Friday 15 September

10:45 Welcome

Milijana Pavlović, Jeremy Barham and Alessandro Cecchi

11.00–12.00

Keynote presentation, Emile Wennekes:

“Being Composed first, then Being Screened: Remediating Mahler”

12:00-13:00

Screening of Mahler. The Echo of Being (‘symphonic cinema’ by Lucas van Woerkum, 2020)

Lunch

14.30–16.30

Paper session 1: The Screen (i): from the Beginnings to Visconti

Julie Brown “Mahler-Lichtbildkonzert: An Early Screen Mediation of the Composer in Context”

Laurence Carr “A Song of Two Humans (Murnau and Riesenfeld): An Exploration of Sound and Music in Sunrise (1927)”

Maria Fuchs “The Persistence of Romantic Landscape: from Mahler to the Politics of Nature in the Heimat Genre”

Giorgio Biancorosso “Mahler and Free Indirect Style in Death in Venice (Visconti, 1971)”

Refreshments

17.30–19.00

Presentation: Johannes Deutsch, ‘Vision Mahler’

Saturday 16 September

10.00–12.00

Paper session 2: Dramatizing and Visualizing on Stage, Canvas, and Page 

Emilio Sala “The ‘Haunting Melody’ and Castellucci’s Staging of Mahler’s ‘Resurrection’ Symphony”

Eftychia Papanikolaou “Mediating the Pan-Erotic: John Neumeier’s Choreography of Mahler’s Third Symphony”

Martina Pippal “Symbolism as an Underestimated Meta Phenomenon: Gustav Mahler and the Visual Media of His Time”

Jeremy Barham “Making a Song and Dance about Mahler: Dramatizations and Novelizations”

Lunch

14.30–16.30

Paper session 3: The Screen (ii): Beyond Visconti

Maurizio Corbella “(Un)crediting Mahler: Adaptation, Allusion, Reinvention in Italian Film Music Beyond Visconti”

Carlo Cenciarelli “Distant Music and Jarmusch’s Mahler”

Alessandro Cecchi “Fake Mimesis as Symptom and Strategy: Mahler’s Piano Quartet in Shutter Island (Scorsese, 2010)”

Julie Hubbert “‘Vergessen Sie Visconti’: Mahler, Music, and Auteurism in Tár”

Concluding remarks

Refreshments

17.30–19.30

Performance: Uri Caine, Improvising a Live Mahler Score to Murnau’s Sunrise