Austrian Secret Ambassadors

The Austrian cultural history from the Biedermeier period and Fin de siecle till the Waldheim-Era seems well and critically incorporated. Which messages may exist, which are still secret? Even Franz Schubert, Hugo von Hoffmannsthal, and Thomas Bernhard became icones of the way the Austrias sees theirself. The Schubert-Lied has captured the concert halls of the whole world, Hofmannthals libretti throught Richard Strauss the world of the opera, even Bernhard became an international artist. Everyman knows them, many love them, a lot of people know melodies and passages by heart. But in this study will discovered a part of their work, which is a secret fort he general public and only from experts (and mostly very cautiosly) hinted. Queer thematics is fort he private live in todays Austria perhaps not great problem: bute the Austrian cultural history shall, how it seems, not discovered in their queer subculture; the intimity of Austrians famous artists, especially the effectives for advertising purposes in the world, is sacrosanct. For Schubert there was invented Blossom Time (Dreimäderlhaus), and the scientific world tells without prooves, that he was syphiliticly infected by a whore. Hofmannsthals marriage and his three children seem clearly to show his sexual orientation. And Bernhard, a lot of memories suggest it, was asexual, perhaps .These are approximatly the trends. In fact there are in the whole work of the three artists (and biographic materials) - and not only in their youth - clear signs for a great interest in queer esthetics. Each of them developed a variable system of codes, which shows the real message of many works, if you know the key. The Metternich-Era with his repressiv system made this technics necessarily. About 1900 (in Freuds Vienna) it was possible to hint the theme, but the relevance for the own person had must be covered up. Bernhards development of his homoerotic codes is strange in the late 20th century. His answer to this question: because of the repression by the Nazis (old and young generation) and by the catholic church. Why needs the "small negroe" in Rosenkavalier yellow clothes? Why petrifies the emperor in Frau ohne Schatten? What is the reason for the travesty-game in Lucidor and Arabella, and the many changes of Quin-quins (Ocatavians) gender rolls? Why must play the ballett Josephslegende in Venetians costumes of the Renaissance time? What is the real reason of the suicids by the "Untergeher" and the General in Bernhards Jagdgesellschaft? Why didnt Schubert compose Wilhelm Muellers poem Bluemlein Vergissmein in the cycle Die schöne Müllerin, but why did he compose at the same time Franz von Schobers poem Vergissmeinnicht in the month of may, when this flower blossoms and when he has his birthday? And last but not least why goes Schubert, if he sings from "blue flowers", after a happy-enthusiastic blossomtime-melody surprisingly into the minor key? The matter of this study is to show the secret world of well known seeming artists, which allow us to look at another world, at another cultural history.