[Aleksander Tansman przy fortepianie]
Tansman Alexandre, *11 (or 12) June 1897 Łódź, †15 November 1986 Paris, Polish composer, pianist and conductor. He came from a middle-class Jewish family that cultivated the tradition of family music playing. Initially, he learned to play the piano in Łódź with W. Gawroński, K.K. Lüdschg and S. Vas and theory with N.S. Podkaminer. In 1915–18 he studied law at the Warsaw University and obtained a candidate’s diploma in law as well as harmony and counterpoint with P. Rytel and composition with H. Melcer. In 1919, at a composition competition in Warsaw, Tansman won the Grand Prix for Romance for violin and piano and two of three further prizes for the piano Impression and Prelude in B major (both works have been lost). In November 1919, he went to Paris, where he met the then-leading European composers and musicians, primarily M. Ravel, A. Roussel, M. de Falla, S. Koussevitzky, D. Milhaud, A. Honegger, A. Segovia, I. Stravinsky et al. Ravel introduced the young composer, among others, to V. Golschmann, who later conducted many premieres of Tansman’s works (e.g. in 1921 Impressions, the composer’s first symphonic work performed in Paris), the singer M. Freund, and recommended him to the publishers: E. Demets and M. Eschig. Tansman’s developing career was also supported by music critics – A. Coeuroy, B. de Schloezer, E. Ganche, and Roland-Manuel. Tansman’s name is associated with the Ecole de Paris, an informal group of composers consisting of M. Mihalovici, T. Harsányi, B. Martinů, C. Beck and A. Tcherepnin. In 1922, Tansman played a significant role in promoting K. Szymanowski’s music in Paris (he wrote, among others, an article for “Revue Musicale”). As a pianist and conductor performing his own works, Tansman made numerous concert journeys, including: to the United States (at the turn of 1927/28 – including performances with the Boston Symphony Orchestra conducted by S. Koussevitzky, 1929/30 – performances with the Chicago Symphony Orchestra, 1934/35), Spain, London and Brussels (1931), as well as an unprecedented world tour in 1932/33 (United States, Hawaii, Japan, China, Philippines, Singapore, Indonesia, Malaya, Ceylon, India, Egypt).
In 1938, Tansman became a French citizen; in 1941, thanks to the help of Ch. Chaplin, A. Toscanini, E. Ormandy and J. Heifetz, he escaped from occupied Europe with his wife, pianist Colette Cras-Tansman and daughters Mireille and Marianne, and settled in the United States (Hollywood). In America, he composed many pieces and wrote a book about I. Stravinsky. Orders directed to Tansman from the rapidly developing film industry were important for financial reasons. In 1944, together with A. Schoenberg, I. Stravinsky, D. Milhaud, M. Castelnuovo-Tedesco, E. Toch and N. Shilkret, he took part in the project of composing a joint oratorio work Genesis. In 1946, he returned to Paris, devoting himself entirely to composing. In 1958, he made his first trip to Israel; Tansman’s subsequent visits to Poland took place in 1967, 1978, 1979 and 1980. From 1977, he was a member of the Académie Royale des Sciences, des Lettres et des Beaux-Arts de Belgique, from 1983 an honorary member of the Polish Composers’ Union, in 1986 the Academy of Music in Łódź awarded him honoris causa doctorate. He was awarded, among others, the Gold Cross of Merit (1983) and the title of Commandeur dans l’Ordre des Arts et des Lettres (1986). Since 1996, the A. Tansman Association for the Promotion of Culture organizes the A. Tansman International Competitions of Musical Personalities in Łódź (1998, 2000, 2002, 2004, 2006).
Tansman’s music belongs to the most often performed around the world – especially in France and the United States; however, his work is relatively little known in Poland. Due to the turmoil in 20th-century history, interest in him and his music in his home country revived only in the last two decades of the 20th century. Tansman’s enormous compositional achievements include primarily orchestral, chamber and piano music, as well as operas and ballets. Tansman is one of the most popular composers of music for guitar in the 20th century (from Mazurka from 1925 to Hommage à Lech Wałęsa from 1982) and is one of the recognised pioneers of film and radio music.
