Hubert von Goisern


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Hubert von Goisern

Wiener November 2000 | Text: Eberhard Lauth | Photos: Erich Reismann

Six years ago Hubert von Goisern quit his position as an advertisement for new folk music. Then came Tibet and the Dalai Lama, Africa and Jane Goodall, world music. Now he has blown back with the solo album "Fön". And completely without "Hiatamadl".

Hubert von GoisernYou are a founder of new folk music. In the meantime it has become part of the folksy schlagers. Does your new album Fön take it where it belongs?

I have never seen it as a movement. Folk music was and is partly still a taboo for many people in our country. That's connected with the shit that happened in the 30s and 40s and with phenomena like Musikantenstadl. It was a basic instinct to occupy myself with it. I finished in 94 and I had already noticed how much these melodies and pictures of sound had presented themselves in the world of commercial jingles and schlager. It is simply so. Otherwise, not much has remained from the new folk music. Now the time seems ripe again. Sabine Kapfinger has her own project. In Bavaria, Broadlahn want to do something new. It is a theme again.

Will there be Hiatamadl live during your tour in the spring?

I have played it often enough, it has been heard often enough. My new programme completely and utterly captivates me. There lies my pleasure, not in looking back.

Is an Alpinkatzen reunion or an appearance on Musikantenstadl conceivable?

Twice no. My manager wants to persuade me that it would be subversive, but that is nonsense. I practise tolerance, but I do not want to have anything to do with that. There are people who are mad about my music and I won't do it to them, that they have to look at the Musikantenstadl for so long until they see my appearance.

When did you discover Austrian folk music?

I grew up with the Beatles, The Who, Colosseum, Santana, Hendrix, Ambros and Heller. I heard folk music, but I first noticed it later. In the Salzkammergut, it is a closed circle. And they are very disapproving of everyone else and of me. Now, I feel accepted. There it is easiest just to be Hubert Achleitner. It is a very normal village life.

At the beginning of your 20s, you left Goisern for 7 years. Was music already in your plan at that time?

I went out of desire for adventure and the feeling of confinement. There was no particular big scene in Goisern. I already wanted to be a musician when I was 5. At first I most wanted to be a conductor. In front of a brass band. Music was a reason for going away. Family and friends attacked me because of that. I said to myself: "Better get away."

You were chucked out of the brass band because of your long hair. Did you ever meet the band leader again?

Yes, we reconciled years ago. But there are still people in Goisern for whom what I do is not suitable. With my criticism of Haider and my contact with homosexuals, I have received a lot of hostility. Lots of people really do not want him to be criticised. So according to the motto: They are one of us, so they are a good person."

Have you ever got to know Jörg Haider personally?

No, he is a little older than me and in elementary and secondary school that means a world. After that, he was gone.

Would you like to meet him?

It is said that life is too short to allow yourself to read a bad book. That is true for people too. But I do not avoid him. In 1993 there was an attempt to organise a round table discussion with Haider, Kurt Ostbahn and me. Three days later came the announcement that he would not be coming if I was there. I thought: Well, super.

How did you see this before the discussion?

He always reminds me of Socrates and Phaedrus. Phaedrus wants to learn the art of rhetoric, Socrates gives him a speech. Phaedrus is inspired, Socrates says, that everything was lying, that the art of speech and the truth were not the same. It is the same with Haider, he can make speeches, but he does not bother about the truth. He satisfies when he must, with a lie. Rubber is in the way like concrete.

Rubber arguments versus Goiserer stubbornness?

I am a bit egocentric. It could be that it lies in Goisern. Possibly it lies in the mountains, the Tibetans and Tyroleans are also pretty stubborn.

Hubert von Goisern

It is noticeable that when there is something for you to celebrate, you chase people up a mountain. Why?

I don't chase anyone. I invite to presentation celebrations. Best of all climbing somewhere for a couple of hours to leave everyday life behind. Only those who do not come along say: Hubert tortures journalists. My first presentation was in the Schutzhaus at Ameisbach. Two hundred people, buffet, a load of money and a waste of time. The next I moved to the Dachstein. A single journalist came, but he published it. We swore that if we ever got gold, we would come back. 92 that happened. A winter climb up a 3000m mountain, mountain guides, crevasses, not bad. A couple of unpractised people got stuck in the snow.

Do you usually go into the mountains a lot?

