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Musical Misogyny An interview of the Vienna
Philharmonic by the West German State Radio translated and
transcribed by William Osborne
This
is a transcript and translation of a segment from a one hour broadcast made
by the West German State Radio at 10:05am, Feb. 13, 1996 entitled "Musikalische
Misogynie" [“Musical Misogyny.”]
The first half was devoted to the Vienna Philharmonic, an orchestra
that categorically forbids membership to women and non-whites. In interviews for this program they
elaborate on their belief that ethnic and gender uniformity create aesthetic
superiority in orchestras. Five
people were interviewed:
All
the interviews were recorded and edited for broadcast. The interviewer’s questions were generally
not included. Any statements in
italics are my own editorial comments.
The interview: Zehetner: "There is one common fight in the field, a battle cry, so
to speak, and that is `artistic quality´.
One wants to have music of top quality and sell it in the world. All other interests, including private
interests, are of less importance." Girtler: "Music is something special. It is a special deep knowledge; it has something to do with
magic. I think many men’s groups are
to be understood in this way. They
carry secrets that are involved with music and tones, just like in Australian
aboriginal or Indian cultures where men play certain instruments, and not the
women." "Every scientist must discover,
and invent the correct term: the human as ‘anima ambitosum’, the human as a
being that strives for nobleness, that calls for applause, that wants to be
better. And so it is with the [Vienna] Philharmonic. They want to be good, and there are even
small groups within this group that set themselves apart. That’s what’s exciting, that’s what’s
good. It’s not bad. And it annoys the others." (Ed. Note: The Vienna Staatsoper
Orcehstra/Vienna Philharmonic performs approximately 300 operas per year, and
80 symphony concerts. The orchestra
has 149 members who divide the work.
In spite of continuing protest for four years no women have been
allowed membership except for harpists.
Among other reasons, it is felt that women take too much sick leave,
and thus make dividing the symphonic work difficult. Pregnancy leave is the principle
issue. For further details see my
article “A Difficult Birth.”)
Schuster: "Of course women can also fulfill this double burden [opera and symphonic.] There is no question about that. It is just the question of whether one
takes women in fig leaf positions as some orchestras do--that is, in back row
positions where they are easy to replace during sick leave--or whether they
can be given full rights. [If given full rights] then
naturally one must accept that they would be allowed in the first chair
positions of a world-class orchestra.
Once there, they can’t really be replaced if they take sick
leave--which would, of course, be their right. It wouldn’t be too easy to simply pull a substitute first flute
out of the woodwork." Elke
Mashe-Blankenberg: "I’ve noticed that in 1976 or 7, when
I started counting the number of women in orchestras in concerts I attended,
that women comprised about 10% of the membership. And now after 20 years, it’s about 15% in the orchestras of the
Federal Republic of Germany. That
means a very minimal increase has taken place. And when one notes that over 50% of the music school graduates
are women, while only 15% sit in orchestras, then one must assume that the
women are in private music areas such as teaching, or that they give up their
careers and are simply women with children.
After so much emanicipatorial work, one can conclude that society, and
especially musical society, has changed very little." "It
is notable that in almost all of the buildings where symphonies work, there
are no women’s dressing rooms or warm up rooms. They must use the restrooms or storerooms, even though women
also work all day everyday. The whole
conception of the symphony orchestra is as a men’s organization through and
through." "The
Berlin Philharmonic’s bi-laws state that they were a military orchestra. (Ed. Note: The Berlin Philharmonic has less than 10% women. All are in tutti string positions except
for a harpist and a piccolo player.) The
symphony orchestra, as we experience it today, is 160 years old. We have inherited this very established
structure. It has been
traditionalized as such, and thus its entire foundation, ideologically and
socially, is established as something purely for men." "And
if we go into the areas of orchestras where it is especially difficult for
women, such as the contrabass sections, or all the brass sections--that is,
trombone, trumpet, and horn --then
we find things like pin-up pictures of naked women hanging on the walls of the
warm-up rooms. If a woman comes into
the orchestra, it has to be taken down." "In
the music world there are many...er...let us say, little erotic jokes told
that have to do with sexism. This
doesn’t flow so freely if a woman trumpeter is sitting there. Then, as the men in the group say, they
must remain clean. I’ve heard this
argument many times, that women destroy the atmosphere, and that the men want
to remain unto themselves." Girtler: "What I have noticed that is interesting, is that the Vienna
Philharmonic would also never take a Japanese or such. If they took one, this also would somehow
by appearances put in question the noble character of Viennese culture. A Japanese doesn’t fit in Vienna. But this
is not racist!" Flury: "From the beginning we have spoken of the special Viennese
qualities, of the way music is made here.
