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1

Thomas Mann a Gustav Mahler

100%

Blecha I.

Hudební věda (Musicology)

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2023

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tom 60

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nr 2

192-209

EN

Thomas Mann’s “musical novel”, Doctor Faustus, tells the life story of Adrian Leverkühn, a composer to whom the Devil makes an offer of fame achieved by the discovery of a groundbreaking compositional technique. Mann conceived the plot as an allegory of music’s alluring and perilous role in German history, as the doom eventually met by Leverkühn is a projection of the final collapse of Nazi Germany. According to one of various schools of thought, the character of Leverkühn and his compositional output correspond with the person as well as certain aspects of the work of Gustav Mahler. The present article aims at linking up with this interpretation, along with offering a more general reflection on the essence of Mahler’s music by confronting it with the ideas expounded in Mann’s novel.

CS

„Hudební román“ Thomase Manna Doktor Faustus vypráví o osudu skladatele Adriana Leverkühna, kterému ďáblův přízrak nabídne slávu v podobě objevu převratné kompoziční techniky. Mann vytvořil podobenství o svůdné a nebezpečné roli hudby v německých dějinách, neboť zkáza, která Leverkühna postihne, je obrazem současné zkázy nacistického Německa. Jednou z diskutovaných možností je, že Leverkühn a jeho dílo odpovídají osobě a částečně i dílu Gustava Mahlera. Tento článek se pokouší na tuto verzi navázat a obecněji se zamyslet nad povahou Mahlerovy hudby právě v konfrontaci s Mannovými názory vyjádřenými v románu.

2

Liszt and Mahler in the postmodern filmic visions of Ken Russell

99%

Golianek R. D.

Interdisciplinary Studies in Musicology

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2014

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nr 13

171-182

PL

The British film and television director Ken Russell is esteemed principally for creating filmic biographies of composers of classical music. In the 70s, he shot his most original films on musical subjects: fictionalised, highly individual composer biographies of Mahler (Mahler) and Liszt (Lisztomania), which are the subject of the article. Neither of the films is in the least a realistic documentary biography, since Russell’s principal intention was to place historical biographical facts in cultural contexts that were different from the times in which Mahler and Liszt lived and worked. This gave rise to a characteristically postmodern collision of different narrative and expressive categories. Russell’s pictures remain quite specific commercial works, exceptional tragifarces, in which the depiction of serious problems is at once accompanied by their subjection to grotesque deformation and the demonstration of their absurdities or denaturalisation. The approach proposed by this British director, in which serious issues are accompanied by elements of triteness, is a hallmark of his style. The director’s musical interests are reflected by the fundamental role of music in the structure of his cinematographic works. The choice of musical works also denotes a kind of aesthetic choice on the director’s part, especially when the composers’ biography comes into play.

3

‘Looking out fo r the Horizon The music of Gustav Mahler in the light of the theory of the aesthetic of reception by Hans Robert Jauss

85%

Mika B.

Interdisciplinary Studies in Musicology

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2014

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nr 13

189-202

PL

The theory of the aesthetic of reception proposed by Jauss in the field of literature can be applied to research into the reception of the music of Gustav Mahler. In creating his symphonies ‘with every means of accessible technique’, the composer achieved what might be described as a reinterpretation of the conception of selected genres. In this way he disturbed the traditional ‘horizon of expectations’ of the potential audience, and significantly distanced himself from it. The most important consequence of this was the lack of understanding of his music by a section of his contemporary audience. Mahler justified the rightness of his own creative intuition with the famous sentence ‘my time will come’. In her article the author presents the fundamental theses of Jauss’s aesthetic of reception relating to his understanding of the ‘horizon of expectations’. She also indicates the manner in which Mahler distanced himself from that ‘horizon’, and how in individual symphonies he contributed to the expansion and reinterpretation of conceptions of genres which had previously been based on knowledge shared by the composer and the listener.

4

Mahler and the Taking Back of the ‘Ninth’

60%

Berger K.

Polski Rocznik Muzykologiczny

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2023

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tom 21

44-83

PL

Ostatnie słowo „V Symfonii” Mahlera, skomponowanej w latach 1901–1902 i wykonanej po raz pierwszy w 1904 roku, jest ironiczne, szydercze wręcz, na pewno nie pompatyczno-triumfalne. Wyśmiewana jest tu cała tradycja triumfalnych scenariuszy symfonicznych, uosabianych przez „IX Symfonię” Beethovena, tradycja „per aspera ad astra”, która kazała symfonikom proponować historie o zwycięsko przezwyciężonym cierpieniu. Finał stawia też pod znakiem zapytania wcześniejszą twórczość Mahlera. Po raz pierwszy kompozytor pisze tu symfonię, która nie dąży do transcendencji i wzniosłości, lecz akceptuje komiczną immanencję ziemskiej egzystencji. Dążenie do transcendencji zawodzi, ale nie zostaje zapomniane, podobnie jak nie są zapomniane negatywne aspekty ludzkiej egzystencji, które to dążenie zrodziły.

EN

The last word of Mahler’s ‘Fifth Symphony’, composed in 1901–02 and premiered in 1904, is ironic, mocking even, certainly not pompously triumphant. What is mocked here is the whole tradition of victorious symphonic scenarios epitomized by Beethoven’s ‘Ninth Symphony’, the “per aspera ad astra” tradition that had symphonists propose stories of suffering triumphantly overcome. The ‘Finale’ also puts into question Mahler’s own past. For the first time, the composer writes here a symphony that does not aim at a transcendence and sublimity, but accepts the comic immanence of the earthly existence. The aspiration to transcendence fails, but is not forgotten, and neither are the negative aspects of human existence that gave rise to this aspiration.