„The foreign fairy child music needs to dress up with so many earthly costumes and needs so much stiffening once it decides to meet so many people that any moment of disturbance “from our world” could easily break its unselfconsciousness and take us out of our illusion.” [1]
Temperament in the auditorium seems to be a common thing in Vienna of 1853/54. That is why the Imperial Opera House had to counteract. What the music critic Eduard Hanslick (1825 – 1904) described in his wonderful ironic way as “aesthetic police” to safeguard the pureness of the music enjoyment.

Hanslick was born in Prague and his musical talents were nourished. But they were not sufficient enough to become a musician so he had to study law. 1846 he came to Vienna proceeded with his studies and wrote reviews of music performances. After three years as jurist in Klagenfurt he came back to Vienna and worked in the cultural ministry. More and more he went into music aesthetics. Among others he was as a member of the jury at the World Exhibition in Paris responsible for music. 1861 he became the first professor for music at the University Vienna after the reform of the university in the 16th century. Being polemic and using his power he could influence the fate of musicians. Dr. Clemens Hellberg, head of the management of the „Wiener Philharmoniker“, mentioned at the symposium to mark the 100th anniversary of the death of Hanslick: “The critic spread anxiety. And this lead to the fact that some artists did not play in Vienna any longer.” [2]

But the Hanslick descriptions of the Viennese “temperament” of the audience are no bad but best cabaret.
“The general manger of the Imperial Opera House did ban repetitions of musical parts of the operas and he could so eliminate the „da capo“ the greatest enemy of the dramatic connection. When Arnold (in Wilhelm Tell) seeks bloody revenge for the murder of his father and is on his way to the Rütli than the audience used to clap till he had to start with the most peaceful face again, listen to the report of the murder of his father again, get shocked again and seek revenge again.”
And there was this “second ban deserving thanks too. The ban to call upon a singer on the stage. How often did we see the hero knifed before our eyes coming back with great Hurrah making compliments! That should not damage our enjoyment any longer!”
And the “entering the stall during an act was banned … Raoul whispers in his first romance:”Quietly did I tell” - you prick your ears expecting the wonderful orchestrated entry of the A-major-accord - when all out of a sudden the peloton fire of ten folding seats answers you.”
Many more of these tragic & comic experiences that now were removed by peace describes Hanslick. And he closes that one species was overlooked in this aesthetic police codex – the early home returners - “whose heart was never warm but whose soup was always about to get cold.”

As I am no opera fan I cheated with the photo (People coming late can only enter during the break). Experts will know this – I took the photo in the Burgtheater. This is already part one of my cultural quiz in the next post here.

Hanslick-Sources:
Universität Salzburg > Lexikon Literatur in der Wiener Moderne > (University Salzburg > Encyclopaedia Literature of the Viennese Modernity) > Eduard Hanslick (in German)

aeiou Austria Encyclopaedia > Hanslick, Eduard

[1] „Eduard Hanslick. Sämtliche Schriften. Historisch-kritische Ausgabe“ (Eduard Hanslick. Complete Works. Historical-Critical Edition) Band I, 2, Aufsätze und Rezensionen 1849 – 1854, (Volume I, 2, Essays and Reviews 1849 - 1854) published and annotated by Dietmar Strauß, Böhlau Verlag, Wien, Köln, Weimar, 1994, Seiten 342 – 344 (Mai 1854)

[2] Foyer „Das Hanslick-Symposium in Wien vom 9. und 10. Oktober 2004“ (The Hanslick-Symposium in Vienna 9 – 10 October 2004) by Markus Gärtner in „Die Tonkunst online“ (The Art of Music online”) , issue 0411, 1.November 2004

Not only two female singers and two male singers survived the horrible fire in the Viennese Ringtheater in December 1881 but columns were under the survivors too. These theatre columns were still usable and cheap. That’s why they were included into the building of the church Kaisermühlenkirche at the Schüttauplatz. A place from where one easily can walk to the ”coldest part of Vienna”. Where a special track commemorates the ice extraction out of the Old Danube and the name reminds us of the discovery of the „Franz Josefs Lands“ in the Northern Arctic Sea.

