Year concerts. Next year, we will have our tour to Asia again, potentially to Japan and Korea. I’m sure there will be a little bit of China; maybe Shanghai or Beijing.

 

“Up-close with Stars” is a monthly cultural series where Tatler spotlights top performing arts talents on their latest achievements and get to the heart of subjects that matter to culture and society.

 

NOW READ

Hong Kong British Actress Champions Representation in ‘My Neighbour Totoro’

Jazz Singer Jolie Chan on Her New Album, Red Wine, Canto-pop and Why Vinyl Is Here to Stay

M+ hosts Yayoi Kusama Exhibition, Asia’s Biggest Outside of Japan

Topics