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Vienna Philharmonic Orchestra
Chairman: Professor Werner Resel, email: wresel@philharmoniker.vienna.at
Vicechairman: Dr. Clemens Hellsberg
Managing Director: Professor Walter Blovsky, email: wblovsky@philharmoniker.vienna.at
Press Officer: Wolfgang Schuster, email: philpress@philharmoniker.vienna.at
Boesendorferstrasse 12
A-1010 Vienna
Austria
phone: +43 1 505 65 25
fax: +43 1 505 92 20
web site: http://www.vienna.at/philharmoniker/vph.htm

Vienna State Opera (Wiener Staatsoper)
Director: Ioan Holender
Opernring 2
Kantnerstrasse
A-1010 Wien
phone: 43-1-51 444/2958
http://www.oebthv.gv.at/stopvop/rstop.htm

Richard Colburn
Friends of the Vienna Philharmonic
1120 La Collina
Beverly Hills, California 90210

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William Osborne provides the following additional supportive information:
The statement was witnessed by a school teacher who had taken his class to a rehearsal of the Vienna Philharmonic. A girl in his class asked why only men were in the orchestra. The school teacher reported that Werner Resel, the orchestra's chairman, answered that the "Vienna Philharmonic is an orchestra of white men playing music by white men for white people".

On December 11, 1996 Austrian National Radio (ORF) had a program about gender bias in the Vienna Philharmonic. A part of the program allowed listeners to telephone in and join the discussion that was taking place. The school teacher who heard Resel make this statement called in and told about it. He quoted Resel exactly as I [William Osborne] have translated it above. Here is the exact title, broadcaster, time, and date of the program: "Von Tag zu Tag", broadcast by ORF, December 11, 1996, 4:05-4:45pm

Since the statement is obtainable on tape, that is very solid evidence by a witness. The same statement was also attributed to Resel in the Austrian publication _Falter_. Here is the exact German quote:

"Von Orchester Vorstand Werner Resel wird der Satz ueberliefert, sie seinen '...ein Orchester weisser Maenner, die weisse Musik von weissen Komponisten fuer ein weisses Publikum speilen". [_Falter_, "Musik von weissen Maennern" (51/52/96) p. 31]

So if one thinks that the world should function by quota regulations, then it is naturally irritating that we are a group of white skinned male musicians, that perform exclusively the music of white skinned male composers. It is a racist and sexist irritation. I believe one must put it that way. If one establishes superficial egalitarianism, one will lose something very significant. Therefore, I am convinced that it is worth while to accept this racist and sexist irritation, because something produced by a superficial understanding of human rights would not have the same standards."
Dieter Flury, VPO flutist in a West German State Radio broadcast.

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The "Zap the VPO" web page and mailing list are personal projects and are not endorsed by any organization. These resources were developed in response to the outrage I felt that such blatant discrimination against women as practiced by the VPO is not generally known, even (especially?) within the classical music community.

I am also a board member of the International Alliance for Women in Music (Performers Portfolio), and in that capacity serve as their contact person for information about the VPO, in addition to developing and coordinating any IAWM protest actions on this issue.

While I am greatly indebted to many others for generously sharing their sources, information, and expertise, I assume all responsibility for any errors which may lie within these pages.

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Chairman: Professor Werner Resel
Vienna Philharmonic Orchestra
Boesendorferstrasse 12
A-1010 Vienna
Austria
Tel: +43 1 505 65 25
Fax: +43 1 505 92 20
Email: wresel@philharmoniker.vienna.at

Note: PLEASE send a copy of your letter to:

Chancellor Viktor Klima
Bundeskanzleramt
Ballhausplatz 1
A-1010 Wien
Austria
Email:vklima@spoe.or.at
FAX +43 1 5353650

If you're emailing, it's easy to send copies to the US presenters:

Dean Corey, Executive Director
Philharmonic Society of Orange County
psmail@ocartsnet.org

Judith Arron, Executive Director
Carnegie Hall
feedback@carnegiehall.org

Chancellor Viktor Klima
Bundeskanzleramt
Ballhausplatz 1
A-1010 Wien
Austria
Email:vklima@spoe.or.at
FAX +43 1 5353650

Source material from William Osborne.

Source material from William Osborne.

Ronald Wilford
Clemens Hellsberg, the archivist of the VPO, writes in his book Demokratie der Koenige (Democracy of the Kings) that the "Friends of the Vienna Philharmonic in New York" was founded by Ronald Wilford who is also the President of Columbia Artists Management International (CAMI). In 1992 the VPO awarded Ronald Wilford "The Honor Ring of the Vienna Philharmonic" for his role in founding the "Friends of the Vienna Philharmonic in New York." Since CAMI is organizing the VPO's tour to the USA in March 1997, Ronald Wilford is one those important figures who enable the VPO to visit the USA. Ask him to explain his endorsement and sponsorship of an orchestra that categorically exclude women from membership. Let him know whether his support of the VPO affects your support of other artists on the CAMI roster.

Ronald Wilford
President
Columbia Artists Management International
165 West 57th Street
New York, NY 10019
Tel: (212) 841-9500
Fax: (212) 841-9552

Under Construction

Vienna Philharmonic at Salzburg: First Woman Conductor was Anne Manson on August 26, 1994.

For some reason these folks don't seem to have any difficulty in being associated with the VPO in 1997... Write them -- and their management -- let them know why their appearances with VPO tarnish their reputation and will result in lost record sales.

