Trained at the Vienna Academy, Hirschl was able to learn about the Pre-Raphaelites and the neo-Greek painting of Alma Tadema, combining it with the finished painting represented by the art of the French Salons.
In the last decade of the nineteenth century he moved to Rome, entering the climate of aestheticizing painting encouraged by Gabriele D’Annunzio, alongside masters such as Giulio Bargellini, Cesare Saccaggi and Giulio Aristide Sartorio.
These authors were the protagonists of the new fortune of the neo-Pompeian genre in Rome at the end of the century (see Alma Tadema and nostalgia for the antique, ed. By E. Querci, in course of publication). The work with song, a work of a truly rare but not unusual executive refinement in Hirschl, takes up the Saint Cecilia by the same author in the female figure lying on the left, as can be seen from the comparison with the preparatory study coming from the collection of heirs.