More on Vienna

So the Vienna Philharmonic finally recognized that women really can play the violin (or whatever instrument) and appointed a woman as Concertmaster.

In honor of this occasion, which shouldn’t really have to be an occasion (if the Vienna Philharmonic lived in the same decade, or even century, as the rest of us), I asked a few women colleagues across the globe to comment.

“Wow!  That is fantastic!” is certainly appropriate, given how long it took Vienna to appoint a woman to anything.

“Aren’t they worried their quality will suffer” was a cynical comment from a string player in a major orchestra.

And I think all of us would agree with: “It’s just ridiculous that it took Vienna so long, but it proves that there was nothing to fear all along.”

Personally, it makes me think of those women who play with Andre Rieu, who must wear these gossamer evening gowns as they play and are not allowed to perform elsewhere (last I heard – I could have old info). Just how outdated are a few of our musical institutions? I believe the rest of us have long since discarded such arcane thinking. I can’t remember the last time I was confronted with sexism in auditions for symphony positions (it certainly does exist elsewhere, I fear), so this announcement is stunning in its non-news.

Robert Levine has done some analysis of gender in orchestras — my own orchestra is probably about even. Announcing a female concertmaster just should not be international news.

Julie Ayer of the Minnesota Orchestra, and author of  More Than Meets the Ear, How Symphony Musicians Made Labor History, wrote to me:

This wonderful news of the concertmaster position going to a woman is stunning only because of the history of the Vienna Philharmonic. They have been under international pressure for many years to “use the creative potential of the other half of humanity and prove its responsibility for a modern open society,” according to chancellor Viktor Klima. It was not until 1997 that the VPO ended its 155-year-old exclusion of women by admitting harpist Anna Lelkes, who had performed as second  harpist for more than twenty years.

In her position as concertmaster, Ms. Danailova has obviously earned the respect of her colleagues. The all-male club is no longer relevant and this historic appointment is celebrated by colleagues worldwide. Finally the VPO has joined the 21st century, and hopefully many more women will be joining the Vienna Philharmonic in the near future.

Many congratulations to Ms. Danailova!

Here, here, Julie!