My approach to this project focuses on a limited part of Austrian culture: on the popular music of Vienna and its surroundings in the late 19th and early 20th centuries. It deals mostly with the folk music sung and played in the Heurigen of the outer districts, where people went for entertainment, drinking wine and listening to (or playing) music, and in the vaudeville shows in the city. The Wienerlied, a very specific type of song, as well as the instrumental music of the period under discussion were indebted to many influences, chiefly from the music of the alpine regions, such as Styria, Tyrol, or Carinthia, but also the music of the immigrants from the Northern and Eastern parts of the Austro-Hungarian Empire. During the age of industrialisation many people, mostly from Bohemia and Moravia, moved to Vienna, where they found plenty of work in the construction of the monumental buildings of the Ringstraße and the tenements in the suburbs. Since these immigrants all brought their music with them, Vienna soon became a big melting-pot of musical styles. And, to put it simply, from this mixture arose Viennese music, the Lieder, the marches, the dances; the Viennese considered this music their own, no longer recognising the foreign origin of some of the elements, which had been fully absorbed.

1. Schrammel-Quartett “Maxim”: Slibowitz-Tanz
   

   This instrumental piece typically shows how Viennese music comprises foreign elements. It is a polka dance introduced via Bohemia, but in the violins also something of the sound and the feeling of Pannonian music can be recognised. The music is played by the Schrammel quartet “Maxim”, named after the Maxim club in the city of Vienna. The composer is Rudolf Strohmayer, a member of a dynasty of musicians who all played various instruments. His instrument is the traditional chromatic “Altwiener” accordion, not with keys but with buttons. The dance has been curiously named after Slibowitz, a Croatian or Serbian plum brandy; it is not very clear what the title should mean, but it might have to do with the uncertain, irregular tempo of the piece which might resemble the unsteady step of a drunken man. It is important to know that in Viennese language the word “dance” does not mean music for dancing. It is a term for any kind of tune, either vocal or instrumental.

   
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   Beka 116 (53116) Schrammel-Quartett „Maxim“: Slibowitz-Tanz (Rudolf Strohmayer), recorded ca. 1910.
   
   
   
   
   
   
2. Georg Tramer with piano accompaniment: Czardas
   

   Around 1900 Budapest was one of the cultural centres of the Austro-Hungarian Empire, and Viennese folk music ensembles often played in the entertainment clubs and music halls of the city. The musicians were thus well acquainted with the music of the Hungarian gypsies, and especially the virtuoso performances of the “Csárdás” dance impressed them deeply; it is therefore not surprising that this dance can also be found in the repertoire of these artists. At that time artistic whistling was part of the performances of folk ensembles as well as of the programmes in the vaudeville shows, and the “Kunstpfeifer” were accepted as noted artists. One of them was the Viennese locksmith Georg Tramer, who started whistling with the folk musicians and was professionally hired by the music halls for his extreme virtuosity. His whistling was reputedly indistinguishable from instrumental performances. His recording of a czardas from 1902 may not fully live up to expectations, but it gives a good impression of this fashionable speciality.

   
   
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   Gramophone Concert Record G.C.-49274 (950 x) Georg Tramer: Czardas (unknown),
   recorded 1902 .
   
   
   
   
   
   
3. Mizzi Starecek & Leopoldine Lauth: Zwa Fiedeln, a Klampfen, a Maurerklavier
   

   Around 1900 new influences appeared: the popular tunes from Europe’s entertainment centres – Paris and Berlin. And soon afterwards the Anglo-American dance music changed popular music and supplanted local styles worldwide, also in Vienna. It was a real threat for the musicians who were afraid to lose their jobs, so most of them turned into modern dance bands and played their own music only rarely for enthusiasts. After WWI the Wienerlied and the local instrumental music changed from a typical regional culture into one amongst others. Viennese people had always been afraid of influences from outside. They first had refused the immigrants and accepted them – their language, their cultural differences – only slowly, and, as a reaction, developed a strong, even exaggerated self-confidence in their songs. The same effect happened later, when the music from the USA and England threatened the existence of Viennese music, as some musicians and music lovers believed. This topic is featured in the lyrics of a song, sung by two famous female singers of the Wienerlied, Mizzi Starecek and Leopoldine Lauth, recorded in the early thirties.
   To summarise the contents: the singers complain about distinguished people raving about loud jazz music, that there exists as yet no censorship for this kind of torture, and point out that its admirers are all deaf and stupid; in the famous cafés people enjoy the latest dances of the Ashanti tribe, and the singers state: that’s no good, we leave “avanti”, which evidently has to rhyme with “Ashanti”. What Viennese would need to be happy is: two violins, a guitar, an accordion and a glass of wine. For all this they give their last money, and they are satisfied with cheap food the other day. That could be understood only by a Viennese! Of course this is a very limited view of what Viennese people really think and do. Most of them regard songs like this as perhaps loveable and humorous but unrealistic reflections on the character of this type of men.
   By the way, the music of this song was written by the Jewish composer Theodor Wottitz, one of the musical contributors to the “Budapester Orpheumgesellschaft”.
   

