Intermezzo

New year, same tunes

What does a conductor actually add to a performance? The annual ritual of the Vienna Philharmonic's new year concert can make you wonder. When Daniel Barenboim's polkas this year were barely distinguishable from Niki Harnoncourt's a few years back, it's clear that here the band knows best.

The point was unsubtly underlined in the final item on the programme, Haydn's Abschieds-Symphonie, where the musicians leave the stage one by one in the final movement until the maestro has only a pair of violinists left to conduct. There was a strong whiff of ham about Barenboim's own contribution, but is there any other way to play it? 

Only the encores sounded properly Barenboim-esque: the Radestzky March slowed from the usual breathless dash to a proper marching pace, and the Blue Danube waltz marked by impossible tempo changes that prove whatever else Daniel Barenboim's good for, he's no dancer.

Videos below.

Haydn's Abschieds-Symphonie (Farewell Symphony):

An der schönen blauen Donau (Blue Danube waltz):

Radetzky Marsch:

Inside the Vienna Musikverein

Tonight the Vienna Philharmonic will be conducted by Daniel Barenboim for the first of the three concerts leading up to the annual Neujahrskonzert in Vienna's Musikverein.

I haven't been to anything there recently - even for regular concerts, tickets are notoriously hard to come by, with many seats sold in packages to subscribers or booked up in advance by members. You'd have to wait up to 13 years just to get on the list for the Vienna Philharmonic itself. And as for the New Year's concert - forget about it unless you're prepared to pay hundreds of euros on the black market.

So I did the next best thing on my last visit to Vienna and took the guided tour of the Musikverein. This lasts about half an hour and includes a potted history from a knowledgeable guide and the opportunity to take lots of photos - something that's strictly banned on concert nights.

The main attraction is of course the Großer Musikvereinssaal. Surprisingly, it can hold over 2,000 people - the space feels, if not quite cosy, then relatively intimate.

The shape and proportions of the hall contribute to its legendarily 'perfect' sound, with the panelled ceiling and balconies helping the sound waves to reverberate effectively.

Under the wooden floor is a hollow space that makes it resonate like a violin. The suspended ceiling has similar properties. Even the apparently decorative golden caryatids that line the balcony provide extra resonance - they're hollow inside.

Beneath all the gleaming gold and heaving bosomry, the flip up seating looks utilitarian. But it's comfortable enough, with just enough legroom for a moderately tall person. There's a slight rake, which becomes steeper for a couple of rows at the back. Behind the seating, at the very rear of the hall, is a covered area which provides standing places.

The chairs and music stands on the stage itself look well-used.

When the smaller 600-seater Brahms-Saal was renovated in the '90's, it was repainted in its original bold colours. It has similar acoustics to the Grosse Musikvereinssaal.

Lavish gilding and plasterwork is a feature throughout the building - below is a stairwell.

For the full Wienerfacts, check out the Musikverein's own excellent website, which includes detailed descriptions of the building and an extensive photo gallery.