Yes, and I persuade others to do so. At the beginning of the 70s, we went through a ravine with a rubber dinghy. A stone ripped the boat and my friend was in panic. That also happened with mountain climbing. There I hang and I ask myself: Why did you take him with you? It is as if you persuaded someone to go on the rollercoaster and they vomit next to you. You don't want that either.

How do you feel about returning to Austria after one of your long journeys?

Good. But it only works if you always go again and again. There was a time when Germans passed themselves off as Austrians when abroad, because people liked them more. Now Austrians pass themselves off as Germans. If everyone described themselves as European, it would be a step forwards. But I feel obliged to Austrian culture. Here I am also entitled to criticism. As a guest in a foreign country that is still problematic after three or four years.

But you seldom keep your criticism of society, of certain people, to yourself.

It is also inevitable in the view of the political dissatisfaction and the disinterest in democracy. Now people being to think. You should not reproach the 20% FPÖ voters as much as the 20% non-voters.

As an artist, can you influence the process of politicisation or drive it at all?

Anyone can. If you can distribute your opinion in the media, you just have bigger leverage. Nikolaus Harnoncourt says that the situation does not interest him as long as he can write his music. That is too little. That is going along. Freedom and prosperity at the cost of others is unbearable.

I have heard that you used to like going to the opera. Is that still true?

Yes, but outside Vienna, it is difficult. The Salzburg Festival costs a crazy amount of money. There are exciting things, only I find this festival hype unpleasant. The national opera is closer to me, perhaps the 500 standing places make the difference. There you can always come in, even if you must queue up at 6am for the star evening. If I did not like something for my 20 Schillings, it is okay. A piece of crap for 2000 Schillings annoys me. And two hundred Mark notes in Salzburg are still cheap.

Your penchant for churches is also known. Are you a regular churchgoer?

Former. In Vienna, I was always in the Augustinian church, because I noticed a Father there who could genuinely celebrate a mass. At the age of 35, for the first time in my life, I even acted as a server. I was fascinated by the music, the choir, the Latin, the organ. Pure mysticism. Then came criticism from the diocese, the people were only coming because of the music. They finally had a full church, then the reason did not suit them.

What happened to your favourite Father?

Once he had to read out a bishop's letter, but he gave the sermon and left a copy of the letter in the sacristy for anyone interested. Someone was interested. And the Father said: "Here you have the runs, madam." That was in Groer's time. Six months later he was gone.

Hubert von GoisernAt that time, was there no church into which you would go?

Perhaps, but I have still not found it. I prefer to go into a church when there is no service. You can abandon yourself to the peace and spirituality.

Which interests you more: spirituality or the religion behind it?

Mysticism interests me. A Latin service - great. I cannot do German any more. Our Father! This prayer to a masculine God the Father - that is baby talk. In Latin it turns into mysticism, into a wording like a mantra. It makes a good sound. Incense and: Ding! Ding! Ding! That is effective.

Is that what also interests you in Buddhism? After all, you were in Tibet and you know the Dalai Lama personally.

There are many ways to God. That will be denied by Rome, but fortunately it is nevertheless so. Only: I am interested in so many things. In the new carver from Atomic for example.

Also a form of spirituality...

A form of lift in any case. You can also get in a spiritual mood when skiing.

Is another journey to Tibet conceivable for you?

I would like to get to know eastern Tibet. But I do not know if that is so smart after my last journey. I doubt that I would get a visa. It was already very adventurous the first time. It does not really attract me. These confinements and arbitrariness of power that you are exposed to there, burden me. You cannot speak openly with anyone, because you can then reckon on those people getting problems. They perhaps lock me up for a week and then throw me out. But the people there would be spied on and terrorised further.

Then you probably like to come back home again...

After you have experienced something like that, the current political situation seems very tolerable. Although naturally the shift in one direction lies where you cannot say all you want to any more. These constant legal proceedings against critical people are really not beneficial.

Does it intimidate you?

Not me, but others certainly.

Seven weeks in Tibet

Entertainment House 2000 | Text: Frank Keil

Interview with Hubert von Goisern

With his band the Alpinkatzen, the Austrian artist advanced to top star in alpine pop at the beginning of the 90s, before he unexpectedly disbanded "Austria's only country band" at the high point of their career. Afterwards, among other things, he wrote the film music for Schlafes Bruder and travelled intensively around Asia and Africa. With the desire to make something new, something different, he now returns.