Daniel Barenboim conducts ten concerts, including the tour of Paris, London, Los Angeles, and New York and also the piano soloist.
Riccardo Chailly conducts three concerts and a Janacek recording for DECCA Records.
Nikolaus Harnoncourt conducts three concerts.
Philippe Herrewegheconducts Bach St. John Passion.
Mariss Jansons conducts three concerts and a EMI Classics recording of Shostakovich.
Riccardo Muti conducts six concerts, including the widely broadcast "New Years Day" concert. Sir Andre Previn conducts a recording of Dvorak and Bruch for Deutsche Grammophon
Sir Simon Rattle conducts concerts on tour in April in Paris, Birmingham, London, Hamburg, and Cologne, as well as a EMI Classics recording of Strauss and Berlioz.
Sir George Solti conducted concerts in November, 1996 in Vienna, London, Paris, and Cologne.

John Eliot Gardiner, Sir Neville Mariner, and Horst Stein all conduct one concert with the VPO as part of the 1997 Mozart Week in Salzburg, sponsored by the International Mozarteum Foundation. It's Sir Neville Mariner's debut with the VPO.

On Thursday, February 27, 1997 the Vienna Philharmonic Orchestra granted membership status to Anna Lelkes, a harpist since 1974 with the orchestra. Ms. Lelkes is the first woman musician to ever become a member of the VPO, and her admittance breaks a barrier against women that has existed since the orchestra's founding in 1842. More information about her is found in "Without Harping: Philharmonic Female Finally Gets Her Due" and in "Strictly speaking until yesterday I did not exist officially, " an interview with Ms.Lelkes one day after she became a member of the Vienna Philharmonic.

The orchestra voted to admit members because pressure to do so on all fronts - from individuals, feminist groups, the international music community, and the Austrian Government - was widely publized in the media. However, they have not changed the makeup of the orchestra that they put on stage: after all, they have been playing with Ms. Lelkes as harpist for over twenty years. They have changed her status -- not their composition. Granting her membership status "effectively immediately" (after 26 years) is a far cry from actually admitting women as members.

While this is indeed a momentous occasion, it marks just the first step of a very long journey. The intragration of women into previously all-male domains is never an easy one: moving from tokenism to equal opportunity takes many years. Sixteen years after the the first woman entered the Berlin Philharmonic there are just six women with regular contracts, with another four still in their probationary periods. All are tutti string players.

Over 80 years ago Dame Ethel Smyth spoke of the "...privilege, till now restricted, for some mysterious reason, to harpists," referring to the inclusion of women musicians in English orchestras. And members of the VPO themselves refer to the presence of female harpists as "so far at the edge of the orchestra that it doesn't disturb our emotional unity." Granting membership to Ms. Lelkes on the eve of an international tour in the face of mounting public protest is an admission of their sexism. It does not reflect real change.

Celebrate? Certainly, since this announcement sets an historic precendent for the VPO. But we must also ensure that membership is open to all qualified musicians based solely on their ability on their instrument without regard to gender, race, nationality, religion, or ethnic background.

Come to the demonstrations! Show your support for the first women member of the VPO, and show the VPO that the world is watching and waiting to see what will happen next.

February 27, 1997

The International Alliance for Women in Music congratulates the Vienna Philharmonic for taking the first step on the road toward equal opportunities for women musicians -- for all musicians -- by finally granting membership status to Anna Lelkes, a harpist with the Vienna Philharmonic who is eligible for membership. This is an historical occasion worthy of celebration.

However, the admittance of women into previously all-male orchestras in just token numbers is well documented. Without a specific plan outlining how women will be admitted in the future through the audition process, the VPO can expect further protests.

In 1996 VPO violinist Helmut Zehtner describes the all-male ideology with his reference to the female harpists; "if you ask how noticeable the gender is with these colleagues, my personal experience is that this instrument is so far at the edge of the orchestra that it doesn't disturb our emotional unity, the unity I would strongly feel, for example when the orchestra starts really cooking with a Mahler Symphony. There I sense very strongly and simply that only men sit around me. And as I said, I would not want to gamble with this unity." (Source: "Musikalishche Misogynie" broadcast by the West German State Radio, February 13, 1996).

The IAWM will continue with our mission of advocacy for ALL women musicians, harpists and others, by educating and informing the general public and the media of the VPO's policies until open auditions occur and women are fairly represented in the orchestra.

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Announcement of February 27, 1997
English translation William Osborne

"THE VIENNA PHILHARMONIKER ANNOUNCES:"

"Today's general assembly of the Vienna State Opera and the Vienna Philharmonic has decided, on the basis of agreements made with State Secretary Wittmen, which secure for the future the special capabilities of the Orchestra, that equal employment opportunity for both genders exists.

"On this basis Frau Ilse Lelkes (Harp) will be employed as a member of the organization of the Vienna Philharmonic, effective immediately.

"In addition the Vienna Philharmonic has decided, to no longer apply for the subvention that they have received up until now."

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This page would not exist without information and assistance from the following people, who have all generously contributed their reseach, expertise, suggestions, and/or personal support. Please join me in thanking:

Jeanice Brooks
Bill Dennison
Lisa Feurzeig
Annegret Fauser
Nora Graham
Jeff Harrington
Regina Himmelbauer
Robert Levine
Laura Ann McLary
Name Withheld By Request (8)
Kristin Norderval
Varda Ullman Novick
William Osborne
Elena Ostleitner
Catherine Pickar and her students at George Washington University
Sally Reid
Michael Ritterson
Clare Shore
Martin Stefflre
Maria Elena Tobon
Marie Verde and her daughter, Kate
Mimi Yin