Seite - 117 - in Entangled Entertainers - Jews and Popular Culture in Fin-de-Siècle Vienna

Jewishness and the Viennese Volkssänger | 117 40. IWE 356 (26 January 1901): 6. 41. IWE 356 (26 December 1901): 6. 42. IWE 272 (3 October 1902): 5. 43. IWE 272 (3 October 1902): 5. 44. IWE 37 (6 February 1904): 37. On 1 September 1904, the Viennese Volkssänger were fi nally permitted to perform in coff eehouses. See IWE 240 (30 August 1904): 2. 45. IWE 297 (28 October 1902): 5. 46. Marion Linhardt, Residenzstadt und Metropole: Zu einer kulturellen Topographie des Wie- ner Unterhaltungstheaters (1885–1918) (Tübingen: Max Niemeyer, 2006), 4–7. 47. Fink, “Wien,” 54. 48. We see the explicit connection between the Volkssänger and this nostalgic take on Vien- na’s past in a remark made in 1903 about E dmund Guschelbauer (1839–1912), one of the most famous Viennese Volkssänger, on the occasion of his fortieth year as a perform- ing musician. Guschelbauer was called “one of the last representatives of the singing ‘Old Vienna’” (Das Variété 16 [15 February 1903]: n.p.). 49. IWE 225 (14 August 1904): 9. 50. Gerhard Eberstaller, Ronacher: Ein Th eater seiner Zeit (Vienna: Edition Wien, 1993), 29–30. 51. IWE 59 (1 March 1902): 8. 52. IWE 64 (6 March 1902): 8. 53. IWE 43 (13 February): 7. 54. IWE 121 (11 May 1904): 11. 55. See IWE 243 (5 September 1903): 14. 56. See IWE 249 (9 September 1905): 10. 57. See IWE 66 (8 March 1901): 5. 58. J. Kurz, “Zur Lage des Wiener Volkssängertums,” Das Variété 2 (26 October 1902): n.p. On the topic of repetition in Volkssänger performances, see Das Variété 1 (15 October 1902): n.p. 59. On the wide circulations of newspapers of the time, see Gabriele Melischek and Josef Seethaler, “Aufl agenzahlen der Wiener Tageszeitungen 1895–1930 in quellenkritischer Bearbeitung,” Arbeitsberichte der Kommission für historische Pressedokumentation 1 (Vi- enna: Österreichische Akademie der Wissenschaften, 2001). 60. Stephen Kern, Th e Culture of Time and Space 1880–1918 (Cambridge, MA: Harvard University Press, 2003), 115. 61. Hartmut Rosa, Beschleunigung: Die Veränderung der Zeitstrukturen in der Moderne (Frankfurt: Suhrkamp, 2005). 62. Kern, Culture, 110–11. 63. Robert Musil, Der Mann ohne Eigenschaften (Hamburg: Reinbek, 1995), 31–32. 64. Kern, Culture, 111. 65. See Wolfgang Schivelbusch, Geschichte der Eisenbahnreise: Zur Industrialisierung von Raum und Zeit im 19. Jahrhundert (Frankfurt: Fischer Taschenbuch, 2000). For ex- ample, we see the cultural association between the Volkssänger milieu and horse-drawn carriages in one of the most well-known Wienerlieder (Viennese songs), the “Coach- man’s Song,” composed in 1885 by Gustav Pick (1832–1921), the son of a Jewish mer- chant. Th e song gained popularity in particular through the rendition performed by actor and singer A lexander Girardi (1850–1918). Th e history of the “Coachman’s Song” also serves as a superlative example of Jewish–non-Jewish cooperation in the Volkssänger This open access edition has been made available under a CC BY 4.0 license thanks to the support of Knowledge Unlatched.