Not a full break with the past, but a development that finds expression in the current album Fön and encircles the Alpinkatzen. Hubert von Goisern stays true to the dialect, his intensely sensitive lyrics are put to music by new high quality musicians. Providing entertainment in the all too often predictable music business. Result: Hubert von Goisern comes back expressively and originally. Reason enough for E-House to meet with the informative singer/ songwriter for an interview in the Bamberg Hotel "Residenzschloß".

The Alpinkatzen tried their hand very successfully in the musical area of conflict between ethno music and popular folk music. Numerous previous stays abroad had awoken your interest in this style of music. A first album as a duo, then the separation from your partner at that time, Wolfgang Staribacher, in 1992, the wonderful breakthrough with Aufgeigen stått Niederschiassen. Did you expect this course of events at the time?

I have always found something, no matter where I have been: different perspectives. That is why I never ruled out the combination of folk music, classical, pop and rock. And the Original Alpinkatzen quickly developed the necessary feeling and ability to translate this stylised mixture. Hiatamadl became our first hit, sold out tours followed. On Omunduntn (1994) I worked still more radically towards folk music and the success also showed that I was right abroad, we were even in Paris, Austin and New York.

Nevertheless, there came the decision to dissolve the Alpinkatzen, the limits were apparently reached?

I had already told the band a year and a half before, but none of them wanted to believe me. In retrospect, they also took it badly and through the new album, on which I worked with completely different musicians, there were certainly some negative memories again. But my retreat in the direction of family and friends stood unchangeably firm.

But you stayed true to art. We speak next about the film projects which you made a start on after the live CD Wia die Zeit vergeht.

It was fascinating to compose the film music for Schlafes Bruder, even if I had to refuse the offer of the role of Elias due to lack of time. I then debuted as an actor in Hölleisengretl, after that I provided the soundtrack for the children's film Ein Sack voller Lügen. Further work followed. For me, film is a modern form of opera. I will do it again and I look forward to new offers, but first I want to go on stage again.

Two social-political CDs followed, preceded by intensive journeys to Tibet (Inexil CD) and East Africa (Gombe CD). What is there to report, why exactly did you visit these countries?

As a child, I had already had this vague wish to get to know Tibet. Later, there was the chance to meet Tibetan artists and not to let go of my fascination with their music. Their culture is really antiquated, the artists are adjusted to the West and live in India. I asked them to establish a relationship to their folk music and to create their own folk and dance music. The journeys to Tibet had high points like the meeting with the Dalai Lama, on the other hand, it was also very depressing.

The acquaintance with the behavioural scientist Jane Goodall came about through a friend who introduced her to me in the snow-covered Goisern. She invited me to Africa. I accepted. Tanzania and Kenya were also fascinating, I love the African zest for life. Both albums should set an example to be aware of other cultures and to think and act globally. That is also reflected in the Gombe documentary.

Again it seems a point was reached where you had to go a new way. Alone or with a band again, surely one of the deciding questions?

Basically there cannot be enough musicians with whom I want to make music. I am really someone who likes to communicate. It was a long time until I had the right musicians together, it must "click". There were auditions for bass, all the other musicians came from the Tibet/Africa sphere.

Writing lyrics, composing music, returning to the stage after more than six years, you have done a lot. Was it difficult to motivate yourself for Fön, or was it easy to let your creativity take its course?

I had a lot of musical ideas, then the lyrics followed at the end. The melody is important first, a picture that lets the lyrics inevitably arise. The musicians become familiar with the arrangement, each has their freedom, but I indicate which direction I want. It is the most personal music I have made until now. I have become more thoughtful and critical, it is certainly connected with the fact that I am older.

The CD is very diverse, musical frontiers do not seem to matter to you. You stay true to the dialect, do you have a favourite on the CD?

I see the new recordings more as a whole, as an integrated whole, from which I do not need to emphasise anything, I cannot. But naturally the Landler, Da Dåsige turned out very well, just as the political Kålt that aptly represents the current situation in Austria. Original quotations from Jörg Haider were reproduced there in code.

With what expectations is the CD released, how do your plans for the near future look?

Naturally, you want to come as far as possible but I have already lived through many highs and lows. Gombe and Inexil have sold more than 100,000 copies in the German speaking countries, that has put a lot of pressure on the new CD. There will not be a single. I do not want to favour one piece over another, I want to see Fön as a whole. But I know that the music business has changed in the last years. I look forward to presenting the programme live and will perhaps also present one or other of the best of the old titles. But Hiatamadl will probably not be there. Instead, I will practise two numbers from the Africa album. And I already have new songs, Austrian folk songs, of which there is no recording. They form the frame of my next CD which I have already begun work on, and there are already ideas for another. I will go my own way again, the public even expect it in certain styles and ways. And naturally success is always good, I am confident.