   
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   Odeon A 161383 a (2185) Mizzi Starecek & Leopoldine Lauth: Zwa Fiedeln, a Klampfen, a Maurerklavier (Theodor Wottitz – Karl Leibinger), recorded in winter 1935/36.
   
   
   Lyrics: Karl Leibinger, music: Theodor Wottitz, Op. 334, sung by Mizzi Starecek & Leopoldine Lauth,
   1st verse & refrain
   
   Die feine Nobless schwärmt heut nur mehr für Jazz,
   Besonders wann s ordentlich scheppert,
   Für so a Tortur gibt s noch ka Zensur,
   Da san alle törrisch und teppert.
   Im Grabenkaffee dort genießt man zum Tee
   Den neuesten Tanz der Aschanti,
   Ich aber denk stumm: Pepi, drah dich um,
   Da haßt s nix, da gehn ma avanti!
   
   Mir san halt zwa Weana, mir können nix dafür,
   Mir brauchen um selig zu sein
   Zwa Fiedeln, a Klampfen, a Maurerklavier
   Und a Glaserl voll heurigen Wein.
   Da werd ich wirrwarisch, ganz wurlert und narrisch,
   Für so was da bin i a Kren.
   Zehn Schilling für d Schrammeln und morgn freß ma Grammeln,
   Das kann nur a Weana verstehn!
   
   
   
   
   
   
4. Fritz Imhoff: Da san mir net scharf drauf in Wien. Ein Lied von der Wiener Seele
   

   This song expresses similar thoughts, but its way of treating the Viennese character is ironic and revealing the mendacity of this point of view. The song was composed by Ernst Arnold (his actual surname being Jeschke), an artist who became famous thanks to the advent of radio, and the lyrics were written by a very important Jewish cabaret actor and author, Fritz Grünbaum, who was murdered by the Nazis in the concentration camp of Dachau in 1941. This recording was made around 1925, and the singer is Ernst Arnold’s brother Fritz Imhoff (alias Jeschke), a famous operatic singer and a favourite actor in German movie comedies.
   The song title might be translated as “We are not keen on that in Vienna”, the subtitle “A song about the Viennese soul”: We, the Viennese, think of ourselves as a special race without character – which is too strenuous – but with a very special way of life. We don’t want to be bothered with progress and culture, we are content with keeping calm and quiet, we are not willing to keep up with the herd of nations. We trust in God, who keeps us healthy, and if he doesn’t we perish anyway. But we don’t want to work and strive – in Vienna we are not keen on such things. That seems to be a very destructive judgement, but it is presented in such a humorous, self-ironic way that you cannot really be angry about it.
   

   
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   Polydor B 42296 (3727 ar) Fritz Imhoff: Da san mir net scharf drauf in Wien (Ernst Arnold – Fritz Grünbaum), recorded 1926.
   
   
   Lyrics: Fritz Grünbaum, music: Ernst Arnold, sung by Fritz Imhoff, 1st verse and refrain
   
   Mir in Wien sind eine ganz besondre Rasse,
   An Charakter ham ma net, das strengt uns an;
   Aber trotzdem san ma eine eigne Klasse,
   Mir san mir und habn an ganz besondern Schan!
   Wann die andern Völkerschaften von Professern
   Sich erfinden lassen Fortschritt und Kultur,
   Mir in Wien mir wolln a Ruah habn und nix verbessern,
   Mir san halt weanerisch, das is uns gnua.
   Und wenn die andern immer vorwärts schreiten Schritt für Schritt,
   Mir san a wilde Völkerschaft, mir machen das net mit.
   