The way we make music here is not only a technical ability, but also
something that has a lot to do with the soul. The soul does not let itself be separated from the cultural
roots that we have here in central Europe.
And it also doesn’t allow itself to be separated from
gender." "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." Girtler: "One respects women, of course. One applauds a good singer.
There’s a good story about that.
A famous singer had terrible nervousness because she was going to sing
for the Vienna Philharmonic. But she
was surprised how they applauded her.
They had high regard, but from a distance, as in aristocratic groups:
polite to outsiders, like patrons, but allowing no real inclusion." Girtler: "I have noticed that the Philharmonic
has an initiation ritual, an entrance ritual, that is similar to Australian
aborigines. It is expected that the
young man who is to be taken into the men’s group must show that he can
accomplish certain things: He must
submit to certain tests of courage, he must show a certain ability. But then, he must also clearly and
outwardly show that he is a carrier of secrets." "This
is also the case with the members of the Philharmonic, at least when you
observe the audition rituals. I mean
the procedure that is carried through when someone is accepted into the
masculine union of the Philharmonic.
He must audition behind a screen.
There are about 25 who carry out the testing. Those auditioning cannot see them, which
produces a horrific stress. They must
audition through two or three rounds, they are sought out, and then they must
present themselves. And then they
must submit to a sort of initiation of novices. (Presumably he means a
probationary period in the orchestra.) Only after about three months are they informed whether or not
they will be admitted. It is like in
a monastery. This is exhibited by all
men’s groups." Schuster: "The acceptance ritual
is based solely on the criteria of quality.
He who has put behind himself an "ox tour" of an audition
lasting several hours, or sometimes even two such auditions, and who has proven
himself the victor according to what is actually a merciless K.O. system, and
who after three years in the opera has shown his manhood [seinen Mann stellt]
can become a Philharmoniker. But this is not to be understood as a
ritual, but rather like everywhere else in the economy, it is the bitter
necessity to maintain the highest quality.
And it is also simply the question: Must an artistic organization
inevitably be the mirror of our social reality." Elke
Mashe-Blankenberg: "If Germany is going to train so many
male and female students, then the country must also ensure that decisions
are made upon quality and not gender.
And it is provable that the quality and grade average of the women
students in music schools are equal to those of the male students. And yet it is quite openly known that here
in Germany, and unfortunately in the whole of Europe, that positions are
filled on the basis of gender instead of quality. And when it comes to women, these aphorisms that you hear such
as "Quality always wins", are a pure farce." (The three orchestra members are asked
how they would feel if women were allowed into the orchestra:) Zehetner: "It would absolutely not be a shock, no surprise,
absolutely not. The only
consideration is whether an established structure already existing as a
unified whole, should be frivolously tossed overboard." Schuster: "If we need this or that person, then we will take them
without regard to race or gender.
Otherwise, we couldn’t remain on the top." (The
moderator asks if he finds this good.) "I find this good.
If a woman comes who is old enough, and is in a position to take a
position and fill it properly, then the orchestra would not
object." (He did not explain how women could
show they are qualified, since they are not allowed to audition.) Flury: "No, truthfully said, I wouldn’t be indifferent. I would have an uneasy feeling in the
situation. And that is because we
would be gambling with the emotional unity (emotionelle Geschlossenheit) that this organism currently
has. My worry is that it would be a step
that could never be taken back." Girtler: "In the 1840s the Philharmonic was founded as a men’s
group, which was typical of the time.
