Traditional music and dance
As Austria is home to part of the Alps, yodelling has also developed naturally there. This form of singing, which consists of rapidly alternating passages in chest and head voice, has a long history in the European rural tradition and is still popular in Austrian folk music. It is commonplace throughout the Tyrol and some establishments, such as theAlpenhotel Fernau
(in the Stubai Valley), even offer it during meals.Apart from yodelling, the region is full of emblematic folkloretänze (folk dances), starting with the Ländler. Traditionally performed in the round and associated with yodelling, it is very bouncy and has seduced many composers such as Beethoven, Schubert, Bruckner or Mahler who have included it in some of their works. The schuhplattler, which originated in the Tyrol, is also recognizable by its slaps on the knees and thighs and its energetic leaps. Derived from the waltz, there are also the zwiefacher
, traditional couple dances where the duo turns quickly and in a tight position. If Vienna offers an event dedicated to traditional dances and songs, such as the Spring Tale festival, one can also come across a lot of them at the time of the carnival, called Fasnacht in Tyrol and especially during the faschingsonntag (the Sunday before Mardi Gras) which corresponds to the time of parades with folk costumes. Otherwise, in Vienna, the Zwölf Apostelkeller tavern, a real downtown heuriger, offers folk music concerts every evening.Classical music
For any self-respecting classical music lover, Austria is a sacred land. A cradle for the genre that has seen some of its greatest geniuses (let's not mince words) born and bred. The country's musical golden age corresponds to that of the apogee of Austrian civilization, i.e. the period spanning the reigns of Charles VI (1711-1740), Maria Theresa (1740-1780) and Joseph I (1780-1790). As a crossroads of influences and the embodiment of Humanism, Austria at the time was the ideal breeding ground for great music
It is therefore not surprising that a certain Wolfgang Amadeus Mozart (1756-1791) burst onto the scene and changed history forever. A prodigious composer and harpsichordist born in Salzburg, Mozart began performing at the age of six in the salons of Schönbrunn before Empress Maria Theresa, and then at the most important European courts between the ages of seven and ten. He died prematurely at the age of 35, leaving behind a Dantesque body of work of more than 600 pieces, many of which remain among the summits of symphonic, chamber and operatic music. Mozart, along with his elder brother - and occasional chamber-music partner - Franz Joseph Haydn (1732-1809), became the embodiment of Viennese classicism (also known as the "First Viennese School"), a revolution in musical writing in which melody was simplified, harmony clarified, and dramatic springs nested and belched out in tonality and contrast
A mentor to Amadeus-who called him "Papa" -Joseph Haydn began his career in 1761 as a servant to the Esterházy family, a wealthy Hungarian prince. For thirty years, he was both the composer and conductor of their palace orchestra, leading an ensemble of twenty musicians and presenting his creations to the European ruling elite. When his patron died in 1790, he left for London, where he triumphed, and then returned to Vienna, where he continued to compose, before dying peacefully at the age of 77. Historically, such a concentration of geniuses in the same place at the same time is a unique phenomenon
Associated with Viennese classicism - of which he was the last great representative - Beethoven composed his most beautiful works in the capital and prepared the turn towards romanticism.
Inhabited by Beethoven's genius, Franz Schubert (1797-1828) is another of these mythical Austrian artists. Schubert died in his prime (age 31), and in just 17 years he produced an immense body of work that ranks alongside Mozart and Haydn. Born in Vienna's Lichtental district in 1797, his meeting with Salieri, who was then conducting the Chapelle Royale, changed his practice. An emblematic composer of German Romantic music, already described as a genius by his contemporaries, he gave the world a repertoire of more than a thousand compositions - including nine symphonies and a dozen operas - and is still considered the undisputed master of the lied - poems set to music.
