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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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vol. 60

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issue 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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issue 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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issue 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

Z dalekiej Galicji do Wiednia. Siegfried Lipiner – bibliotekarz niepospolity

80%

Wiśniewska A.

Biblioteka

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2014

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issue 18(27)

171-192

EN

The present article aims to present the profile of Siegfried Lipiner (1876– –1911) who was a poet, admirer of F. Nietzsche, a friend and advisor to G. Mahler, translator of works by Mickiewicz, and a brilliant librarian. Born in Jarosław, Siegfried Lipiner moves in to Vienna in 1875 where he graduated from secondary school suma cum laude and then continued his studies at the Faculty of Philosophy. From the time of his secondary school education date his first poetical efforts, when he also managed to develop a circle of friends that included Gustav Mahler whose work was to be later much influenced by Lipiner as his closest friend and advisor. The epic poem Der entfesselte Prometheus, published in 1876, was highly praised by Nietzsche and engaged attention of Wagner. Works written later by the author were not, however, received as warmly as his first poetical endeavours. In 1881, thanks to the recommendation of Dr. Franciszek Smolka, the chairman of the House of Deputies of the Austrian Empire, Lipniner got a job in the library of the Imperial Council in which he worked for 30 years with commitment and devotion. Thanks to his skilful management and efforts, new funds for library were raised and new research and scientific associates, including Karl Renner – later the first post-war Chancellor and President of Austria, were co-opted. This collaboration made it possible to develop new subject catalogues, including the card catalogue that was used in the library until 1995. Lipiner’s efforts succeeded in expanding the library space (that of the present-day reading room). After the 30 years of his office the library of the Council (Parliament) is regarded as one of the best of its kind. Alongside his library work, Lipiner was engaged in further research work and professional development. In 1894 he was awarded a PhD following his doctoral dissertation Homunculus, eine Studie über Faust und die Philosophie Goethes. Inspired by Count Karol Lanckoroński, he translated works by Adam Mickiewicz: Pan Tadeusz and the Forefathers – and his translations, published in 1883 and 1887 respectively, are considered as outstanding even today.

PL

Celem artykułu jest przybliżenie sylwetki Siegfrieda Lipinera (1876– –1911) – poety, admiratora Nietzschego, przyjaciela i doradcy Mahlera, tłumacza dzieł Mickiewicza, a także świetnego bibliotekarza. Urodzony w Jarosławiu Siegfried Lipiner w 1875 roku przeniósł się do Wiednia, gdzie z wyróżnieniem zdał maturę i skończył studia na Wydziale Filozoficznym. Na lata gimnazjalne przypadają jego pierwsze próby poetyckie. Już jako student Lipiner skupił wokół siebie grono przyjaciół, w tym Gustava Mahlera, na którego twórczość jako najbliższy przyjaciel i doradca wywarł znaczny wpływ. Opublikowany w 1876 roku epos Der entfesselte Prometheus wzbudził duże uznanie Nietzschego i zainteresował Wagnera. Późniejsze utwory Lipinera nie spotkały się już z tak pozytywnym odzewem. W 1881 roku dzięki rekomendacji dr. Franciszka Smolki, przewodniczącego Izby Posłów, otrzymał pracę w Bibliotece Parlamentu Wiedeńskiego, w której przepracował z zaangażowaniem 30 lat. Do jego zasług należy zwiększenie dotacji dla biblioteki oraz pozyskanie nowych współpracowników naukowych, w tym Karla Rennera – późniejszego kanclerza i prezydenta Austrii. Dzięki współpracy z nimi możliwe było opracowanie nowych katalogów systematycznych, w tym katalogu kartkowego, który był w użyciu do 1995 roku. Starania Lipinera doprowadziły do uzyskania dodatkowej powierzchni bibliotecznej (obecnej czytelni). Po 30 latach jego urzędowania biblioteka parlamentu zaliczana była do najlepszych. Oprócz pracy bibliotecznej Lipiner dalej tworzył, a także podnosił swoje kwalifikacje. W 1894 uzyskał doktorat na podstawie dysertacji Homunculus, eine Studie über Faust und die Philosophie Goethes. Oprócz tego pracował za namową hr. Karola Lanckorońskiego nad przekładami dzieł Adama Mickiewicza: Pana Tadeusza oraz Dziadów – wydane w 1883 i 1887 roku do dziś uważane są za wybitne.

5

Symboliczne wcielenia Oskara Kokoschki - Tristan

41%

Długosz M.

Roczniki Humanistyczne

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2013

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vol. 61

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issue 4: Historia Sztuki

159-203

EN

From the very beginning of his artistic career Oskar Kokoschka systematically used historical, literary and mythological persons, whose figures, being recognizable in culture, facilitated the expression of his own psychological states and life experiences. The young painter, familiar with the classic works of literature, was also fascinated by music. One of his most vivid musical memories mentioned in an interview after more than half a century, was connected with his visits at the Vienna opera horse where he hare heard concerts directed by Gustav Mahler. A an especially enduring memory was that of the performance of R. Wagner’s drama Tristan und Isolde. From that time on the story of the mythical couple of lovers dominated the artist’s imagination, and after his meeting with Gustav's widow, Alma Mahler, he was able to assume a personified figure involving all the three people. As a result Kokoschka and Alma's love affair was supposed to develop according to the historical and mythical scenario of the medieval, and originally Celtic, saga. The artist first played the role of a life-guardsman seeking the favor of the patron of the Vienna cultural elite, and also seeking the hand of the inaccessible „queen” left by the dead director, „the old king”. Having won her acceptance the painter was able to be in her good graces for some time as her lover. However, a tragic turnabout, and at the same time the end of the relation, was inevitably inscribed in the process, in which the „young pretender” Kokoschka, having entered the role of the king, next had to give way to the next candidate. Stages of this symbolic process can be seen in Kokoschka’s letters as well as in his literary and visual works from the period of his relationship with Alma Mahler in the years 1912-1915, when one compares the facts from the protagonists’ lives with, among others, the medieval versions of the Tristan legend and its version composed by Wagner.

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2 Interdisciplinary Studies in Musicology

1 Biblioteka

1 Hudební věda (Musicology)

1 Roczniki Humanistyczne

1 Blecha I.

1 Długosz M.

1 Golianek R. D.

1 Mika B.

1 Wiśniewska A.

1 2023

3 2014

1 2013

Thomas Mann a Gustav Mahler

Liszt and Mahler in the postmodern filmic visions of Ken Russell

‘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

Z dalekiej Galicji do Wiednia. Siegfried Lipiner – bibliotekarz niepospolity

Symboliczne wcielenia Oskara Kokoschki - Tristan