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Event is Live
Carnegie Hall Presents

Vienna Philharmonic

Sunday, March 3, 2024 2 PM Stern Auditorium / Perelman Stage
Franz Welser-Möst by Roger Mastroianni
Conductor Franz Welser-Möst calls Symphony No. 9—Mahler’s final completed symphony—“the strongest, most impactful farewell ever written in music.” The Vienna Philharmonic has an incomparable history with this transcendent work, and to hear the ensemble play it in an acoustically superior concert hall is an essential experience for music lovers. Even for Welser-Möst, to perform it with the philharmonic is “a very special experience.”

Part of: Franz Welser-Möst, Fall of the Weimar Republic: Dancing on the Precipice, and Carnegie Hall Live on WQXR

Performers

Vienna Philharmonic
Franz Welser-Möst, Conductor

Program

G. MAHLER Symphony No. 9

Event Duration

The printed program will last approximately 90 minutes with no intermission. Please note that there will be no late seating. 

Listen on WQXR

Listen to Selected Works

Major support for this concert is provided by the Audrey Love Charitable Foundation. 
The Vienna Philharmonic Residency at Carnegie Hall is made possible by a leadership gift from the Mercedes T. Bass Charitable Corporation.
Support for the Fall of the Weimar Republic festival is provided by the Horace W. Goldsmith Foundation and the Hearst Foundations.
Rolex is the Exclusive Partner of the Vienna Philharmonic.

This Concert in Context

Gustav Mahler completed his Symphony No. 9 in 1909—five years before a war that would profoundly alter the social and cultural fabric of every country across Europe. While Mahler did not live to see the subsequent crises that World War I would unleash across the continent, his native Austria-Hungary had by the turn of the century borne witness to the rising antisemitism and nationalism that would cast a long shadow over the politics of the interwar period. A multinational empire with some 50 million subjects, Mahler’s Austria-Hungary was made up of peoples from across Central and Eastern Europe, including not only Austrians and Hungarians, but Ukrainians, Poles, Czechs, Slovenes, and countless other nationalities. The linguistic and cultural differences inherent in the empire’s makeup made governing an often difficult and unwieldy proposition at the national and local levels, prompting some cynical politicians to look for easy scapegoats to the challenging problems the empire faced in the lead up to World War I. To take only one example, politician Karl Lueger used antisemitism during his tenure as mayor of Vienna from 1897 to 1910 as a tool for consolidating support over a society riven by differences in language, culture, and nationality. Lueger was greatly admired by a young Adolf Hitler, who saw Mahler’s productions of his beloved Wagner at the Vienna Court Opera during his itinerant years as an aspiring artist in the capital city. As an Austrian of Jewish descent, Mahler’s music would subsequently be designated as entartete Kunst (“degenerate art”) and banned by the Nazis.

 

—Brendan Fay, author of Classical Music in Weimar Germany

Bios

Franz Welser-Möst

Franz Welser-Möst is one of today’s most influential conductors in the operatic and symphonic realms. In the 2023–2024 season, he is a featured Perspectives artist at ...

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Vienna Philharmonic

There is perhaps no musical ensemble more closely associated with the history and tradition of European classical music than the Vienna Philharmonic. For more than 180 years, this orchestra  ...

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