Contributing to the country's immense fame, giants such as Anton Bruckner, Gustav Mahler and Johannes Brahms are also inseparable from Austria. The first of these, Anton Bruckner (1824-1896), was long misunderstood. Recognized as a master of the symphony long after his death, he is today a pillar of the symphonic repertoire in concert programmes. The aptly named BrucknerFest, held every September in Linz, is dedicated to him and is renowned for its quality programming. Gustav Mahler (1860-1911), a great supporter of Bruckner during his lifetime, is one of the illustrious names to be added to the Austrian musical pantheon of the time. Born into a Jewish family in Bohemia, then part of the Austro-Hungarian Empire, Mahler, who was conductor of the Vienna Opera for ten years, brought about a major musical revival. An innovator, he overturned the rules of opera, reforming the organization, staging and sets by inventing the stage management. He then resigned to direct the Metropolitan Opera in New York. He returned to Vienna in 1911 with a heart condition, where he died five days later, leaving an unfinished Tenth Symphony, perhaps his most performed work. Mainly known to the general public for his symphonies, Mahler also wrote vocal compositions based on German epic poetry of the Middle Ages. A return to the myth, initiated by Wagner whom Mahler admired so much. Finally, although German by birth, it is impossible not to mention Johannes Brahms (1833-1897), one of the most important composers, pianists and conductors of the Romantic period, whose career took place mainly in Vienna
Vienna in the 19th century was also marked by a joyous whirlwind of parties and dances, and a light form of opera, the "operetta", emerged during this period, alongside the famous Viennese waltzes. The Strauss dynasty was its leading light. Johann Strauss Sr. (1804-1849) came from the music school of cafés and inns. His career began when he joined the orchestra of Lanner, the precursor of the genre, in 1819. The two men quickly fell out, Strauss having difficulty with Lanner signing his scores for him. A jewel in the crown of typically Austrian music, notably with his Radetzky March, many of his compositions seem a bit outdated today. Appointed director of the Court balls in 1846, he participated in the establishment of the waltz as a fashionable bourgeois dance. He tried to dissuade his son from becoming a musician, but his advice was not followed. Thus Johann Strauss Jr. (1825-1899) became the Austrian composer who made all of Europe dance in his time. Competing with his father, he formed his own orchestra at the age of 19, in which he played the violin with virtuosity. His Beau Danube Bleu is known throughout the world
With such a frantic creative dynamic, one might imagine that Austria in the early 20th century would experience a slowdown. On the contrary! The country became a lung of the world avant-garde with the Viennese Atonal School. Theorized by Arnold Schönberg (1874-1951), then explored by his students Alban Berg (1895-1935) and Anton von Webern (1883-1945), this music abandoned classical tonality in favor of atonality and dodecaphony. If one were to summarize, one would say that the Viennese atonal school is to music what the Oulipo is to literature. This school spread throughout Europe from 1945 onwards.
Afterwards, two world wars may have shaken the country, but its musical genius remained intact, embodied over the century by Zemlinsky, Schreker, Korngold, Ligeti, Einem, Wellesz... Not forgetting illustrious artists who have maintained the gilding of the Austrian coat of arms, such as the unforgettable Herbert von Karajan (1908-1989), the most recorded conductor of the 20th century and a great specialist of Beethoven and Brahms, Carlos Kleiber (1930-2004), carlos Kleiber (1930-2004), a conductor particularly associated with the opera houses of Stuttgart and Munich, Karl Böhm (1894-1981), a conductor renowned for the precision of his interpretations of Mozart, Beethoven, Strauss and Wagner, and the great pianists Alfred Brendel and Paul Badura-Skoda (1927-2019). And let's not forget to mention the composer Olga Neuwirth, the first woman to have one of her creations performed at theNational Opera
And let's talk about the Viennese institutions. Today, Vienna has retained its status as the "capital of classical music" thanks to venerable entities such as the Vienna Philharmonic Orchestra, a world reference conducted by the prominent Colombian Andrés Orozco-Estrada. He takes over from the Swiss Philippe Jordan, who was appointed director of theNational Opera. The latter, located on the Ring, can be a good starting point for a musical exploration of the city. As a major European stage, it guarantees to hear the best of the classical repertoire, while retaining a place for innovation. Just a few steps from here is the famous Musikverein. The best concert hall in the world (quite simply) in the hearts of connoisseurs thanks to its exceptional acoustics, Bach and Beethoven are regularly on the bill, but the seats are usually taken. The Vienna Philharmonic Orchestra is based here, but the Wiener Mozart Konzerte also performs here. The Vienna Mozart Orchestra, consisting of about 30 excellent musicians, performs the most important works of Mozart and Strauss - in period costumes, if you please. On the way to the Stadtpark, your steps will naturally lead you to the Wiener Konzerthaus, an Art Nouveau concert hall. Although it is not as famous as the other concert halls in the city, the programme is always of the highest quality and regularly welcomes musicians from the Vienna Philharmonic Orchestra and the State Opera. The annual Résonances festival, dedicated to early music, is held here. Also in the Stadtpark is a beautiful Renaissance building, the Kursalon. Opened in 1862, it now hosts the Alt Wien Salon Orchestra for concerts dedicated to Johann Strauss, who himself conducted here on several occasions. Every evening, thirteen musicians, a soprano, a baritone and a couple of ballet dancers make the walls of this institution vibrate to the rhythm of the composer's most beautiful works, as well as a few pieces by Mozart. After crossing the Stadtpark - and seeing its statues dedicated to Strauss, Schubert, Bruckner, Zelinka or Stolz - a good idea is to pass by the Haus der Musik, an incredible museum dedicated to sounds, full of interactive installations. Always a hit with children. Nearby, the MUK, the university dedicated to music and the performing arts, sometimes offers concerts performed by students. Feel free to come in and ask about the program. Just behind the Stephansdom, in the narrow Domgasse, is the house where Mozart lived from 1884 to 1887 and composed The Marriage of Figaro. Walk through the old town to Beethoven's house, just behind the votive church. Heading north to the Alsergrund district, you'll come across Schubert's birthplace. Then head south to the Mariahilf district to visit the house where Joseph Haydn died. A walk through this district will take you to the Wieden district, where Franz Schubert lived the last years of his life. Plan to take a lunch break at the nearby Naschmarkt. The tour of composers' houses ends with that of Johann Strauss, a stone's throw from the Prater and its Ferris wheel. It was here that he composed the famous Blue Danube, which still has the Viennese dancing. Speaking of Strauss, anyone who has the opportunity to visit Vienna during the ball season (November to March) would be well advised to go to one of the 450 balls to hear the enchanting waltzes and other famous melodies in Vienna's most beautiful ballrooms.
