Alexandre Tansman (born Aleksander Tansman; 12 June 1897 – 15 November 1986) was a Polish-born French composer and virtuoso pianist. He spent his early years in his native Poland, but lived in France for most of his life. His music is primarily neoclassical, drawing on his Polish Jewish heritage as well as his French musical influences.
Early life and heritage
The composer wrote the following about his childhood and heritage in a 1980 letter to an American researcher:
- "... my father's family came from Pinsk and I knew of a famous rabbi related to him. My father died very young, and there were certainly two, or more branches of the family, as ours was quite wealthy: we had in Lodz several domestics, two governesses (French and German) living with us etc. My father had a sister who settled in Israel and married there. I met her family on my [concert] tours in Israel. ... My family was, as far as religion is concerned, quite liberal, not practicing. My mother was the daughter of Prof. Leon Gourvitch, quite a famous man."
Though he began his musical studies at the Łódź Conservatory, his doctoral study was in law at the University of Warsaw. Shortly after completing his studies, Tansman moved to Paris, where his musical ideas were accepted and encouraged by mentors and musical influences Igor Stravinsky and Maurice Ravel, as opposed to the more conservative musical climate in his native Poland. While in Paris, Tansman associated with a crowd of foreign-born musicians known as the École de Paris; though Honegger and Milhaud tried to persuade him to join Les Six, he declined, stating a need for creative independence. (Tansman later wrote a biography of Stravinsky that was extremely well received.)
Tansman always described himself as a Polish composer, though he spoke French at home and married a French pianist, Colette Cras, daughter of the French composer Jean Cras.
In 1941, fleeing Europe as his Jewish background put him in danger with Hitler's rise to power, he moved to Los Angeles (thanks to the efforts of his friend Charlie Chaplin in getting him a visa), where he made the acquaintance of Arnold Schoenberg. Tansman composed the score for at least two Hollywood movies: Flesh and Fantasy, starring Barbara Stanwyck, and a biopic of the Australian medical researcher Sister Elizabeth Kenny, starring Rosalind Russell. He scored six films in all. For the 1946 Academy Awards ceremony, he was nominated for an Oscar for Best Music, Scoring of a Dramatic or Comedy Picture, for Paris Underground. (There was a huge field of 21 nominations, and the winner was Miklós Rózsa for Spellbound.)
Though Alexandre Tansman returned to Paris after the war, his disappearance from the European musical scene left him behind the musical currents of the time, and no longer fresh in the minds of the public, which slowed his previously fast-rising career. No longer in tune with the French fashions, which had moved on to the avant-garde style, Tansman returned to his musical roots, drawing on his Jewish and Polish background to create some of his greatest works. During this time he began to reestablish connections to Poland, though his career and family kept him in France, where he lived until his death, in Paris, in 1986.
According to the Paris-based Société des Auteurs et Compositeurs, Tansman used the name "Stan Alson" when he composed jazz music.
Today the Alexandre Tansman Competition for promising musicians is held in his honor every other year in his birthplace of Łódź, in order to promote his music and the local culture. Notable students include Yüksel Koptagel, Turkish composer and pianist.
Tansman was not only an internationally recognized composer, but was also a virtuoso pianist. From 1932-33 Tansman performed worldwide for audiences including Emperor Hirohito of Japan and Mahatma Gandhi; he was regarded as one of the greatest Polish musicians. Later he performed five concert tours in the United States, including as a soloist under Serge Koussevitsky with the Boston Symphony Orchestra, as well as having a thriving career in France as a concert performer.
Tansman's music is written in the French neoclassical style of his adopted home, and the Polish styles of his birthplace, drawing on his Jewish heritage. Already on the edge of musical thought when he left Poland (critics questioned his chromatic and sometimes polytonal writing), he adopted the extended harmonies of Ravel in his work and later was compared to Alexander Scriabin in his departure from conventional tonality.
One of Tansman's letters states that "it is obvious that I owe much to France, but anyone who has ever heard my compositions cannot have doubt that I have been, am and forever will be a Polish composer." After Chopin, Tansman may be the leading proponent of traditional Polish forms such as the polonaise and the mazurka; they were inspired by and often written in homage to Chopin. For these pieces, which ranged from lighthearted miniatures to virtuoso showpieces, Tansman drew on traditional Polish folk themes and adapted them to his distinctive neoclassical style. However, he did not write straight settings of the folk songs themselves, as he states in a radio interview: "I have never used an actual Polish folk song in its original form, nor have I tried to reharmonize one. I find that modernizing a popular song spoils it. It must be preserved in its original harmonization."