"There's yodelling everywhere"

Süddeutsche Zeitung 18th April 2001 | Text: Egbert Tholl | Photo: Klaus Brenninger

Why Hubert von Goisern is making alpine folk music again

Once he was regarded as the most successful representative of new folk music. Between 1988 and 1994, Hubert von Goisern created, with the Alpinkatzen, not just a veritable fair hit (Hiatamadl), he also made Austrian folk presentable in the USA. Then it was the end for the first time. In the past years, Hubert von Goisern thought about his musical beginnings again, recorded the album Fön and the traditional CD Trad and plays today and tomorrow at 8pm in the sold out Circus Krone in Munich.

Six years ago, you ended alpine rock, now you are making something similar again.

Yes, but I would just say: what I do now is not alpine rock.

Nevertheless, is it closer to the beginnings than to Tibet and Africa?

Yes. At that time I only wanted to have a two year break from the stage. The fact that it became six years does not matter to me because these two things happened to me, Tibet and Africa, that in the case of Tibet were unfortunately not suitable for the stage, because I had needed the Tibetans and they were not prepared to get involved in such a tour. That was too much stress for them, they had felt uprooted here. After these two albums and the film music, I had really looked forward to making something where I was only dependent on myself again.

And that means folk music.

I am simply Hubert in the centre. The argument with folk music, with our musical tradition still irritates me, not least because it is still alive with the public. There is still a taboo, that folk music is possibly not quite kosher. What was not suitable for me anymore at that time was to keep on playing simply with power, with a distorted electric guitar. I wanted to leave that and make something more subtle again.

Was rock necessary as an outcry?

Perhaps at the time there was a certain pressure, that one must bang it down. A build up of energy: Good God, the people should know what it's about by now.

And what is it about?

Well, it's about the fact that as a musician, as a composer you really don't conjure things up, but you draw from a spring. Everyone has done it like that whether is was Mozart, Mauler or someone like that. The sources here are considered to be poisoned, that is what the left-wing intellectuals think, if you take this term as it is. I am absolutely not of this opinion. You can sprinkle poison in, but that can be done in any spring. Indeed, in Austria we still have a further politically intensified situation, because we have a party and a leader of this party who certainly sets no store by folk music, but does on national identity, although he himself does not embody this at all. But he spreads this image: We have an identity which we stand by; we do not need foreigners, we need Europe, we do not need the world. It is irritating to have to oppose something like that.

On your Fön CD is there not absolutely a quite firm political statement?

I do not want that either. This movement to dedicate a CD to this man must not necessarily be. That would give him a platform which would only flatter him. That is only contained in a very homeopathic way, but nonetheless I hope it comes off.

It is just so homeopathic that one does not recognise it. In Kålt, for instance, the incomprehensible Haider quotations are encoded in the booklet.

But I don't like it being described par for par. I would have felt myself out of place as an artist. That is what politicians do. An artist should find ways that are more subtle, that are more than a description of things.

Then why in are the Haider quotations hedged in at all?

You should still allow yourself a bit of fun. It's the same with Katholisch. It is not critical of the church; I wrote the lyrics and then thought to myself, that will not do, it is too funny. Then took myself by the ears: Hubert, you thought of it, you yourself had huge fun, when you sing it. So stand by it!

Isn't it an irony, this overly pious contact with religion?

I am curious as to what will happen when it comes out, because it was predicted to me that the church people would be dreadfully annoyed by it. They are certainly known for their lack of humour. But one can surely allow oneself a bit of humour or cynicism. As with the Haider quotations. Fundamentally it is interchangeable and he is the figurehead of interchangeability.

But don't these ambiguities take for granted a consensus among the listeners?

I do not believe so. One must just deal with it. It does not take an agreement for granted, but you are invited to deal with it in ways of playing. For people who only take it as a constant stream, it doesn't matter, if I write it down.

Do you write in dialect?

When one writes, one automatically writes in High German. But the language is so dramatic when sung and also is not nice to sing, but I wanted to have more singable melodies, wanted to give them language and yet only sing the syllables. Because of that, the melody lines were very dependant upon the syllables, which is why I had to write a lyric by which the corner points were already fixed with the syllables. The yodel phrases only work when you have definite vowels at definite points. Then you fit the lyrics in between.