Initially, Tansman was clearly influenced by Polish folklore (Mazurkas, Polish Album – a piano composition from 1916, unpublished, lost, Symphony No. 1), but quite quickly newer tendencies appeared in his music, e.g. polytonality (Polish Album, 8 mélodies japonaises Kaï- Kai). In the 1920s, Tansman’s style was influenced by neoclassicism. In his artistic credo (“Music” 1925), the composer supported formal constructivism and expressive objectivism and described himself as an opponent of romantic pathos and impressionistic sound painting.
A manifestation of Tansman’s neoclassical creative attitude is primarily the use of genres and forms of classical (concerto, sonata, symphony) and baroque music (fugue, toccata), and therefore a special predilection for instrumental music. The composer also willingly used polyphonic and ostinato techniques. A characteristic feature of his style is motor rhythm, sometimes with clear traces of inspiration from jazz (syncopations, polyrhythms) or Javanese music, as well as a refined sound. In terms of harmonics, after the early period of radicalism (polytonality), there was a stabilization of the so-called ‘new tonality’ typical of neoclassicism, within which Tansman introduced polyharmonic complexes, i.e. polychords with a third structure, referred to in the literature as “Tansman chords” or “les accords de gratte-ciel” (scraper chords).
Tansman was consistent in his creative attitude throughout his life, also in works from the 1940s, in which there was an increase in drama and emotional expression (which was already announced by Symphony No. 4, which is one of his most personal works) and those created from non-musical inspirations (e.g. Symphony “In memoriam”). In works from the 1950s, there was a development of an individual principle of form shaping using “bridges” (e.g. Concerto for Orchestra, Piano Sonata No. 5, Sinfonia Piccola and others). The “bridge” may be a melodic section or a harmonic structure, and their repetition replaces the transformation of themes typical of the sonata form. The post-war triumph of the avant-garde did not reduce the composer’s aversion to experimentalism. His ideal was the balance of melodic, harmonic and rhythmic elements, formal structure and timbre. In an interview given by the composer to B.M. Jankowski during his visit to Poland (1980), he said: “Music has never been the result of calculation for me, it has always been a need. […] I don’t divide music into old or avant-garde, serious or entertaining. I write the music that I feel and if it reaches the listeners, then this gives me enough satisfaction […].”
Tansman himself considered the opera Sabbataï Zévi, False Messiah one of his best works. This was not the only manifestation of the “return to the roots” – the composer also used the stylisation of Jewish melodies in the Rapsodie hébraïque, the oratorio Isaiah, the Prophet, the cantata Apostrophe to Sion and the part of the oratorio Genesis he created. Tansman, who never denied his origins, always emphasised that he was a Polish composer. As R. Petit noticed, “the rhythm of the mazurka is more natural for him than the Jewish melody” (1929). However, the connection with the Chopin tradition is reflected not only in piano nocturnes, waltzes and polonaises, numerous mazurkas and other examples of creative processing of the Polish folk element (e.g. Sonata rustica, string quartets, Suite in modo polonica, Piano Concerto No. 1 and No. 2, Sinfonietta No. 2, Symphony No. 2), because Tansman’s style is characterised by classical elegance, a certain aristocratism, grace and lyrical reverie and melancholy attributed to Polish music. Tansman’s compositions arouse admiration for their logic and simplicity of form, lightness of texture, precision and moderation of the means used. They are often also a manifestation of musical humour and sérénité.
Literature: G. Hugon Catalogue de l’oeuvre d’Alexandre Tansman, Paris 1995; I. Schwerke Alexandre Tansman, compositeur polonais, Paris 1931; J. Cegiełła Dziecko szczęścia. Aleksander Tansman i jego czasy, 2 volumes, vol. 1, Warsaw 1986, 2nd revised ed. Łódź 1996, vol. 2, Łódź 1996; A. Granat-Janki Forma w twórczości instrumentalnej Aleksandra Tansmana, Wrocław 1995; A. Wendland Gitara w twórczości Aleksandra Tansmana, Łódź 1996; Aleksander Tansman 1897–1986, materiały z ogólnopolskiej sesji naukowej, ed. M. Szoka, Łódź 1997; Hommage au compositeur Alexandre Tansman (1897–1986), ed. P. Guillot, Paris 2000; A. Tansman, Une voie lyrique dans un siècle bouleversé, texts collected by Mireille Zanuttini, Paris 2005; A. Tansman, Regards en arriére. Itinéraire d’un musician cosmopolite au XXe siècle, ed. C. Segond-Genovesi, Château-Gontier 2013; W. Wendland, W 89 lat dookoła świata. Aleksander Tansman u źródeł kultury i tożsamości, Łódź 2013.