   Da san mir net scharf drauf in Wien, is s net wahr?
   Mir schaun, ob die Trauben hübsch blühn, aber klar!
   Mir habn ja an Herrgott, der macht uns schon gsund,
   Na, und wann er s halt net macht, dann gehn ma halt zgrund,
   Aber arbeiten und uns bemühn, sehn S!
   Da san mir net scharf drauf in Wien!
   
   
   
   
   
   
5. Fritzi Rolly: Englisch Wienerisch
   

   Language probably is a more determinant and distinguishing factor among different people than music. The Viennese dialect has proved a melting-pot of languages (French, Italian, Czech, Hungarian, Latin, Turkish, Hebrew, or Jiddish) similarly to music styles. At the beginning of the 20th century the English influence increased, and again the Viennese took up a lot of foreign words in spite of the disapproval they showed in their songs. One of the most prolific song-writers of the pre-war era was the comedian Turl Wiener (actually Theodor Windbrechtinger), star of the “Colosseum” theatre. For his wife, the soubrette singer Fritzi Rolly, he wrote a mocking song about the upcoming English fashion in language, singing, cuisine and even making love. It is a mixture of German, Viennese dialect and scraps of English, called “English Viennese”.

   
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   Zonophone 523076 (13030 l) Fritzi Rolly: Englisch Wienerisch (unknown – Turl Wiener),
   recorded 14.10.1911.
   
   
   Lyrics: Turl Wiener, music: unknown, sung by Fritzi Rolly
   
   In Wien da geht’s jetzt traurig zua, oh yes, yes, yes, yes, yes,
   Man hört fast singen englisch nur, oh yes, yes, yes, yes, yes,
   Ist es auch der allergrößte Plunder, d Weaner schlucken s alle runter,
   How you do, was sagen S dazu, so geht s bis in der Fruh.
   
   Englisch Lady, very nice, oh yes, yes, yes, yes, yes, yes,
   Hat rote Haar wia Paradeis, oh yes, yes, yes, yes, yes,
   Hört man sie so englisch singen, da könnt ma aus der Haut glei springen,
   Englisch Miss, wie bist du mies mit deine magern Füß.
   
   Englischmen are very good, oh yes, yes, yes, yes, yes,
   Hat steife Füß und steifen Hut, oh yes, yes, yes, yes, yes,
   Seine Dress is fashionable, d Schuach so groß als wia a Comfortable,
   Schnurrbart sein gstutzt sehr klein, wia a Zahnbürstel, o mein.
   
   Englisch lieben is all right, oh yes, yes, yes, yes, yes,
   Wenn sich verliebte Leut, oh yes, yes, yes, yes, yes,
   Die Lieb erklärn, sagn s bloß well, well, das klingt grad wie ein Hundsgebell,
   Dann flugs, o mein, beim Zärtlichsein da schlafen s beide ein.
   
   Unlängst sagt ein Englischman, oh yes, yes, yes, yes, yes,
   Wolln Sie meine Lady sein, oh yes, yes, yes, yes, yes,
   Was, sag i, i soll jetzt Roastbeef fressen, hab mei Lebn nur Wienerschnitzeln gessen,
   Englischman mit dein Spleen, oh, lassen S einen gehn.
   
   
   
   
   
   
6. Josef Bauer-Ensemble: Beim Wiener Heurigen. Comic Scene
   

   The mingling with people of different nations and cultures has produced a very specific type of human being. Most of the people who came to Vienna in the early days stayed there and were assimilated (Vienna’s telephone book is full of names which reveal the real origin of their ancestors). The following record, a conversation at a Heurigen between a native Viennese and his wife, a Bohemian and a Jew, is a piece of mockery featuring three different but equally plain and simple people, which need not be translated in detail. It is not difficult to distinguish the three actors by the different kinds of parlance and dialect. This comic record was issued under the name of Josef Bauer, a former member of the Jewish “Budapester Orpheumgesellschaft”, one of the most acclaimed vaudeville shows of the time between 1889 and 1919, although Josef Bauer was not Jewish himself. The record starts with a Wienerlied by two singers who cannot be found on the label, but are easily recognised as Edi Stadler and Rudi Hermann, who became famous in the 20s and 30s. At the end of the record the vocalists can be heard with a so-called “Dudler”, a kind of yodelling in a very specific Viennese way, possibly alluding to a very important source of Viennese music: the alpine style.
   The Bohemian considers himself “ein echter Wiener”, a genuine Viennese, in this conversation and he defends the Viennese way of living against newcomers or other minorities, here against the Jews. It was very similar in musical development: If changes occurred foreign elements were integrated by musicians into their original music, and the result was regarded as their own music.
   

