Kunsthistorisches Museum, Vienna, Austria.© krasnevsky/Fotolia
The emperor Maximilian I (reigned 1493–1519) was a poet and a patron of the theatre, and the era that began in the reign of Maria Theresa (1740–80) and ended in that of Francis Joseph (1848–1916) was an age of spectacular flourishing in the arts and sciences. During this time an aggregation of genius and talent in often interlocking circles was gathered in Vienna. Moreover, the Habsburg dynasty’s tradition of patronage of the arts has carried over to the modern republic of today.
The church was a powerful influence on Austrian architecture, drama, and music. The great Romanesque monasteries, the Gothic St. Stephen’s Cathedral in Vienna, and the splendours of the quintessentially Austrian Baroque—exemplified by the works of Austrian architect Johann Bernhard Fischer von Erlach and the Bohemian architects Christoph Dientzenhofer and Kilian Ignaz Dientzenhofer—and Rococo obviously derive from the church. The Austrian theatre has its origins in late medieval religious drama, and the affinities of the church with Austrian music continue down to modern times.
Despite the fact that Austrian high culture never has been contained by the borders of the country but rather is considered part of the greater cultural realm of the German-speaking world, many Austrians long imagined their country as blissfully isolated and neutral—an “island of the blessed.” In fact, for many years after World War II, Austria promoted the idea of having been the first “victim” of Nazi Germany and, some would say, deliberately avoided confronting the guilt surrounding its participation in the Anschluss (“Union”) with Germany. But by the end of the 20th century, the forces of globalization and international competition, spurred by the opening of the Iron Curtain in 1989 and Austria’s admittance to the EU in 1995, had brought Austria’s imagined perfection into question. The increased immigration of foreigners into the country has caused particular concern among many Austrians, who fear that their carefully tailored social welfare system may be overburdened and their own Austrian identity threatened. Such sentiment has appeared particularly strong in Vienna, where large numbers of immigrants reside. Daily life and social customs
Most ordinary Austrians may be aware of Austria’s historical contributions to high culture, but in general only members of the educated middle class and the elite circles of society participate in glamorous cultural events like the Salzburg Festival of theatre and music. Ordinary Austrians, particularly those who live in small towns and in the rural valleys of the countryside, pursue a more common—but in no way less typically Austrian—cultural life, with its roots in regional traditions, age-old rituals and customs, and a friendly communal spirit. Membership in local organizations called Vereine plays a great role in this culture. Informal gatherings are commonplace as well, and going out to meet friends in restaurants or cafés is an integral part of everyday life. A surprisingly large number of Austrians play instruments in bands, sing in choirs, or make music in smaller groups at home or with neighbours. Many wear traditional costumes (Trachten), such as full-skirted dirndls or loden coats, every day, and many more wear them on weekends and on festive or special occasions, including weddings and funerals. Although popular music, motion pictures, television, and other elements of popular culture are enjoyed throughout the country, these aspects of traditional Austrian culture remain important, even to the young.
Most Austrians celebrate the major Christian holidays, though many revered Austrian traditions surrounding these holidays are said to have their roots in pre-Christian times. Glöcklerlauf, a festival that takes place the evening before Epiphany (January 6), is celebrated especially in the mountainous regions of Oberösterreich, Steiermark, and Tirol and features activities meant to drive away the evil spirits of winter. During the festival, young men and boys wear loudly clanging bells and carry handmade masks—often extremely large, lighted from within, and decorated with Christian and secular designs—on their heads and shoulders. The arts
Austria is known for its contributions to music, especially during the Classical and Romantic periods. The major work of outsiders such as Ludwig van Beethoven (from Bonn [Germany]), Johannes Brahms (from Hamburg), and—in part—Richard Strauss (from Munich) is no less associated with Vienna than that of such natives of Austria and the empire as Joseph Haydn, Wolfgang Amadeus Mozart, Franz Schubert, Anton Bruckner, Gustav Mahler, and Hugo Wolf. Much of the pioneer work in modern music was done by Arnold Schoenberg, Alban Berg, and Anton Webern, who are known collectively as the Second Viennese school. Vienna is also associated with two popular genres of music: the waltz and the operetta. Both forms find a common source in the person of Johann Strauss the Younger, who with his father, Johann the Elder, and his brothers, Josef and Eduard, constituted a virtual musical dynasty in the 19th century. The Viennese operetta, drawing heavily from the Slavic and Hungarian regions of the empire, reached its apogee about 1900, the prototypical composer being Franz Lehár.
Mozart, unfinished oil portrait by Joseph Lange, 1789. In the Internationale Stiftung Mozarteum, Salzburg, Austria.Courtesy of the Internationale Stiftung Mozarteum, Salzburg, Austria
The theatre has occupied a central position in the cultural life of Austria. The 19th-century Viennese playwrights Johann Nestroy, Franz Grillparzer, and Ferdinand Raimund developed a drama with distinctly Austrian traits. The stage director Max Reinhardt, the writer Hugo von Hofmannsthal, and the composer Richard Strauss were instrumental in founding the Salzburg Festival in 1920.
Magdalena Kozena as Idamante in a dress rehearsal for Wolfgang Amadeus Mozart's Idomeneo; the production was part of the 2006 Salzburg (Austria) Festival.Hans Klaus Techt—EPA/REX/Shutterstock.com
Literature in Austria had auspicious beginnings. The great epic of the German Middle Ages, the anonymous Nibelungenlied, was written in Austria. The most renowned Middle High German lyric poet, Walther von der Vogelweide, served at the Viennese court in the late 12th century.
In the late 19th century, distinctly Austrian literary styles and mannerisms emerged. The writer Hermann Bahr was associated with an era of literary impressionism, the expressly Austrian characteristics of which—a heightened self-consciousness and feelings of ambivalence and tentativeness—were coupled with forebodings of being at the end of an overripe civilization. Hugo von Hofmannsthal, poet, dramatist, essayist, and librettist of six operas by Richard Strauss, and Arthur Schnitzler, whose dramas are thought to epitomize a hothouse Vienna at the turn of the 20th century, have best conveyed these sensibilities. Karl Kraus, whose literary, political, and social criticism and satire contemplated an entire era in his review Die Fackel (1899–1936), focused on the importance of language. Coming from Prague to Vienna, Franz Kafka, with his haunting works of the individual confronted with anonymous, unheeding power, has entered the canon of world literature.
Robert Musil’s unfinished novel Der Mann ohne Eigenschaften (1930–43; “The Man Without Qualities”) is said to be a metaphor for Austria itself. The Expressionist poet Georg Trakl wrote elegiacally of decay and death. Franz Werfel, another Expressionist, excelled as a poet, playwright, and novelist. Stefan Zweig, poet, dramatist, and story writer of imaginary and historical characters, was influenced by another Viennese, Sigmund Freud. Also writing in the first half of the 20th century were the Vienna-born philosopher Ludwig Wittgenstein and innovative novelist Hermann Broch.