Articles: R. Petit Alexandre Tansman, “La Revue Musicale” X, 1929 no. 4; K. Biegański Aleksander Tansman. Kompozytor, pianista i dyrygent, “Ruch Muzyczny” 1960 no. 10/11; T. Kaczyński Rozmowa z Aleksandrem Tansmanem, “Ruch Muzyczny” 1967 no. 12 and 1974 no. 18; Z. Helman Estetyka twórczości Aleksandra Tansmana, “Ruch Muzyczny” 1977 no. 13; T. Kaczyński Polish Composer in Paris. Alexander Tansman’s 80th Birthday, “Polish Music” 1977 no. 4; T. Zieliński Klasyk polskiej muzyki współczesnej, “Ruch Muzyczny” 1977 no. 13; B. Smoleńska Muzyka kameralna Tansmana, “Ruch Muzyczny” 1980 no. 23; B.M. Jankowski Nasi goście: Aleksander Tansman, “Trybuna Ludu” from 28 September 1980 (interview with Tansman); Z. Helman In Memory of Alexander Tansman, “Polish Music” 1987 no. 3/4; M. Szoka, Alexander Tansman and the Syndrom of „Wandering Jew,” in: Poetics and Politics of Place in Music, ed. R. Stanevičiute and L. Navickaite-Martinelli, Wilno/Helsinki 2009; M. Gamrat, ‘Forma mostowa’– w poszukiwaniu alternatywy dla formy sonatowej. V Sonata na fortepian solo Aleksandra Tansmana, “Kwartalnik Młodych Muzykologów UJ” 2009, no. 4; J. Kalinowski Twórczość wiolonczelowa Aleksandra Tansmana and M. Szlezer „Pièce concertante” na fortepian i orkiestrę Aleksandra Tansmana. 65 lat drogi na estradę, in: Polscy kompozytorzy emigracyjni. Szkice i interpretacje, ed. J. Kalinowski and M. Szlezer, Kraków 2014; M. Gamrat „Le syndrome chopinien” dans la musique pour piano d’Alexandre Tansman, in: Chopin 1810–2010. Ideas – Interpretations – Influence, ed. I. Poniatowska, Z. Chechlińska, Warsaw 2017; M. Szoka Aleksander Tansman, in: Polski Słownik Biograficzny, issue 213, Warszawa-Kraków 2018.
Compositions
(the list omits most unpublished and lost works as well as pedagogical and occasional compositions; many of Tansman’s works had several versions, they are given after the original version)
Instrumental:
orchestra:
Symphonie No. 1, 1917, lost
La danse de la sorcière for orchestra, 1923–24 (fragment from planned but not composed ballet Le jardin du paradis), published in 1924 Editions Max Eschig, Paris, 2nd version for chamber orchestra, 1923–24, 3rd version for 2 pianos, 1923–24
Sinfonietta No. 1 for chamber orchestra, 1924, published in 1925 UE, version for 2 pianos, 1924
Symphonie No. 2 in A minor, 1926, published in 1931 Editions Max Eschig, Paris
Symphonic Overture, 1926 published in 1929 Editions Max Eschig, Paris
Toccata for orchestra, 1928–29, published in 1929 Editions Max Eschig, Paris, 2nd version for string orchestra, 1929
Suite dans le style ancien for small orchestra, 1929, cf. works for piano
Triptych for string orchestra, 1930, cf. chamber works
Symphonie No. 3 Concertante for piano, violin, viola, cello and orchestra, 1931, not published in full, 2nd part Tempo americano, cf. works for piano
4 danses polonaises for orchestra, 1931, piano version, 1931, published in 1932 Editions Max Eschig, Paris (both versions)
2 moments symphoniques, 1932, published in 1933 Editions Max Eschig, Paris
Rapsodie hébraïque for orchestra, 1933, published in 1938 Editions Max Eschig, Paris, piano version, 1933, published in 1939 Editions Max Eschig, Paris
2 intermezzi for orchestra, 1934, not published
2 pièces for orchestra, 1934, published in 1936 Editions Max Eschig, Paris
2 images de la Biblie for orchestra, 1935, not published
Symphonie No. 4, 1936–39, published in Editions Max Eschig, Paris, 2nd part Adagio for string orchestra, published in 1937 Editions Max Eschig, Paris
Variations sur un theme de Frescobaldi for orchestra, 1937, version for string orchestra, 1942, published in 1956 Editions Max Eschig
Rapsodie polonaise for orchestra, 1940, version for 2 pianos, 1940, piano version, 1940, published in 1990 Editions Max Eschig
Symphonie No. 5, 1941–42, published in 1950 Editions Max Eschig, Paris