Two clocks “survived” the fire of the Viennese Ringtheater too. They can be seen in the Clock Museum of the Wien Museum. As is the famous watch and clock collection of Marie von Ebner-Eschenbach.

And there is another Ringtheater memento. To commemorate the catastrophe the emperor gave private money for an imperial trust building (block of flats with a chapel for commemoration) at the Schottenring. Built from 1882 to 1886 by the architect of the Viennes town hall by Friedrich Schmidt. He lived in the house himself to encourage others to take a flat there. And for a small additional job – checking the building’s condition – his rent was reduced.

Not only with the topic Ringtheater but with many other portraits in my Viennese Portrait Gallery I knit a knowledge net with Viennese stories – and I have been doing this for a year now. A net that connects districts and events of the Viennese history. Just like “acquire it to own it” and first of all to enjoy it!!

Viennese History-Sources:
„Wien wäre anders, wenn… - Bekanntes und noch mehr Unbekanntes aus Wien“ (Vienna would be different if … - Known and unknown facts about Vienna) by Franz Hawla, Edition Volkshochschule, Verband Wiener Volksbildung 1999, Seite 113

Information Uhrenmuseum of the Wien Museum

„Friedrich von Schmidt (1825 – 1891). Ein gotischer Rationalist.“ (Friedrich von Schmidt (1825 – 1891). A Gothic rationalist.) Exhibition catalogue by Peter Haiko, Renata Kassal-Mikul, Historisches Museum der Stadt Wien, Wien, 1991

In my last Viennese portrait I talked at the end a bit about charming Viennese gentlemen. Today I want to look more deeply into this topic with a portrait of the protectors of women all over the world – the brothers Settmacher. They produced thimbles in the 14th district (Penzing) to protect women in all continents and some men too.

Ferdinand I., Josef I., Franz I., Ferdinand II., Josef II. and Franz II. produced thimbles from 1863 onwards. That male name symmetry might have been a guarantee for symmetrical products. And what products: in national colours or with borders of hearts/waves/stars/lilies of the valley/bay leaves/vine leaves or with pictures for instance from Franzl via Sissi to the Karlskirche, with Petit-point embroidery or with Salzburger Band. A crystal heart on top of it or a thimble as a give away. Made of aluminium, brass, silver-coated, gold-plated. Small charming pieces of art!

It started when Ferdinand I, a locksmith from the Erzgebirge, came to Penzing and founded the “Metal Ware Firm Ferdinand Settmacher“. He produced thimbles and umbrella parts. His brother Josef moved to Penzing too and Franz followed them. When Josef died his sons Ferdinand II and Josef II started managing the firm. A well had been built and they produced electricity themselves with diesel oil and a diesel engine. Moreover they expanded the production. “One of the largest buyer was the czarist Russia. Every month 700,000 thimbles – only of one kind – went to Russia.” [1] They sold thimbles to other firms as well; these firms complemented their production with these thimbles. For instance the Nadelburg thimbles are anonymous Settmacher thimbles.
In economic difficult times give away thimbles came into fashion. In 1927 one model was produced 2202000 times.
After World War II Hilda Settmacher, the daughter of Josef II, tried to manage the firm. In 1846 she meets Franz Groiss. And it happens – they fall in love and he becomes Franz II. And as always the ones who come to a family from outside are the sincerest and most committed members what his wonderful book about the firm (please see sources) shows.