And the Philharmonic has been able to maintain this character as a
men’s group up to the present. And
this is somehow even exciting. This
disturbs some. But it is explained
historically." (Ed. Note: The
moderator notes that the tradition of the Philharmonic goes back to the
Imperial Court Ensemble when sayings were common such as, "Women must remain
silent in church.” or to Vienna’s Court
Opera, which filled all women’s roles with castrati. Zehetner comments on the unique
instrumentarium of the Vienna Philharmonic:) Zehetner: "This tradition naturally brings a
certain musical cast of mind with it, and if it is now so that the woodwinds,
or the brass, or even the percussion use instruments that are like no others
used in the world, then it is no miracle.
It is a miracle when one sees that the strings, playing instruments
that are common world-wide, produce a sound that is shown to be different
when scientifically measured than anywhere else." (The moderator
asks how this can be explained:) Flury: "One can probably not find any technical explanation. The explanation in all probability--and
this is my very personal opinion--is in what my two other colleagues have
already mentioned: the soul. Musical
sensibility--for whatever reason it has developed--is oriented to transmute
the significant in music, namely, to transport life energy." Zehetner: "Today one can use
digital methods to measure certain procedures and represent them
graphically. So if you take a simple
string tremolo somewhere out of a Bruckner Symphony, you will see that
different orchestras receive different graphs. And it is also quite funny that the graph of the Vienna
Philharmonic differs quite considerably from the others. There are more similarities in the graphs
that are produced by the Berliners and New Yorkers or Clevelanders than with
the Viennese and Berliners. This is a
phenomenon. Naturally, if one says
today that this is attributable to being all men, this is a questionable and
also socio-politically indefensible opinion.
But in spite of that, it is an interesting point of view. (The sociologist discusses perceived
problems with women:) Girtler: "Pregnancy brings problems. It brings disorder.
Another important argument against women is that they can bring the
solidarity of the men in question.
You find that in all men’s groups." "And
the women can also contribute to creating competition among the men. They distract men. Not the older ones. The older ones don’t give a damn, it is
the younger ones. The older men are
more sensible; women don’t so easily craze them. But the 20 or 25 year olds...
They would be the problem. These are the considerations. In a monastery it is the same. The alter is a holy area, and the other
gender may not enter it, because it would cause disorder. Such are the opinions." Zehetner: "I believe it would surely be pleasant in every day
situations if women colleagues were next to one, when it comes to human
interactions, because mixed gender groups deal with each other differently
than pure men’s groups. In pure men’s
groups statements are probably clearer, more unmerciful, more brutal." Girtler: "Of course, often one
can’t avoid taking a woman as harpist, because there are no men. But there are tricks, the women indeed
plays, but not as a member of the Philharmonic. She belongs to the working group of the State Opera. Indeed one needs her. (Ed. Note: In Europe the harp has
traditionally been the only instrument acceptable for women in an
orchestra. In 1997 the Vienna
Philharmonic made one of its woman harpists an official member of the
orchestra. The other has since
retired. No other women have been
allowed to enter and are still being unfairly excluded.) Zehetner: "We have a male harpist, and two ladies. 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." (Girtler concedes that if women are
allowed educations, they should be given professional opportunities.) Girtler: "In today’s situation, occupational groups such as
professional musicians must open themselves up, because there exists a
wonderful and large offering of women musicians who want to offer their
services. Earlier they didn’t have
free entrance to the universities and conservatories. This is certainly a problem today. But if women are allowed to enter
universities, and if they can develop high artistic ability, then they must
be let into orchestras. I can understand
that. Indeed. But in spite of that, from the men’s
perspective art is fun. It’s fun,
it’s all about fun. It’s not just
about art. That’s just an
excuse." End of interview. The second half of the program is
devoted to women who relate their experiences with sexism. One of them is the trombonist, Abbie
Conant. You can read about her
extraordinary experiences in the Munich Philharmonic in the current Journal
of the International Alliance of Women in Music, or on this website. See: “You Sound Like A Ladies’ Orchestra:
A Case History of Sexism Against Abbie Conant In the Munich Philharmonic.” And regarding the Japanese: a recording
is played by Toshiko Akiyoshi, who leads one of the best professional jazz
big bands in the USA. Neither her
race nor gender seems to limit her artistic ability in a genre considered far
more "ethnic" and "male" than orchestral music. The women interviewed are all highly
recognized professionals. The
recordings presented would indicate that women also have souls.
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