in 1927 in Santiago de Chile to Jewish emigré parents,
Rosenmann-Taub began writing when he was three and committed
himself to his vocation at the age of seven. By then,
too, he had already started the omnivorous reading, across
many disciplines, that would give him an immense erudition.
Also in early childhood, he began the formal musical education
that would prepare him for a lifetime of accomplishment
as a composer.
he was just twenty-one, his first book – Cortejo
y Epinicio (Cortege and Epinicion) – was published
by the house of Cruz del Sur. In a country famous for
its Nobel laureates, he was greeted as a new star. Chile’s
leading literary critic, Alone, hailed the young author
as a pioneer. This triumph was soon followed by another:
the publication of Los Surcos Inundados
(The Flooded Furrows), for which he received the
Premio Municipal de Poesía (the Chilean equivalent
of the Pulitzer Prize for Poetry).
had come to him unbidden; he had no interest in performing
the rituals necessary to maintain it. Furthermore,
he was overtaxed by the long days of private lessons
he now gave in order to help support his extended family – a
grueling round that did not prevent him from spending
his nights writing poetry while subsisting on few hours’ sleep.
the late 1970’s, five of his books appeared in
small, handsome editions: El Cielo en la Fuente
(The Sky in the Fountain), the first two volumes
of Los Despojos del Sol (The Spoils of the Sun),
a second edition of Cortejo y Epincio, and
with Nahúm Kamenetzky, Al Rey su Trono (To
the King His Throne). These books, now almost
impossible to find, have become collector’s items.
left his country in the early 1980s and has since lived
in the United States, devoting himself to his artistic
activities and giving private lessons and occasional
lectures. Remaining far from the spotlight of public
life, he has become a near-mythical figure in the world
of Latin American letters.
long-time, enthusiastic admirers of Rosenmann-Taub’s
poetry continue to be astonished by the range of his
creative faculties. He is one of those rare protean
artists whose genius extends to music and art as well
as to poetry. Over the past two decades, not only has
he written prolifically, he has also recorded a large
number of his own piano compositions and produced hundreds
of drawings. In 2000, Rosenmann-Taub assigned all of
his existing and future work to the Corda Foundation,
electing not to profit financially from its promotion
and sale. Corda aims to bring the whole spectrum of
his creativity to the world’s attention.