Carnival Suite (music fragments from Flesh and Fantasy) for orchestra, 1941/42, version for 2 pianos, 1942, version for wind orchestra, 1942, all of them published in New York, Leeds Music Corporation
Ricercari for orchestra, 1941–49, published in New York, Leeds Music Corporation
Study in Boogie-woogie for orchestra, 1941 (composition later used as the 5th part of Ricercari 1941–49)
Little Suite No. 2 from the film Flesh and Fantasy for quartet and string orchestra, 1943, not published
Serenade No. 3 for orchestra or 2 pianos, 1943, published in Editions Max Eschig (both versions)
Symphonie No. 4 “In memoriam” for choir and orchestra, lyrics by the composer, 1944, published in 1953 Editions Max Eschig, Paris
Symphonie No. 7 “Lyrique”, 1944, not published
Divertimento for chamber orchestra, 1944, version for instrumental ensemble, 1944, published by Editions Max Eschig (both versions)
Lied et Toccata for orchestra, 1944, published in 1952 UE
Short Suite for orchestra and groups of instruments, 1944, published in Philadelphia, Delkas Music Publishing Company
Introduction et Danse gitane for chamber orchestra, 1946, published in New York, Leeds Music Corporation
Le cantique des cantiques for chamber orchestra, 1946, not published, revised version: La sulamite for chamber orchestra, 1946, not published
2 Elegies for chamber orchestra, 1948–51, published in Buenos Aires 1952 Editorial Argentina de Musica
Musique pour orchestre (Symphonie No. 8), 1948, published in 1951 Editions Max Eschig, Paris
Suite dans le goût espagnol for orchestra (from music to radio play Voyage de Magellan), 1948, published in 1954 Editions Max Eschig
Musique de table for orchestra, 1949, published in Paris 1968 Editions Françaises de Musique Technisonor
Sinfonia piccola for orchestra, 1951–52, published in 1953 UE
Le cercle de craie, a symphonic fragment from music for a radio play, 1952, published in Paris, Editions Françaises de Musique -S.O.F.I.R.A.D.
Concerto pour orchestre, 1954, published in 1956 Editions Max Eschig
Capriccio for orchestra, 1954, published in 1972 Editions Max Eschig
Suite légère for orchestra, 1955 published in Paris 1969 Editions Françaises de Musique Technisonor
Scherzo for orchestra, 1957, published in Paris 1969 Editions Françaises de Musique Technisonor
Symphonie No. 9, 1957–58, not published
Suite baroque for chamber orchestra, 1958, published in 1958 UE
La lutte de Jacob avec l’Ange for orchestra, 1960, Paris 1960 Editions Françaises de Musique Technisonor
Symphonie de chambre, 1960, published in Paris 1961 Editions Françaises de Musique Technisonor
6 mouvements for string orchestra and 6 études for orchestra, 1962–63, published in Paris 1963 Editions Françaises de Musique Technisonor
4 mouvements for orchestra, 1967–68, published in 1970 Editions Max Eschig
Hommage à Erasme de Rotterdam for orchestra, 1968–69, published in 1971 Editions Max Eschig
Diptique for orchestra, 1969, published in 1971 Editions Max Eschig
Stèle in memoriam Igor Strawinski for orchestra, 1972, published in 1973 Editions Max Eschig
Elégie à la mémoire de Darius Milhaud for orchestra, 1975, published in 1976 Editions Max Eschig
Les dix commandements for orchestra, 1978–79, published in 1981 Editions Max Eschi
Sinfonietta No. 2 for chamber orchestra, 1978–79, published in 1981 Editions Max Eschig, Paris
for solo instrument with orchestra:
Concerto No. 1 for piano and orchestra, 1925, score and 2 pianos reduction published in 1926 Editions Max Eschig
Concerto No. 2 for piano and orchestra, 1927, published in 1928 (score) and 1929 (2 pianos reduction) Editions Max Eschig
Suita for 2 pianos and orchestra, 1928, 3 pianos reduction published in 1935 Editions Max Eschig
Concertino for piano and orchestra, 1931, score and 2 pianos reduction published in 1936 Editions Max Eschig
Fantaisie for cello and orchestra, 1936, published in 1936 Editions Max Eschig