   
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   Favorite Nr. 219 (219) Josef Bauer-Ensemble mit Natursängern (Edi Stadler und Rudi Hermann): Beim Wiener Heurigen (Heinrich Strecker – Alfred Steinberg-Frank / unknown / Trad.), recorded ca. 1920.
   
   
   Song lyrics: Alfred Steinberg-Frank/Trad., music: Heinrich Strecker/Trad., conversation by unknown text author, sung by Edi Stadler & Rudi Hermann, spoken by Josef Bauer & ensemble members
   
   Natursänger:
   Liebes Wien, du Stadt der Lieder,
   Einmal kommt die Zeit, s is ja nimmer weit,
   Und du wirst die Alte wieder,
   Vaterstadt der Gmüatlichkeit.
   
   Conversation:
   Viennese: Hörst du, die Stelzen is da aber flachsig! I hab da alles in die Zähnd drin. Gengan S, Mandl, bringen S ma an Liter Wein, und du gib s Gansl außa. Himmel servas no amal eini! Jetzt hab i da die Quargeln daham lassen. Na, dös is aber do zu blöd so was.
   Bohemian: No was sagst, Schani, ha? Stelzen hat er do, Gansl hat er do und Quargeln hat er vergessen, das depperte Hund, das. Sie geht am Kärtnerstraß am Spagat und er bei die Heurigen, waßt, Kavalier do, Ganselfresser, ha, ha, ha, ha!
   Viennese’s wife: Geh Karl, stier da do net mitn Messer die Zähnd aus, zu was is denn die Gabel da?
   Viennese: Aber, halt dö Pappen!
   Jew: Sö, Herr von Natursänger, do haben Sö e Fetzen und singen S me dö Salome.
   Viennese: Also, was sagst da zu dem jüdischen Schiaber! A so a Preistreiber. An Fetzen gibt er her für die Salome. Die Salome braucht er.
   Bohemien: No, wann e Salami will, da soll e zum Kashandler gehen. Mi brauchen ka Salami, mi san ma echte Wiener von die echte Korn Schrott und mi brauchen kane jüdischen Gstanzeln do. Du Schatzerl, geh, kumm. Kumm her do, geh sing mi das Lied „Mein Wien is erst das schönste am Nacht“. Oder waßt was, teits ös alle zwa duddeln miteinander. Ja, das wird besser sein.
   
   Natursänger:
   D Lerchenfelder-Hanni, d Schottenfelder-Fanni,
   Und die Juden-Poldl, alle drei,
   Die san am Marktplatz ganga, haben an Stier wolln fanga,
   Daweil san s gstössen wurn alle drei.
   Yodelling
   
   
   
   
   
   
7. Josef Bauer & Ensemble: Der deutsch-böhmische Sprachenstreit
   

   In the days before WWI the Bohemia/Moravia/Slovakia-born Slavs were a quite considerable minority in Vienna, amounting to about a third of the population. They were dominant in some professions, e.g. as maid servants, midwives or workers in brickyards. This recording, again with Josef Bauer and members of the Budapester Orpheumgesellschaft, describes indirectly the situation of these people within the Viennese society. It is designed as a fervent speech to a political meeting of Bohemians in their typical jargon with a mixture of German and Czech. The speaker argues that Vienna is a Czech city, he demonstrates the irreplaceable role of the Czechs and the speech culminates in the appeal to his compatriots to exterminate the Germans by no more raising their children. Although this is a joke and mere mockery, it demonstrates many problems of the Czechs in Vienna and between the German-speaking and the Czech-speaking people in general; the title “The German-Bohemian battle of the languages” makes this very clear.

   
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   Janus No. 5458 a (2102) Josef Bauer: Der deutsch-böhmische Sprachenstreit (unknown), recorded 1910.
   
