Fertile ground for many orchestras

The Salzburg Wind Orchestra grew out of the Wind Orchestra of the Mozarteum University and now exists as an independent, non-profit company. “Salzburg is a world music city and the best of the best come together at the festival and the Easter Festival and our orchestra is made up of the best of the best,” says conductor and founder of the Salzburg Wind Orchestra, Hanzorg Angerer. .

The concert director and five other musicians belong to the Berlin Philharmonic. “The repertoire is of course very similar to that in our orchestra – with the Berlin Philharmonic, where I have been for 30 years – as a clarinet soloist. I really enjoy it,” says Wenzel Fuchs, principal clarinetist of the Berlin Philharmonic. The Philharmonic, which played in its New Year's concert on Monday, is also part of the year-and-a-half-old orchestra.“I am excited about the project,” says Erwin Falk, drummer with the Vienna Philharmonic Orchestra. “Within a year we had established a limited company, and organized all “Something legally, and we paid attention to the top bands.”

The star percussionist personally supports the orchestra

Salzburg percussionist Martin Grubinger also participated as a solo musician after his departure from the stage, but only once a year. “It's a pleasure to support the project and of course with all the amazing musicians – I mean there are world-class people playing here and I also play the little glockenspiel,” says Grubinger.

Financing large orchestral projects is never easy: “Of course it costs money. International people are very happy to come, but not because of the pay. The pay is OK and it is financed by sponsors and sponsors,” says Angerer. The “Camerata Salzburg” has been around for 70 years and gives about 100 concerts a year – a quarter of them in Salzburg.

Entry fees, sponsors, patrons and subsidies are important

“Economically, we have taken a good step in the right direction by obtaining new sponsorship and institutional funds and, in particular, a significant increase in subsidies from the city and state,” says Andreas, Managing Director of Camerata Salzburg. Brünig. The Salzburg Philharmonic, on the other hand, has only been around for a quarter of a century, and for all its success, it sees every year as an economic challenge.

He added: “We are also getting minimal increases in support, we don't know how much yet, some are still under discussion and others have already been decided. This helps us, but it will not cover fair pay and will only partially cover inflation. ” “Philharmonic Salzburg”: “We have good discussions with sponsors: what we do because we want to survive and we will stay – we also try to get donations.”