Photographs of the Vienese oboes (left above), and their owners (left lower), and a portrait of Alexander Wunderer (right). It should be emphasized that 4 (accutually 8 !!) Vienese oboes are rarely placed on a table outside Vienna.
An important comment on the Viennese music instruments has been made on a Web Page of the Vienna Philharmonic.
Another good description of the instrument has been written by Anthony Baines in his book "Woodwind Instruments and Their History" published by Dover Books:
In Vienna too, the shrine of classical music, the classical oboe, in its Austrian form, has withstood the challenge of the French type. Wunderer, the former professor at the State Academy, insisted that this should be so. The retention even of external classical features is clearly seen in the standard Zuleger model: the bulbous top, which, they claim in Vienna, reduces condensation in the octave key; the bell-shaped bell with its internal flange; and the 'sword' bore, here about a millimetre wider than French bore at the upper tenon but over a millimetre narrower at the bell tenon. Vienese playing, though akin to the German, has its own lighter, more sparkling quality. The players, led by Hans Kamesch, principal in the Vienna Philharmonic (1955) and one of the greatest woodwind artists of the present time, use reeds scarcely wider than the French, though thicker-gouged and scraped further back. Their tone is sweet and tender, though with a splendid reserve of power, and it is a most exciting experience to put aside one's Western ideas of oboe-playing for a moment to hear Kamesch, with his Zuleger oboe, in his recording of Mozart's oboe quartet (introduction, ending with highest F) or in the Furtwaengler recording of the Serenade for 13 wind instruments.
In technique there is not a lot to choose between these Germanic oboes and the French. Both go equally well up to the top G, and a difficult solo like the one in Rossini's La Scala di seta is brought off equally brilliantly by the leading performers on either instrument. But in the long run, the French oboe is perhaps technically the more flexible.
There may be more arguments to the above two authorities but I would like to indicate the present facts of the instrument below and in the other chapters.
A fingering table is indicated, as in the right figure.
It may be difficult to see the difference from the French system; an essential difference occurs above A".
It may also lead to a misunderstanding: F-key is mainly operated with the little finger of the left hand. An alternative is with the right ring finger.
There are a lot of possibilities to produce C''' depending on the harmonic series to which it belongs. Consequently the appropriate air pressure varies accordingly.