   Text: unknown, performed by Josef Bauer & ensemble (Budapester Orpheumgesellschaft)
   
   

   Geehrte Versammlung!
   Vor allem konstatieren wir die Anzahl der Besucher unserer heitigen Protestversammlung. Wir haben 1.200 Einladungen verschickt, außerdem hätten noch 2.000 Personen kommen kennen, anwesend sind vier Personen, folglich kennen wir sagen, dass die Versammlung von beiläufig 7.000 Personen besucht war, und bitte das den Parteiblättern gefälligst mitteilen zu wollen.
   Geehrte Versammlung! Die tschechische Nation ist in Gefahr! Die Deitschen wolln uns unterdrucken. Wir sollen die tschechischen Schulen sperren. Wir werden uns aber von die Deitschen nicht am Kopf machen lassen, sondern wir machen s Maul auf. Hab ich recht, natürlich! Wir kennen heite ruhig sagen, dass Wien eine tschechische Stadt ist. Bitte, Wien ist heite nur mehr eine Vorstadt von Prag. Nicht wahr, meine Herren, ich hab ja Recht, nicht wahr. In Simmering, Favoriten, Hernals etc. da hörn Sie nur mehr tschechisch reden. Wir Tschechen habn mehr Anrecht auf Wien wie die Deitschen. Wenn die Tschechen nicht wären, da schauert das Wien sehr traurig aus. Hab ich Recht, meine Herren, nicht wahr! Also segn Sie, das glaub ich, dass ich Recht hab. Da haben s dann kane Fünfkreuzertanz, kan Ammel, kan Findelhaus, kan Kanalramer und kane Quargeln. Wenn Böhm nit wärn, da wärn die Wiener in der Posrana Ulice. Da tätn s in ihrn eigenen hovno ersticken, denn wer is Kanalramer! Böhm, na also! Hab ich Recht, na segn Sö, meine Herrn! Wenn Böhm nit wärn, hättn s kane Brieftrager, kane Veteranen und kan Powidl.
   Meine Herren! Der erste Mensch, der Adam, war schon a Böhm. Und da soll me uns unterdrucken lassen? Die Deitschen, die solln sich nicht spieln mit die Tschechen. Wenn der zweischwänzige böhmische Löwe gereizt wird, is er a Ochs. Der haut alles zusammen. Mir hamme so an dicken, harten Kopf, wenn me uns den aufsetzen, habn die Deitschen nix zum lachen. Mit unsere Schädel rennen mir die ganze Wienerstadt ein. Hab ich Recht? Mir müssen die Deitschen ausrutten, mir dürfen durch unsere Ammeln nicht mehr die deitschen Kinder großziehen lassen. Sollen sich selber Ammel machen, wenn sie ane brauchen. Das muss eingstellt werden. Sehr Recht, ja sehr Recht hat der geehrte Herr Vorredner. Unsere Madeln, die Töchter, die Libušas, derfen nicht mehr findeln, dann kriegn s kane Kindeln, dann kennen die Wiener das Findelhaus in Dorotheum hineintragen.
   Meine Herren! Zum Schlusse der heutigen Versammlung hab ich noch eine großartige Bemerkung zu machen. Wir rufen den Deitschen ein großmächtiges Pfui zu. Die Deitschen wolln immer Lex Hartmann, und wir Tschechen, wir wollen Lex prdel.
   „Do huby“, ruf ich!
   

   
   
   
   
   
   
8. Josef Schill: Die Wiener Luft. Parody on “Die Berliner Luft”
   

   Yet also a common language can sometimes be a separating factor between two countries or nations. This paradoxical statement is confirmed by the relations between Germans and Austrians. Especially the brisk, self-confident speech and appearance of the Prussian was one of the favourite subjects of the critical verses in songs. Nevertheless there was always a strong link between the cities of Berlin and Vienna, based on a similar metropolitan cultural life. Viennese musicians were frequently invited for concerts, and the popular songs of the latest Berlin musical shows quickly found their way to Vienna. One of the most successful operatic songs by the Berlin composer Paul Lincke became a popular song in Vienna. In 1906 the Heurigen singer Josef Schill of the “Grinzinger” ensemble recorded “Wiener Luft”, a Viennese parody on Lincke’s song about the “Berliner Luft” (Berlin air). The last stanza is about air pollution caused by the automobiles.

   
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   Gramophone Concert Record G.C.-3-42554 (4121 l) Josef Schill: Die Wiener Luft (Paul Lincke – unknown), recorded 1906
   
   
   Lyrics: unknown, music: Paul Lincke, sung by Josef Schill
   
   Man sieht die alte Kaiserstadt als junges Mädchen prangen,
   Weil sie sogar im Winter hat zwei Rosen auf den Wangen,
   Wo einst nur ein Gerümpel stand und Bäume ohne Äste,
   Da wuchsen Gärten in der Stadt und herrliche Paläste.
   Ja, ja, ja, ja, ja, ja.
   
