History and Architecture

History of the Wiener Konzerthaus
The Vienna Konzerthaus enjoys a unique reputation as a venue, based on three merits: its lively engagement with tradition, its bold programming that attracts new audiences, and its openness to new developments. These virtues have accompanied the Konzerthaus since its inception.

A house for everyone
When people in Vienna dreamed of a future house for music festivals in 1890, they planned a multipurpose building that would appeal to broad sections of the population—in contrast to the traditional Musikverein.

The first idea came from the architect Ludwig Baumann: his »Olympion« was to contain rooms for concerts, an ice skating club, and a bicycle club, and offer space for a total of 40,000 people in an open-air arena. The plan fell through, but his vision lived on, because the concert hall, whose construction began in December 1911, was designed by the same Ludwig Baumann together with the famous theater architects Ferdinand Fellner and Hermann Gottlieb Helmer in such a way that its three halls (Großer Saal, Mozart-Saal, and Schubert-Saal) could be used simultaneously without the events disturbing each other.

The early years
From the outset, the cultural purpose and artistic mission of the Vienna Konzerthaus were clear: »To be a place for the cultivation of noble music, a gathering place for artistic endeavors, a house for music and a house for Vienna.« In this spirit, the Konzerthaus was opened on October 19, 1913, with a festive concert attended by Emperor Franz Joseph I. Richard Strauss composed his »Festive Prelude, Op. 61« for the occasion, followed by Ludwig van Beethoven's Ninth Symphony. This program combination—a contemporary work and a masterpiece of the past—was to become exemplary for the Vienna Konzerthaus: awareness of tradition and a spirit of innovation remain the cornerstones of the Konzerthaus's musical world to this day, forming its artistic identity.

Interwar period
Social upheavals and financial crises during the interwar period had a decisive influence on the artistic profile of the Konzerthaus and led to a diversity in the cultural offerings of the venue that, from today's perspective, can be seen as groundbreaking. In addition to the continuous cultivation of the classical repertoire, the programs of the 1920s and 1930s included important world premieres, jazz and pop concerts, readings by famous writers, spiritualist lectures, events with expressive dance, symposia, congresses, fencing and boxing world championships.

The years 1938 to 1945 were marked by cultural impoverishment for the Wiener Konzerthaus. The Wiener Konzerthausgesellschaft, which continued to exist as an independent institution during the Nazi era, placed itself at the service of the criminal regime and thus largely deprived itself of its central content. Although attempts were made to maintain the appearance of a dignified high culture with classical concerts (albeit with a very reduced repertoire), the Great Hall in particular served as a popular venue for the »colorful evenings« of the »Kraft durch Freude (KdF)« organization: A mixed, uncomplicated program of light music, cabaret, and artistic interludes was intended to distract the working population from the ever-increasing horrors of everyday life during the war.

A new beginning after 1945
After World War II, the Konzerthaus played an important role in the revival and renewal of Austrian musical life. It quickly became the leading organizer of contemporary music in Austria and a sought-after venue for international jazz in Vienna. Event series launched by the Konzerthaus set decisive accents in Viennese cultural life. Early music, jazz, and new music have since become focal points of the Konzerthaus's programming, complementing its artistic core—classical music in all its rich tradition.

The unique atmosphere of the Vienna Konzerthaus attracts not only artists from the international music scene. It also provides the setting for numerous other social events, such as balls, conferences, dinners, company presentations, and celebrations. The Wiener Konzerthaus has a long tradition of event services dating back to the 1920s. However, the wide range of programs and offerings at the Wiener Konzerthaus clearly points to the future. Thanks to a large-scale renovation (1998–2001), the venerable building is also equipped to meet the challenges of the third millennium.

Secretaries General after 1945
Egon Seefehlner (1946–1961)
Peter Weiser (1961–1977)
Hans Landesmann (1978–1984)
Alexander Pereira (1984–1991)
Karsten Witt (1991–1996)
Christoph Lieben-Seutter (1996–2007)
Bernhard Kerres (2007–2013)
Matthias Naske (since 2013)

Architecture
When the Vienna Concert Hall opened in 1913 after only two years of construction, it was one of the most modern large buildings in the Danube Monarchy. It was built by the famous theater architects Ferdinand Fellner and Hermann Gottlieb Helmer in collaboration with Ludwig Baumann, and it set new standards in terms of architecture, visitor friendliness, construction, and building services. The interior design reflected the almost 40 years of experience of the architectural firms Helmer and Fellner: the foyer areas and stairwells allowed the unhindered flow of around 4,000 people; the three halls – all located on one level and yet acoustically independent of each other – could be used in parallel or together for one event; the acoustics and atmosphere of the building were ideal for a wide range of cultural events; the layout and distribution of the catering facilities, with buffets, a coffee house, and three restaurants, met all the social requirements of a modern concert venue. The spaciousness and comfort of the facility impressed audiences and critics alike, as they had been previously unknown in Vienna's traditional music scene.

From an architectural point of view, the Vienna Konzerthaus is a rarity. It blends elements of late historicism, Secessionism, and Art Nouveau to create an ensemble with a character all its own. Thanks to the high artistic quality of the building, there have been only a few renovations and repairs over the years, which have also left the structure of the building largely in its original condition. The general renovation of the building (1998–2001) took advantage of this circumstance: the historic structure was partly reconstructed and partly renovated, and the building was equipped with state-of-the-art technology and a fourth concert hall (the Berio Hall). Thanks to the careful handling of its architectural heritage, the Vienna Konzerthaus is now one of the most modern and, at the same time, most traditional concert halls in the world.