He is perhaps best known for his guitar pieces, mostly written for Andrés Segovia—in particular the Suite in modo polonico (1962), a collection of Polish dances. Segovia frequently performed the work in recordings and on tour; it is today part of the standard repertoire. Tansman's music has been performed by musicians such as Segovia, Walter Gieseking, José Iturbi, Jane Bathori, Joseph Szigeti, Pablo Casals, Gregor Piatigorsky, Igor Zubkovsky, Christopher Parkening and most recently Chandos Records has increased his profile, with the start of a series of his orchestral works, recorded by the Melbourne Symphony Orchestra, conducted by Oleg Caetani.
Tansman's many hundreds of compositions include:
- Petite Suite for piano (1917-1919)
- 8 mélodies japonaises, voice and orchestra (1918)
- Le jardin du paradis, ballet, (1922)
- Légende, orchestra (1923)
- Trois pièces de piano (1923)
- Piano Concerto no.1 pour piano et orchestre (1925)
- La nuit kurde, opera (1927)
- Piano Concerto no.2 (1927)
- Suite pour deux pianos et orchestre (1928)
- Pièces (Cinq) pour violon et petit orchestre (1930)
- Concertino pour piano et orchestre (1931)
- Rapsodie hébraïque, orchestra (1933)
- Fantaisie pour Cello & Orchestre ou Piano (1934)
- Orchestration of Federico Mompou's piano suite Scènes d'enfants (1936)
- Concerto pour alto et orchestre (1936 - 1937)
- Violin Concerto (1937)
- Fantaisie pour piano et orchestre (1937)
- La Toison d'or (The Golden Fleece), opera (1938)
- 24 Intermezzi for piano (1939-1940)
- Valse-Impromptu for piano (1940)
- Rapsodie polonaise, orchestra (1940)
- Pièce concertante (Konzertstück) pour piano main gauche et orchestre (1943)
- "Adam and Eve", Part 3 of Genesis Suite, for narrator and orchestra, collaboration with Arnold Schoenberg, Darius Milhaud, Igor Stravinsky, Mario Castelnuovo-Tedesco, Ernst Toch and Nathaniel Shilkret, after Genesis (1944)
- Partita n°2 pour piano et petit orchestre (1944)
- Concertino pour guitare et orchestre (1945)
- Isaïe le prophète, choir and orchestra (1950)
- Cavatine, guitar (1951)
- Concertino pour hautbois, clarinette et orchestre à cordes (1952)
- Concerto for Orchestra (1954)
- Hommage à Manuel de Falla pour guitare et orchestre de chambre (1954)
- 4 mouvements symphoniques, orchestra (1956)
- Concerto pour clarinette et orchestre (1957)
- Sabbataï Zévi, le faux messie, opera, (1957–8)
- Suite, bassoon and piano (1960)
- Musique de cour pour guitare et orchestre de chambre (1960)
- Psaumes, tenor solo, choir, and orchestra (1960–61)
- Suite in modo polonico, guitar (1962)
- Cello Concerto (1963–64)
- Hommage à Chopin, guitar (1966)
- Suite concertante pour hautbois et orchestre de chambre (1966)
- Concertino pour flûte, orchestre à cordes et piano (1968)
- Stèle in memoriam Igor Stravinsky, orchestra (1972)
- Les dix Commandements, orchestra (1978–9)
- Musique pour harpe et orchestre à cordes (1981)
- Hommage à Lech Walesa, guitar (1982)
- "Musique pour Clarinette Si flat et Quatuor à cordes (1984?)
- film music: Poil de Carotte (1932), Flesh and Fantasy (1942), Paris Underground (1945), Destiny (1944), Sister Kenny (1946), The Bargee (1964)
- 9 symphonies (1917; 1926; "Symphonie concertante" [Symphonie n°3] pour violon, alto, violoncelle, piano et orchestre 1931; 1939; 1942; "In memoriam" 1944; "Lyrique" 1944; "Musique pour orchestre" 1948; 1957–8)
- 8 string quartets (1917; 1922; 1925; 1935; 1940; 1944; 1947; 1956)
- 7 Novelettes, piano
- Variations on a Scriabin Theme, guitar
- Sonatine, bassoon and piano
- Symphonies No.4, 5, 6. Melbourne Symphony Orchestra . Oleg Caetani. Chandos.
- Pierre Guillot Hommage au compositeur Alexandre Tansman: (1897-1986)
- Caroline Rae: "Alexandre Tansman". Grove Music Online, ed. L Macy, accessed 21 Mar 05. (subscription access)
- Anne Girardot, Richard Langham Smith: "Alexandre Tansman". Grove Music Online (OperaBase), ed. L Macy, accessed 21 Mar 05. (subscription access)
- usc.edu Polish composers: Tansman
- Tansman competition biography
- Tansman Competition home page
- Alexandre Tansman at the Internet Movie Database
- Free scores by Alexandre Tansman at the International Music Score Library Project
- Alexander Tansman, biographical sketch at Musica et Memoria