   Das macht unsre Wiener Luft, Luft, Luft,
   Mit dem frischen, zarten Duft, Duft, Duft,
   Besonders dorten wo die Stadtbahn pufft,
   Die verpufft, pufft, pufft unsre Luft, Luft, Luft.
   Das macht unsre Wiener Luft, Luft, Luft,
   Mit dem frischen, zarten Duft, Duft, Duft,
   Besonders dorten wo die Stadtbahn pufft,
   Das schadt unsrer Wiener Luft.
   
   Ich frug ein Kind, das promeniert, wie alt bist du, du Kleine?
   Da sagt sie ganz schnell du zu mir, ich werd jetzt schon bald neune.
   Nach Mödling fahrt sie mit Mama, da sagt die kleine Hexe
   Zum Kondukteur der Eisenbahn, erst nächstens werd ich sechse.
   Ja, ja, ja, ja, ja, ja, ja, ja, ja, ja, ja.
   
   Das macht unsre Wiener Luft, Luft, Luft,
   Mit dem frischen, zarten Duft, Duft, Duft,
   Besonders dorten wo die Stadtbahn pufft,
   Die verpufft, pufft, pufft unsre Luft, Luft, Luft.
   Das macht unsre Wiener Luft, Luft, Luft,
   Mit dem frischen, zarten Duft, Duft, Duft,
   Besonders dorten wo die Stadtbahn pufft,
   Das schadt unsrer Wiener Luft.
   
   
   Wo bist du hin, du schöne Zeit der grünen Zeiserlwagen,
   Das Pferd tat seine Schuldigkeit, kein Mensch konnt sich beklagen,
   Eintrat das Moberl mit Benzin, das bimmelt durch s Gewimmel,
   Kein Mensch ist sicher mehr in Wien, fürwahr, das stinkt zum Himmel.
   Ja, ja, ja, ja, ja, ja, ja, ja, ja, ja, ja.
   
   Das verdirbt die Wiener Luft, Luft, Luft,
   Wenn s nach Benzin überall duft, duft, duft,
   Wenn das Moberl durch die Straßen pufft,
   Wie die Luft, Luft, Luft wird verpufft, pufft, pufft.
   Das verdirbt die Wiener Luft, Luft, Luft,
   Wenn s nach Benzin überall duft, duft, duft,
   Wenn das Moberl durch die Straßen pufft,
   Das verdirbt die Wiener Luft.
   
   
   
   
   
   
9. Armin Berg: Da halt ich mich zurück
   

   Jewish orthodox culture was performed far apart from Vienna’s society, in the synagogues and social circles, including a music which had nothing to do with the characteristics of the local Viennese music. But there lived also many non-orthodox Jewish people in Vienna who took part in the cultural life of the city – the rich ones as patrons of the fine arts, and the gifted ones as artists, composers, authors and entertainers of a very special kind. The „Budapester Orpheumgesellschaft“, for example, acted as an important pool of comic and writing talents who later became famous entertainers in the Jewish style of cabaret and „Kleinkunst“. One of them was Armin Berg (actually Hermann Weinberger), who can be heard in one of his early recordings from 1914, shortly after he had left the “Budapesters”. In this couplet song, which can be roughly translated as “Then I restrain myself”, he demonstrates many kinds of prejudice with which Jews were confronted. This song mirrors the typical way of self-irony Jewish artists used in commenting on their own weaknesses and compensating their position within Viennese society. In each stanza one situation has to be overcome by retreating. There is much anxiousness about spending money, about high costs of love affairs and so on.

   
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   Zonophone 522391 (5192 ae) Armin Berg: Da halt ich mich zurück (unknown),
   recorded 1913.
   
   Lyrics & music: unknown, sung by Armin Berg
   
   Ich bin ein idealer Mensch, drum weiß ich ganz genau,
   Dass ich mir einmal nehmen wer aus Liebe nur e Frau,
   Wenn sie mir gfallt, dann nehm ich sie, ob sie dünn is oder dick,
   Aber wann sie vielleicht hat kein Geld, no dann halt ich mich zurück.
   
   Ich wohn bei der Frau Morgenrot, die hat ein Töchterlein,
   Die bringt zuweilen in der Früh mir den Kaffee herein,
   Dabei geb ich der süßen Maid sehr gerne einen Zwick,
   Aber wann die Mutter selbst kommt, na dann halt ich mich zurück.
   