Doesn't the dialect hinder the spreading of your work?

Quite frankly, it doesn't matter to me. First and foremost I feel that I am a musician. Music is the language with which I communicate. If I sing in dialect, that doesn't constrict the music. Sometimes I have the feeling that the less people understand of the lyrics, the more often they can absorb the music and make something out of it for themselves. As with a symphony.

So one could understand the story of a song just with the music?

Ideally yes. You get the dialogue in Kålt whether you understand the lyrics or not. If you then want to track them down, you can read them yourself, indeed you can do that with any opera. I want to just make many layered music.

Nevertheless your second CD contains material suitable for the beer tent.

Well yes, only one number. It has been played outright in Austria too. Even on Ö3.

A planned hit?

If I had known before that Hiatamadl would be a beer tent hit, it perhaps would not have made it because that is not necessarily the scene that I want to get into.

In comparison to the old records, Fön seems as if you wanted to tell a story yourself.

That's right. The same is true of yodelling. It is a form of singing that for me is not used up yet by any means. I didn't learn until I was 35 years old, the same with the accordion. Naturally you look to see what you can do with everything.

On Fön the lyricised vowels themselves are quite near to yodelling.

That was part of the adventure that I let myself in for.

And it sounds like Van Morrison.

Perhaps there are common roots, since he comes a little from the Celtic tradition. There's yodelling is everywhere. Have you ever heard pygmies yodelling? Or the Naga-Nagas in north east India? That sounds almost like our yodelling, only much more trance-like.

Interview with Hubert von Goisern

Schoolyard 15th January 2001 | Text: Mike Kren & Stefan Karner

On the release of his new CD, Virgin Records and Hubert von Goisern invited our
star reporters Mike Kren and Stefan Karner to an interview

How long was your break before your current album?

Two and a half years

And what did you do in the meantime?

I travelled a bit. Actually I wanted to make a film about an 84 year old philosopher from Freiburg. But the project then fell through because the production company wanted to change the script. Sometime I just wanted to make a CD again and so last autumn I began compose again.

Why did you travel around so much?

I have always liked journeys. I like to go away alone and simply enjoy getting to know new people. To gain a bit of distance from your surroundings and from yourself.

You were even in Tibet and with the Dalai Lama too...

... yes, but unfortunately not at the same time. (laughter)

Is the situation in Tibet really like it is in 1984?

It is like that. You can't trust anyone, anybody could be an informer. You must always pay attention to what you are saying to whom. Also, that is why, because you could bring someone into danger, you could drag them into something. As a traveller, you would have to sit in prison for a maximum of two days, but if the authorities come upon with whom you have had contact, everyone is arrested ...

Were there any problems with the musicians you took with you? After all, everyone who took part in the Free Tibet concert has been refused entry to China for life.

The people with whom I worked had already been refused entry anyway. And afterwards, my entry also turned out to be extremely complicated.

Change of subject: We come to your new CD. Why is it called Fön?

For a long time I did not know what the record should be called - it is also not really the first thing you think about. When it was then ready, the discussion about the abolition of the umlaut was running at full speed. Some "experts" from America thought that our bad moods came only from the umlauts (laughter) ... because they sound so funny and that's when I knew: there must be an umlaut in it!

A song on the CD is also called Fön, though I had renamed it - it was called Schädelweh (Headache) before. And Föhn is not dissimilar to the creative process, this pressure despite the beautifully weather.

With Föhn everything also seems terrifically clear - quite pleasant if you wade about in the creative mist and suddenly it breaks up - you go on for ever and ever and ever, because it simply deceives the sight. Yes, and the 'h' in Föhn bothered me, so I simply left it out. (grins)

(laughter) Can you also perhaps remember something of your time at school? After all, we must also write something for our target group ... (laughter)

I did not like school at all. I was happy when I put my compulsory time at school behind me ... and then my parents had the idea that I had to do the Matura (Ed.: the English equivalent is A Levels) ... but after two years, I got left behind in Latin and I was overjoyed when I could finally give it up. Now I have a child myself who is 12 and going to secondary school and I hope that he does his Matura later. (laughs)

I believe that school is a super time for not having to do anything which does not suit you and in addition you can establish lots of social contacts.