This goes without saying, but the capital does not have a monopoly on classical music in the country. In Linz, the city's brand newopera house offers opera, operetta, ballet and dance under the baton of conductor Markus Poschner, who succeeded the excellent Dennis Russell Davies. In the same city, the Brucknerhaus, a contemporary construction, bears the name of the famous local boy and hosts the annual Bruckner Festival. In Salzburg, Mozart's birthplace, there is of course a hall dedicated to the master's work: the Alte Residenz. It is here that Mozart in Concert is held, two concerts featuring his repertoire.
Current music
Let's not think that Austria and its capital are asleep around its heritage. The country has a young and dynamic creative scene and people no longer come to the capital just to listen to Mozart, Strauss or Schönberg. The Waves festival, which often shines with its flair, is an excellent opportunity to hear up-and-coming Austrian talent. As is the Donaufestival, located in Krems an der Donau (one hour north of Vienna), a major landmark of young Austrian and international creation (with a lot of electronic music). It's in this kind of meeting that we can see the heirs of the iconic trip-hop duo Kruder & Dorfmeister. Real bosses of Austrian electronic music since the 90's, they opened the way to a teeming scene in perpetual ebullition. Among the most interesting names, the Editions Mego label is one of the most respected avant-garde entities in the world and produces the work of local figures such as Christian Fennesz. There is also Karma Art, a trip-hop artist in the tradition of Kruder & Dorfmeister, Dorian Concept and Cid Rim, two producers whose very jazz, funk and hip-hop electronic music has seduced major foreign labels such as Ninja Tune or LuckyMe, the ambient duo Ritornell or the techno duo named Mieux, or Ulrich Troyer and his modern and adventurous dub. In the same spirit, we also find Zora Jones, with her bursting electronic music, signed on the very good label Planet Mu. Less daring but more known and danceable, producers Parov Stelar and Klangkarussell have stirred up the crowds in many countries.
To get a taste of this scene and to experience the famous Wiener Szene (trendy Vienna or underground), there is nothing better than to go to one of the city's countless clubs. The Rhiz is one of the most famous electronic music venues, the Fluc is also one of Vienna's nightlife hotspots, offering hip-hop and techno in an arty and trendy atmosphere, and the Pratersauna has a large venue with 1,800square metres of dance space, the Donau Techno has moved into a former synagogue to celebrate the genre on its sign, and finally, for more upmarket clubbing (let's put it that way), the Volksgarten Clubdiscothek and the Platzhirsch are just right. Austria is also far from boring when it comes to festivals. In Vienna, the Donauinselfest offers three days of open-air celebrations and giant pop and rock concerts on 20 different stages, in Sölden, in the Tyrol, the electronic music festival Electric Mountain is a must in the region (and in the country), as is Electric Love in Salzburg, an event that manages to gather hundreds of thousands of festival-goers each year thanks to its gigantic billboards.Theater
It is impossible to leave Austria without a word about its drama. Austria is not only a country of music, but also of theatre, and the local history is riddled with great minds in the discipline. The most illustrious of these is undoubtedly Franz Grillparzer (1791-1872), who was influenced by Weimaraner classicism and wrote ten plays that are well established in the repertoire of German stages. Let's also mention Stefan Zweig (1881-1942), an immense and eternal Austrian writer, undoubtedly the most read in France, and whose theatrical production, rather modest, remains much less known than his masterpieces The Chess Player, The Confusion of Sentiments, and Twenty-four Hours in the Life of a Woman
His contemporaries include Hugo von Hofmannsthal (1874-1929), who worked with Richard Strauss (for whom he wrote most of the librettos) and wrote a series of tragedies inspired by Elizabethan and ancient theatre, and Felix Salten (1869-1945), a prolific writer and father of Bambi. Another great local playwright, Thomas Bernhard (1931-1989), was recognized as one of the most important writers of his generation. Egocentric and obsessed with death, provocative to the point of excess, and cultivating a (mutual) dislike of Austria, Bernhard remains one of the most original German-language authors. Finally, there are the Nobel Prize winners Elfriede Jelinek and Peter Handke, whose success has made the reputation of Austrian belles lettres travel the world. While the former has built her work around a satirical and social analysis of her country, often daring (she is the author of The Pianist, directed by Haneke in 2001), the latter is today one of the leading German-language writers in the world thanks to powerful works such as The Goalkeeper's Anguish at the Penalty (adapted by Wim Wenders in 1972). Two theatres in town that are a must-see are the Burgtheater, a symbol of Viennese public and artistic life and one of the most representative stages of German-language drama, and the charming Josefstadt Theatre, one of the best theatres in Vienna along with the Burgtheater (but with a smaller audience typical of the classic Viennese intellectual scene). In Innsbruck, the Regional Theatre(landestheater) offers an interesting program.
