Mauricio Rosenmann Taub

Mauricio Rosenmann Taub (born 1932), a native of Santiago, is a Chilean composer, writer and poet.

Education

He studied piano and composition initially in Santiago, then in Stuttgart, Freiburg and Paris, where he also studied musicology and linguistics. He attended the Darmstadt New Music Summer School. In 1964 he graduated with distinction (premier prix) from the Conservatoire de Paris, where he studied with Olivier Messiaen. During his time in Paris Rosenmann worked at the French Broadcast as a member of the Groupe des Recherches Musicales and studied organ with Edouard Souberbielle. At the University of Paris (Sorbonne) he studied linguistics with André Martinet, phonetics and musicology. He returned to Freiburg and joined the class of Wolfgang Fortner, graduated with a composing degree, and became a lecturer at the Freiburg Conservatory.

In 1960 several of Rosenmann's poems were edited in Freiburg. In 1969 a cycle of poems was published as a single book, Los Paraguas del No. As of 2007 eight other books have followed, all conceived as cycles; he has also published diverse essays. He was a professor of Music theory at Folkwang Hochschule in Essen 1974 until 1999.

Work

Rosenmann's compositions for piano, voice, chamber ensemble and stage plays have been performed by renowned interpreters. He is "a brilliant innnovator who plays with sounds and words eliciting them illuminating nuances and meanings." (Antonio Skármeta). "Sharpening the senses of looking and hearing, we perceive something coming from far away and pointing into future." (Eugen Gomringer).

Musical works

• Fasolauta for flute, piano, synthesizer and tape (1973–76)
• Vis-à-Vis for two pianos and one pianist (1977)
• Maquinación for solo pinball machine and chamber ensemble, role-music (1979–80). ISBN M-50085-008-3
• Frankenstein-OperAzione for solo software, actor, singer, speaking choir, instrumentalists, workstation and tape (1992)
• Ground for piano and basso profondo (1996), ISBN M-50085-007-6
• Scenata (scenic sonatas) - four scenic sonatas for actor, female singer and chamber ensemble (1994–97), ISBN M-50085-010-6
• Solomisazione - Opera Per Una Persona Sola (opera for one single person) (1997–2002), ISBN M-50085-034-2
• Fa-Solstice for two flutes, piano, female singer/speaker and tape (2006), dedicated to Renate Greiss-Armin. [1]
• Madam Czerny for solo piano (2007)
• Wig-Lid (lullaby) by Dora Taub for mezzo-soprano, cor anglais, horn, viola, harp and piano, lullaby, dedicated to Eva Rosenmann Taub (instrumentation: M. Rosenmann)

Lyric works

• Los Paraguas Del No, Freiburg. i. Br./Santiago 1969 et Saarbrücken 1995, ISBN 3-930735-34-2 Auszug Auszug 2
• El Europicho, 1973-83 (from Sinfonía Para Nombres Solos (sinfonia for lonely names)), Essen 1983/Essen 1996, ISBN 3-89206-781-3
• Temprana Aparición (from Sinfonía Para Nombres Solos), Folkwang-Texte, Essen 1992, ISBN 3-89206-446-6
• Chile o el p/Fisco Sauer (from Sinfonía Para Nombres Solos), art folder with 44 sheets, 1972-83/1995, ISBN 3-930735-33-4
• Formicación, Saarbrücken 1996, ISBN 3-930735-57-1 Auszug
• Alteration : Albumblätter. Saarbrücken 1997, ISBN 3-930735-96-2
• Breviario, Saarbrücken 2001, ISBN 3-89727-163-X Auszug
• Der Ort der Begegnung /El Lugar Del Encuentro (The Place of Encounter)- Ein Bericht über Texte von Eugen Gomringer und Charles Baudelaire sowie über eigene Arbeiten - Versuch einer Interpretation, Saarbrücken 2005, ISBN 3-89727-283-0
• Disparación, Silabario Disparatado, Saarbrücken 2007, ISBN 978-3-89727-376-4
• Invitación al Garabato - Dios es Un Número Entre Diez y Dos, Santiago de Chile 2009, ISBN 978-956-284-663-9
• Solo por ser usted, Santiago de Chile 2010

Musicology/Literature

• Lieder Ohne Ton (Songs without tone) – annotations to Federico Mompou, "Canción"; Ralf R. Ollertz, "Toy Tô"; Carlos Saura, "Cría Cuervos"; Frédéric Chopin, "Préludes", Saarbrücken 1995, ISBN 3-930735-35-0
• Die Entstellung als Analyse- und Kompositionsverfahren (The Deformation as an Analytic and Compositional Method), offprint of the periodical Musiktheorie, 14. Jahrg., Heft 4, 1999
• Ton- und Fingersatz im Finale der h-Moll-Sonate op. 58 von Chopin und in Ondine von Ravel. Musiktheorie, 19. Jahrg., Heft 2, 2004
• Irrealer Klang – irrealer Satz. Einige Bemerkungen über den Anfang von Tristan und über zwei Préludes von Chopin. Musiktheorie, 19. Jahrg., Heft 2, 2004

External links

• Website
• Vita
• Mauricio Rosenmann Taub at Pfau-Verlag
• http://letras.s5.com/archivomauriciorosenmann.htm

Literature

• Fricke, Stefan: Mauricio Rosenmann, in: Komponisten der Gegenwart, KDG, ed. Hanns-Werner Heister, München: Edition Text u. Kritik, 1992 ff.
• Fricke, Stefan.: Zu den Sehtextbüchern von Mauricio Rosenmann, in: «Positionen 42», Beiträge zur Neuen Musik, Februar 2000
• Felipe Cussen: Entrevista a Mauricio Rosenmann Taub: De todos los modos posibles [2]
• Paul Guillén: Entrevista a Mauricio Rosenmann Taub [3]
• César Díaz-Muñoz Cormatches: Paraguas para lágrimas, en La Prensa (Santiago, 12 de octubre de 1971). [4]