Mauricio Rosenmann Taub

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Mauricio Rosenmann Taub (born 1932), a native of Santiago, is a Chilean composer, writer and poet. He studied piano and composition initially in Santiago, then in Stuttgart, Freiburg and Paris, where he also studied musicology and linguistics. Repeatedly he visited the Darmstadt New Music Summer School. In 1964 he graduated in Paris from Conservatoire, where he studied with Olivier Messiaen, with distinction (premier prix). During his time in Paris Rosenmann also 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. After that he returned to Freiburg and joined the class of Wolfgang Fortner, graduated with composing and became a lecturer at the Freiburger Musikhochschule.
1960 several of Rosenmann's poems where edited in Freiburg. 1969 a cycle of poems was published as a single book, los paraguas del no. Until 2007 eight other books followed, all conceived as cycles, also diverse essays. 1974 he was assigned as a professor for the major subject of Music theory at Folkwang-Hochschule Essen, where he acted until 1999.

Contents 1 Work 2 Musical works 3 Lyric works 4 Musicology/Literature 5 External links 6 Literature 7 References

[edit] Work

The compositions of Rosenmann – for piano, voice, chamber ensemble and also stageplay – were performed by renowned interprets. Often in his works gestic, lyric and musical aspects are liaised. Therein «an increasing formulation of the visible in the music ist announced» (S. F., Encyclopedia KDG, 1997). «For Mauricio Rosenmann's text production the junctim of scripture/language and its graphic realisation is central.» (Stefan Fricke). ^[1] He is «a brilliant renovator, who plays with sounds and words eliciting them illuminating nuances and meanings.» (Antonio Skármeta). ^[2] «Sharpening the sense of looking and hearing we perceive something coming from far away and pointing into future.» (Eugen Gomringer). ^[3]

[edit] 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 per pianoforte e basso profondo (grand and keyboard) (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 Renate Greiss-Armin. [1]
• Madam Czerny for solo piano (2007)
• Hija mia, Wig-lid (lullaby) by Dora Taub for mezzo-soprano, cor anglais, horn, viola, harp and piano (instrumentation: M. Rosenmann). [2]

[edit] 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 [3]
• Temprana aparición (from Sinfonía para nombres solos), Folkwang-Texte, Essen 1992, ISBN 3-89206-446-6
• Chile o el p/fisco sauer (aus der Sinfonía para nombres solos), art folder with 44 sheets, 1972-83/1995, ISBN 3-930735-33-4 Auszug
• Formicación, Saarbrücken 1996, ISBN 3-930735-57-1 Auszug
• Alteration : Albumblätter. Saarbrücken 1997, ISBN 3-930735-96-2 Auszug
• 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 Auszug
• Disparación, silabario disparatado, Lima 2007 Auszug

[edit] Musicology/Literature

• Lieder ohne Ton (Songs without tone) – annotations to Federico Mompou, «Canción»; Ralf R. Ollertz, «Toy Tô» [4]; 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

[edit] External links

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

[edit] 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 [5]
• Paul Guillén: Entrevista a Mauricio Rosenmann Taub [6]

[edit] References