I simply suffered very much there. I never had the feeling that a teacher understood me and I also did a tremendous amount of dreaming. At that time it was also the case that when a teacher said something, that was simply so and was not to be questioned ... but I think that now things have changed a lot - thank God.

I also think that what is taught at school is too one-sided. The only ones that count are Maths, German and a foreign language. Music for example was completely neglected. Schoolchildren were only taught in order to give business good personnel ... (silence) ... still, it was an experience. (laughter)

OK, back to something more pleasant - music. What do you like to listen to at home?

I listen to almost anything. A few days ago, I bought Madonna's new CD ... I have no idea how often I will listen to it - just when I feel like it. There are not many CDs that have enough substance to be listened to again and again over the years. But what I always do like to listen to again is for example, Sting, Peter Gabriel, Miles Davis ...

And when I am travelling on the train and have enough time to really listen to music, then I like Wyclef Jean or Wu-Tu Clang. All over the place really.

So good, we're running out of time. Do you perhaps have a telling closing sentence to hand?

(thinking quickly) Courage to do your own thing! (laughs)

The Goiserer yodels again

Salzburger Nachrichten 8th March 2001 | Text: Robert Haimerl

On the 23rd June 2001, a barren period in native folk music comes to an end.
Hubert von Goisern gives an open air concert in the Salzburg Domplatz.

The waiting has an end. Everyone who found it difficult to cope with his absence from the stage can breath a sigh of relief at last: the critical parade crossover musician from Salzkammergut yodels again. The 23rd June may be a memorable day for the Salzburg Altstadt. At 8.30pm, the Domplatz will belong to a singer, who from 1st November 1994 was not to be seen live until now: Hubert von Goisern presents his new album Fön with his band.

Creative break

The Goiserer did not fritter away the years between his time with the Alpinkatzen in the early 90s and today. The creative break was rather more use to him to let new influences have an effect on him. With Gombe and Inexil, arose albums in which he had a good look at the music of Africa and Tibet. The film music to Schlafes Bruder also came from him.

At the concert at the Salzburg Domplatz, the band will give an insight into the result of his artistic development with songs like Katholisch, Drawig or Fia Di. Hubert von Goisern stays true to his roots. Earlier, it was a mixture of folk music with rock, blues or jazz - from the Domplatz appears something that he himself describes as a"breakthrough of the cleverest harmony of the Western world". So Da Dasige is a Landler, that one barely notices its origin.

A yodel that produces goosebumps

The stays in Africa and Tibet did not only bring Hubert von Goisern geographically "weit weit weg" from his "Hiatamadl". Despite every change and development, there will also be familiar songs from his earlier albums to be heard at the concert in the heart of Salzburg Altstadt. Confirmed fans get their money's worth. Heast as Nit or the Juchitzer still suit Hubert von Goisern as well as his Styrian accordion. The trained chemistry laboratory technician with work experience in South Africa and Canada will again play "his" Styrian to the limits of diatonics.

The fact that apart from so much new material, there is also still enough space for the special mood of his concert could not please only those who saw one of his concerts in the 90s. Those who hear Hubert von Goisern's yodels for the first time will have shivers down their spine. Even if the concert takes place on a mild 23rd June under a clear sky.

Dog and Master

Kurier 18th November 2000 | Text: Christian Seiler

Not long ago I was granted an evening with Hubert von Goisern. Meeting place: Gasthaus Schnattl. I arrived an hour earlier from the station and had just quickly collected my dog from the office - a lovely co-head of department had kept and aired him over the weekend. Barolo and I decided to go on foot through the town to the meeting place. But we had forgotten the dog's lead. Of course! After all, the dog can go "on foot" well too. We crossed two inner districts perfectly and arrived at the Schnattl, the dog pushed obediently under the table, sniffed the Goiserer's trousered legs, after which he smelled a labrador-husky half breed called Bongo. That pleases the dog. He turns tiredly on his side and leaves master Hubert to me. When he wanted to say goodbye later, only a small thing was missing: the dog. Barolo had cleverly made use of his unfamiliar freedom from his lead and had escaped and was using the neighbouring table as cover. I found him lying on his belly in front of the kitchen, a far advanced observation post. My tip for after the meal: be careful if you walk through under the dome of the Hofburg with the Goiserer. Because there he is guaranteed to let out a juchitzer. The echo then goes straight up into the space and inflates itself powerfully - and Barolo, deeply shocked, seeks refuge in the Heldenplatz and until you have caught him again ...

What we learn from this: only yodel with the lead on.