Mauricio Rosenmann Taub

Mauricio Rosemann Taub ( born 1932 in Santiago) is a Chilean composer and writer.

He studied piano and composition in Santiago, where he was awarded several prizes, including the Prize of the Carvallo Orrego Chilean university. As a DAAD scholarship he continued his studies in Stuttgart and Freiburg. Then he moved to Paris in the class of Olivier Messiaen at the Conservatoire. Parallel to this, he worked for the French radio in the " Groupe des Recherches Musicales ". At the Sorbonne he studied musicology and linguistics. Supported by the linguist André Martinet he got a scholarship from the French government. Rosemann graduated with Messiaen from the premier prix. He returned to Freiburg and put at the Freiburg Musikhochschule the composition exam ( matriculation examination in composition and music theory ) with Wolfgang Fortner from. At the same university he got a lectureship. In 1974 he was appointed professor of the major music theory at the Folkwang Hochschule in Essen, where he worked until 1999. c

Work

In the compositions of Rosemann special procedures of alteration are developed (see literature in the interview at the Deutsche Welle ). In the purely instrumental works, " an increasing formulation of the visible announces. " (Stefan Fricke, KDG -Lexikon, 1997). His works for piano and for chamber ensemble have been performed in several European countries and in Chile; the stage works mainly in Germany and Switzerland, as Maquinación for chamber ensemble with a pinball machine as a soloist ( 1979-80 ); Frankenstein operazione (1992 ) on texts by Mary Shelley with the Andante of Mozart KV 545 as cantus and Solomisazione - Opera per una sola persona (1997). " The package deal of writing / speech and its graphic realization is for Mauricio Rose 's text production center. " 1960 published some of his poems in a magazine Freiburg. In 1969 the book was published los paraguas del no. By 2012, followed by twelve other books, most in Spanish, as well as various essays. Eugen Gomringer: "You sharpen this eye and ear and takes some true, that comes from afar and far points to the future. ". "He realized universal poetry. " In Disparación ( 2006-07), solo por ser usted ( 2009-10 ) and modulación ( 2011-12 ) attempts, the musical interval and the phonetic or graphic similarity of certain words in a certain relationship to. seen Raúl Zurita, National award winner for literature of the Republic of Chile: " Mauricio Rosemann takes us back to that age, in the gesture, graphics and sound still did not form a separate expressions. His poems open up even before you read them, and read them yourself before you can take any thought, as if we had suddenly the future memory of the language before us, the reservoir of those characters who survive the inevitable misunderstanding that of the words always appends. " ( trans. Sigrid Konrad ). Stefan Fricke, "The Rose 's oeuvre appears as [ ... ] total artistic labyrinth, are carried forth in the individual Ariadne threads that almost always lead back to the past bifurcations. " (KDG, 1997).

Selection of works ( music)

  • Fasolauta for flute, piano, synthesizer and tape ( 1973-76 )
  • Hija mia ( my daughter ), " Wig -lid " of Dora Taub for mezzo- soprano, anglais, viola, harp and piano, Eva Rose deaf man dedicated ( Instrumentation: M. Rosemann )
  • Vis -à-vis for two pianos and a pianist (1977 ), Peacock Publisher
  • Maquinación for solo and chamber ensemble pinball, roller Music ( 1979-80 ), ISBN M -50085-008-3
  • Frankenstein operazione for software solo performer, singer, speaking choir, instrumentalists, workstation and tape ( 1992)
  • Ground per pianoforte e basso profundo ( grand piano and keyboards) (1996 )
  • Scenata (scenic Sonatas ) - Four Sonatas for scenic performer, a singer and chamber ensemble ( 1994-97 )
  • Solomisazione - Opera per una sola persona (1997-2002)
  • Sirenata for two flutes, piano, a singer / speaker and tape ( 2006), Renate Greiss - Armin dedicated. Recording the version for flute players of the e- mex ensembles
  • Madam Czerny for piano solo ( 2007-08 ), Peacock Publishers, ISSM: M -50085-056-4
  • Modulation for Piano and Celesta (2012 )

Selection of works ( poetry)

  • Los del paraguas no, Freiburg. i Br / Santiago in 1969, Saarbrücken 1995, abstract. (PDF, 22 kB ) Extract 2
  • El Europicho, 1973-83 ( from the Sinfonia para nombres solos, symphony for solitary name ), Food 1983/Essen 1996
  • Temprana aparición ( from the Sinfonia para nombres solos ), Folkwang texts, Essen 1992
  • Chile o el p / fisco acidic ( from the Sinfonia para nombres solos ), art binder with 44 sheets, 1972-83/1995, excerpt ( PDF, 111 kB)
  • Formicación, Saarbrücken 1996, excerpt ( PDF, 33 kB)
  • Alteration: Album Leaves. Saarbrücken 1997, excerpt ( PDF, 18 kB)
  • Breviario, Saarbrücken 2001, excerpt ( PDF, 16 kB)
  • The place of meeting / El lugar del encuentro - A report on texts by Eugen Gomringer and Charles Baudelaire, as well as their own work - an attempt to interpretation, Saarbrücken 2005, excerpt ( PDF, 91 kB)
  • Disparación, silabario disparatado, Saarbrücken 2007, extract (second edition in MAGO Editores, Santiago de Chile, 2013).
  • Invitación al garabato followed by essay Dios es un número diez y entre dos, Santiago de Chile 2009
  • Solo por ser usted, RiL Editores, Santiago 2010
  • Modulación, RiL Editores, Santiago 2012

Theory and teaching

  • Songs without sound - Federico Mompou comments on, " Canción "; Ralf R. Ollertz, " Toy Tô "; Carlos Saura, " Cría Cuervo "; Frédéric Chopin " Preludes ", Saarbrücken 1995
  • The disfigurement as analysis and composition method, Reprint from the magazine " music theory ", Jahrg 14, Issue 4, 1999. This essay ends the composition project Entwebernung with students of the Folkwang Hochschule basis of the Piano Variations, Op 27 by Anton Webern. Performances and analyzes: Food, 1993; Dortmund, 1994 ( spectacle - festival ); Stuttgart, 1997 ( symposium music theory). Meeting of François Förstel in the journal ME -me (music Experimental) No. 5, Reutlingen 1997, pp. 39-41.
  • Sound and fingering in the final of the B minor Sonata, Op 58 by Chopin and Ravel Ondine. " Music Theory ", 19 Jahrg, Issue 2, 2004
  • Sound unreal - unreal set. Some remarks about the beginning of Tristan and two Preludes by Chopin. " Music Theory ", 19 Jahrg, Issue 2, 2004
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