Composer: Johann Strauss II, Josef Strauss, Joseph Hellmesberger II
Works: Ouvertüre Die Fledermaus, Künstlerleben, Walzer op.316, Zivio! Marsch op.456, Die Schwätzerin, Polka Mazur op.144, Vorwärts! Polka schnell op.127, Aquarellen, Walzer op.258, Die Libelle, Polka Mazur op.204, Plappermäulchen! Polka schnell op.245, Danse diabolique, Elisen-Polka française op.151, Wiener Blut, Walzer op.354, Tik-Tak, Polka schnell op.365, An der schönen, blauen Donau, Walzer op.314, Radetzky-Marsch op.228
Performers: Wiener Philharmoniker, Seiji Ozawa
Recording: Live at the Musikverein, Wien on 1st January 2002
Label: Philips 468 999-2
The New Year’s Day concert, an enduring Viennese tradition, finds its roots in the exuberance of Johann Strauss II and his contemporaries, who have shaped the waltz and polka into emblematic forms of celebration. This 2002 recording under the baton of Seiji Ozawa, the first Philips release since Riccardo Muti’s tenure, arrives at a moment when the world’s gaze is fixed upon the joyous spectacle of Vienna’s musical heritage. Ozawa’s interpretation emerges against this rich historical backdrop, where the nuances of the Strauss family’s works are both revered and re-examined.
Ozawa opens the concert with the Overture to Die Fledermaus, a piece that demands both a theatrical flair and an agile approach. The Wiener Philharmoniker responds with a boldness that sets a spirited tone for the evening. The tempo is brisk, and the orchestral colors shine through with a robust clarity. This dynamic interpretation, while spirited, does not quite reach the luminous heights achieved by the likes of Carlos Kleiber, whose performances are often benchmarked for their emotional depth and precision. Nevertheless, Ozawa’s energetic propulsion breathes life into the festive atmosphere, making a compelling case for his artistic choices.
A notable highlight is the performance of Aquarellen, which Ozawa has reportedly favored. Here, the orchestra reveals a palette of color, unfolding the work’s delicate textures with a care that evokes the imagery of a painter’s brush on canvas. The phrasings are shaped with an elegance that showcases both the lyricism inherent in Strauss’s music and the virtuosity of the players. This contrasts with Ozawa’s interpretation of An der schönen, blauen Donau, where a somewhat foreign application of rubato detracts from the work’s natural progression. While the sound is undeniably lush, this interpretative choice introduces a tension that feels at odds with the customary Viennese charm.
The inclusion of Joseph Hellmesberger II’s Danse diabolique adds an intriguing layer to the concert, showcasing a lesser-known work that spirals with vivacity. The orchestra navigates the intricate rhythms and melodic lines with commendable ease, revealing their technical prowess. The performance reflects a lightness and precision that is sometimes lost in larger orchestral configurations, affirming the finesse of the Wiener Philharmoniker. The Radetzky-Marsch, while traditionally a crowd-pleaser, reveals a slight disconnect as the audience’s enthusiastic clapping lacks the finesse that Karajan would have instilled. Ozawa’s leadership here, while affable, does not quite capture the sense of discipline that this final piece often demands.
Sound quality is a triumph of this recording, with Philips delivering a vibrant audio experience that encapsulates the concert hall’s ambiance. The clarity of the orchestral textures allows listeners to appreciate the interplay of instruments, enhancing the overall enjoyment of the performance. The booklet accompanying the disc is lavishly illustrated, providing a fitting tribute to the celebratory spirit of the event.
This recording of the New Year’s Day concert serves as a testament to the enduring appeal of Strauss’s music, even as it reflects the complexities of interpretation that arise with each conductor. While it may not rival the legendary performances of past maestros, it firmly establishes Seiji Ozawa’s place within this rich tradition. The excitement of the Vienna audience, captured within the recording, reverberates with authenticity, affirming the concert’s successful celebration of a cherished cultural ritual. The vitality and enthusiasm present on this disc suggest that 40,000 Austrians may indeed know a good musical experience when they hear one.