   Wenn ich ein schönes Mädel seh am Abend ganz allein,
   Da führ ich sie als Kavalier sofort in Stadtpark rein,
   Da sitz ma auf e Bank, wo ich mit Liebe sie beglück,
   Aber wann sie was vom Nachtmahl redt, na dann halt ich mich zurück.
   
   Wenn einer mir e Unrecht tut, versteh ich keinen Spaß,
   Auf ja und na kriegt er von mir fünf Pätsch und noch e Fraß,
   Im Zorn da bin ich wie e Viech, bei mir hat keiner Glück,
   Nur wenn der andre stärker is, na dann halt ich mich zurück.
   
   Sie kennen doch Marienbad, das is ein Paradies,
   Nur schad, dass jede Kleinigkeit dort gar so teuer is,
   Will ich an Rand hinsetzen mich auf ein paar Augenblick,
   Na das kostet zwanzig Heller gleich, drum halt ich mich zurück.
   
   
   Die Liebe ist ne feine Sach, meint jeder, der sie kennt,
   Nur stellen sich oft Folgen ein, potztausend Aliment,
   Wenn ich bedenk, was manchmal kost a Stunde Liebesglück,
   Gleich dreißig Kronen monatlich, drum halt ich mich zurück.
   
   Ich sehn mich oft nach etwas Fleisch, jedoch ich armer Mann
   Seh deutlich, dass ich den Genuss mir doch nicht leisten kann,
   Jetzt kost doch in der Kärntner Straß zehn Kronen jedes Stück,
   Ja wenn die Preise so hoch sind, da halt ich mich zurück.
   
   Ich hätt noch ein paar Strophen hier, sehr hübsch und intressant,
   Doch muss ich offen es gestehn, sie sind auch sehr pikant,
   Und ich seh da so viel Damen hier, die so reizend sind und chic,
   Und ich, ich schäm mich kolossal, drum halt ich mich zurück.
   
   
   
   
   
   
10. Maly Nagl: A Weaner Shimmy. Foxtrot-Shimmy-Parodie
    

    Although the Viennese and their musical artists continued to refuse all foreign influences, keeping off everything that seemed strange und unfamiliar, and although they persisted in keeping alive their cultural heritage, they – perhaps unconsciously – integrated a lot from outside into their music. Today this might be observed even more in the so-called “world music” movement. At that time, in the 1920s, only very few positive statements can be found concerning the assimilation of foreign musical styles. The last musical example is one remarkable exception: The composer Rudolf Kronegger, also a famous song-writer of the early 20th century, transferred two traditional songs, known throughout the alpine regions and also in Vienna, from ¾ time into 4/4 and thus created a modern-style song. Subsequently, Roman Domanig-Roll explicitly wrote lyrics to fit the Viennese Shimmy, one of the fashionable dance styles at that time. One description says: a dance, genuine Viennese and yet en vogue, a dance well-known to the old people and fitting the new era; the people like dancing the shimmy which is made up of old tunes. This version of the Viennese shimmy is performed by the most famous female Wienerlied-singer of all times, Maly Nagl (actually Amalie Nagl-Wolfsecker); in 1927, aged 34, she was at her zenith.

    
    Musik downloaden
    
    Polydor B 44124 (4836 ar) Maly Nagl: A Weaner Shimmy (Rudolf Kronegger – Roman Domanig-Roll), recorded 1926
    
    Lyrics: Roman Domanig-Roll, music: Rudolf Kronegger, sung by Maly Nagl, 1st verse & refrain
    
    In Meidling in ganz an klan Häuserl is s Wirtshaus zum „goldenen Kranz“,
    An echtes Urweaner Beiserl, dort gibt es ka Fadsein, kan Pflanz.
    Da haßt s, dass die gmüatlichen Weana vom heutigen Tanz nix verstehn,
    Doch dort kann an Tanz ma jetzt lerna, echt weanerisch und doch hochmondän.
    
    Beim Wirt zum „goldnen Kranzerl“ tanzt ma modern a Tanzerl,
    Das kennen d alten Leut und s passt in d neuche Zeit.
    Ma is im siebntn Himme, tanzt ma den neuchen Shimmy,
    Der is, das is ka Pflanz, aus alte Tanz.
    
    Yodelling