{"id":2816,"date":"2026-11-04T18:30:02","date_gmt":"2026-11-04T17:30:02","guid":{"rendered":"https:\/\/oegmw.at\/?post_type=tribe_events&#038;p=2816"},"modified":"2026-11-04T18:32:53","modified_gmt":"2026-11-04T17:32:53","slug":"vienna-mahler-lecture-15","status":"publish","type":"tribe_events","link":"https:\/\/oegmw.at\/en\/veranstaltung\/vienna-mahler-lecture-15","title":{"rendered":"Vienna Mahler Lecture #15 | Christian Utz"},"content":{"rendered":"<p><strong>Christian Utz: \u201eMahler und das Unheimliche\u201c<\/strong><\/p>\n<p>Gustav Mahlers symphonische Welt bewegt sich auf dem schmalen Grat zwischen tiefem metaphysischem Ernst und bei\u00dfender Ironie. Woher speist sich der schauerliche, oft groteske Ton, der Mahlers Musik so unverwechselbar macht? Dieser Vortrag sp\u00fcrt, mit Bezug auf Sigmund Freuds einflussreichen Aufsatz (1919), dem Ph\u00e4nomen des Unheimlichen bei Mahler nach und folgt dabei einer faszinierenden \u00e4sthetischen Entwicklung in vier Schritten:<\/p>\n<ul>\n<li><strong>Der singende Knochen:<\/strong> Der Ausgangspunkt liegt in Mahlers fr\u00fcher M\u00e4rchenkantate <em>Das klagende Lied\u00a0<\/em>(1878\u20131880). Hier verschmelzen animistische Motive, gespenstische Stimmen und psychoanalytische Doppelg\u00e4nger-Effekte zu einer ersten h\u00f6chst pers\u00f6nlichen klanglichen Inszenierung des Unheimlichen.<\/li>\n<li><strong>Topoi des Opernrepertoires:<\/strong> Als Dirigent absorbierte Mahler das musiktheatrale Repertoire seiner Zeit. Der Vortrag benennt als Voraussetzung f\u00fcr Mahlers kompositorische Transformation des Unheimlichen dessen Inszenierung in Schl\u00fcsselwerken der Romantik \u2013 von Webers <em>Freisch\u00fctz<\/em> \u00fcber Marschner und Meyerbeer bis hin zu Rubinsteins <em>Der D\u00e4mon<\/em>.<\/li>\n<li><strong>Die Stimme der Nacht:<\/strong> Mahler \u00fcbersetzt dieses Vokabular in die Form der Symphonie. Am Beispiel des \u201eO Mensch!\u201c-Satzes der Dritten Symphonie (1895\u201396) und im Dialog mit den Erda-Szenen aus Wagners <em>Ring<\/em> wird gezeigt, mit welchen harmonischen, melodischen und orchestralen Mitteln Mahler einen klanglichen Grenzbereich zwischen Traum und Bewusstsein, Leben und Tod erschafft.<\/li>\n<li><strong>Albtraum und Ironie:<\/strong> Den Abschluss bildet ein Blick auf die Wendungen des Unheimlichen in Ken Russells Film <em>Mahler<\/em> (1974). In der grotesken Krematoriumsszene radikalisiert Russell Mahlers Trauerm\u00e4rsche zu einem Albtraum des Lebendig-Begraben-Seins, in der sich historisches Trauma, erotische Symbolik und moderne Ironie kreuzen.<\/li>\n<\/ul>","protected":false},"excerpt":{"rendered":"<p>Christian Utz: \u201eMahler und das Unheimliche\u201c Gustav Mahlers symphonische Welt bewegt sich auf dem schmalen Grat zwischen tiefem metaphysischem Ernst und bei\u00dfender Ironie. Woher speist sich der schauerliche, oft groteske [&hellip;]<\/p>\n","protected":false},"author":30,"featured_media":0,"template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"_tribe_events_status":"","_tribe_events_status_reason":"","footnotes":""},"tags":[83],"tribe_events_cat":[106],"class_list":["post-2816","tribe_events","type-tribe_events","status-publish","hentry","tag-mahler","tribe_events_cat-vortrag","cat_vortrag"],"_links":{"self":[{"href":"https:\/\/oegmw.at\/en\/wp-json\/wp\/v2\/tribe_events\/2816","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/oegmw.at\/en\/wp-json\/wp\/v2\/tribe_events"}],"about":[{"href":"https:\/\/oegmw.at\/en\/wp-json\/wp\/v2\/types\/tribe_events"}],"author":[{"embeddable":true,"href":"https:\/\/oegmw.at\/en\/wp-json\/wp\/v2\/users\/30"}],"version-history":[{"count":3,"href":"https:\/\/oegmw.at\/en\/wp-json\/wp\/v2\/tribe_events\/2816\/revisions"}],"predecessor-version":[{"id":2820,"href":"https:\/\/oegmw.at\/en\/wp-json\/wp\/v2\/tribe_events\/2816\/revisions\/2820"}],"wp:attachment":[{"href":"https:\/\/oegmw.at\/en\/wp-json\/wp\/v2\/media?parent=2816"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/oegmw.at\/en\/wp-json\/wp\/v2\/tags?post=2816"},{"taxonomy":"tribe_events_cat","embeddable":true,"href":"https:\/\/oegmw.at\/en\/wp-json\/wp\/v2\/tribe_events_cat?post=2816"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}