More thimbles? Pictures, pictures…

Settmacher-Sources:
[1] „Fingerhutfabrik in Wien, gegründet 1863 / Thimble Factory in Vienna, founded 1863“ edited by Franz Groiss (Franz II.), translation by O. Adelhofer and E. Jahn, Eigenverlag, Wien 1990

District Museum Penzing (Photo Settmacher thimbles in the Museum)

The story of “Hansl Schmid, the Last Master of the Viennese Songs” („Hansl Schmid, dem letzten Herrn des Wienerliedes“) shows that you can answer the question in a flexible way whether one should earn ones living with his/her creativity or whether one should live with his/her creativity and be successful without any super star contest.

In 1897 Johann Schmid was born in Ottaktring. Together with friends his parents rent the restaurant in the Türkenschanzpark. Johann grows up with concerts of military musicians, Deutschmeister, dragoons, 84er. 1908 his parents give him a piano and he becomes an opera lover: from Walküre till the Tote Stadt. Although very musical Johann studies at the commercial college. He becomes a merchant and works in a fig-coffee firm, later he is head of sales of Dolus-Shoe Polish. With the owner, a singing lover without the voice for singing who consoles himself with visiting opera and musical performances Schmid meets many stars like Jan Kiepura or Richard Tauber at his first evening. Schmid could sing and he did so – the Viennese Songs, at the Heurige (wine tavern) when everyone was singing. And then there is this historical moment - a day out in the Liebhartstal. Where he doesn’t sing because of holding the “house singer” Matauschek in high esteem. But Matauschek asks him to step forward and sing together with him. Schmid with much courage sings together with Matauschek in two voices the Ottakringer Marsch. “This was the birth of the Viennese Songs singer Hansl Schmid.“ Who more and more sings in public but keeps on working – as head of sales of the cheese factory Drechsler.

31 December 1952 Schmid opens the Old Viennese Concert Coffee-house Schmid Hansl in Währing. It is planned as nightspot for the Viennese Songs and getting into contact for his friends and acquaintances and guests - musicians, actors, painters, singers and the lovers of the Viennese Songs. Not a place to earn much money. The previous owner had warned him: “I tell you very honestly you will have only some guests and they will have a small coffee and seven glasses of water and sit there till the know all newspapers by heart.” When opening the coffee-house Schmid had invested all his money leaving only 10 Schillings aside. The place was accepted! Visited by Tennessee Williams, Julia Migenes as well as Hans Moser, Paul Hörbiger, Fritz Muliar and Bruno Kreisky.

Johann Schmid was the first Austrian for whom a memorial (photo, in Türkenschanzpark) had been raised when he was still alive. The Viennese major Helmut Zilk organised this to honour Schmid’s merits for cultivating the tradition of the Viennese Songs.
1987 Schmid died in Vienna.

The Schmid Hansl today is being managed by his son and is a first address for “Viennese, Original, Fancy, Verse, Harmonica, Schmäh, Well Knowns, News, Button Harmonica, Viennese Dances, Special Guitars”. Versatile – traditional and modern like the Viennese Opera House – but much cheaper & cosy. And another advantage: you will be welcomed by the owner even as normal female guest with a perfectly indicated kiss on the hand and a unobtrusive bow.

Photos made in the Schmid Hansl: from top, a small part of the memories on the walls among others a painting of Schmid Hansl, below Prof. Marika Sobotka (8 March 2007) singing „From Viennese Songs to Evergreens“.

More Viennese Songs? Overview, film (At night in Vienna in a Heuriger (wine tavern), about 1936) und Information portal

Schmid Hansl-Sources:
„Hansl Schmid, dem letzten Herrn des Wienerliedes“ (Hansl Schmid, the Last Master of the Viennese Songs) by Harry Glöckner, Tusch, Wien 1983

Website of the coffee-house (with audio file „Mein Herz das ist ein Bilderbuch vom alten Wien“ (my heart is a picture book of old Vienna) and events) and information from his son.

Many events in which I participate actively/very actively don’t give me the time to paint new portraits. But very soon I proceed here with translations of the last portraits done in German and with a fairy tale of a railway station in a town called Vienna.

Annette Hexelschneider