Viola Concerto, 1936–37, score and reduction for viola and piano published in 1938 Editions Max Eschig
Fantaisie for piano and orchestra, 1937, published in 1951 Editions Max Eschig
Violin Concerto, 1937, published in 1939 (score) and 1951 (violin and piano reduction) Editions Max Eschig
Partita no. 2 for piano and orchestra, 1944, 2 pianos reduction published in 1950 Editions Max Eschig
Concertino for guitar and orchestra, 1945, score and reduction for guitar and piano published in 1991 Editions Max Eschig
Concertino for oboe, clarinet and string orchestra, 1952, published by Editions Max Eschig
Concerto for clarinet and chamber orchestra, 1957, Paris 1959 Editions Françaises de Musique Technisonor
Musique de cour for guitar and orchestra, 1960, score published in 1971 UE, guitar and piano reduction edited by K. Scheit, published in 1982 UE
Cello Concerto, 1963–64, published by 1965 Editions Max Eschig
Suite Concertante for oboe and chamber orchestra, 1966, published in 1967 Editions Max Eschig
Concertino for flute, string orchestra and piano, 1968, flute and piano reduction published in 1972 Editions Max Eschig
chamber:
String Quartet No. 1, 1917, not published
Sonata No. 2 for violin and piano, 1917–19, published in Paris 1921 Demets
Romans for violin and piano, 1918, published in Warsaw 1919 GiW
String Quartet No. 2, 1922, published in Paris 1924 Senart
Sonata quasi una fantasia for violin and piano, 1924, published in Paris 1926 Senart
String Quartet No. 3, 1925, published in 1927 UE
Sonatina for flute and piano or violin and piano, 1925, published in Paris 1926 Senart
Serenade for violin, cello and piano, 1928, published in Paris 1930 Leduc
Suite-Divertissement for violin, viola, cello and piano, 1929, published in 1930 Editions Max Eschig
Sonata No. 2 for cello and piano, 1930, published in 1930 Editions Max Eschig
5 Pièces for violin and piano (or accompanied by a small orchestra), 1930, published in 1931 Editions Max Eschig (version with piano)
Triptych for string quartet or string orchestra, 1930, published in 1931 Editions Max Eschig (both versions)
2 Pièces for cello and piano, 1931, published in 1932 Editions Max Eschig
Septet for flute oboe, clarinet, bassoon, trumpet, viola and cello, 1932, published in 1935 Editions Max Eschig
2 Mouvements for cello quartet, 1935, published in 1938 Editions Max Eschig
String Quartet No. 4, 1935, published in 1936 Editions Max Eschig
Serenade No. 2 for violin, viola and cello, 1937, published in 1938 Editions Max Eschig
Trio for piano, violin and cello, 1938, published in 1939 Editions Max Eschig
String Quartet No. 5, 1940, published in 1987 Editions Max Eschig
String Sextet, 1940, published in New York 1942 Associated Music Publishers
Sonatina No. 2 for violin and piano, 1942, published in 1991 Editions Max Eschig
Suite for violin and piano, 1943, published in 1991 Editions Max Eschig
String Quartet No. 6, 1944, published in 1960 Editions Max Eschig
4 Impressions for wind octet, 1945, piano version, 1945, published in New York, Leeds Music Corporation (both versions)
Trio for violin, viola and cello, 1946, published in 1990 Editions Max Eschig
String Quartet No. 7(Musique à cordes), 1947–48, published in Editions Max Eschig
Suite pour trio d’anches, 1949, published in 1954 Editions Max Eschig
Tombeau de Chopin for string quintet, 1949, published in New York 1949 Leeds Music Corporation
Sonata for two violins, 1950, published in 1990 Editions Max Eschig
Sonatina for bassoon and piano, 1952, published in 1952 Editions Max Eschig
Sonatina da camera for flute, violin, viola, cello and harp, 1952, published in 1994 Editions Max Eschig
Musica a cinque (Quintette Chigiano) for string quartet and piano, 1955, published in 1994 Editions Max Eschig
Partita for cello and piano, 1955–56, published in 1958 Editions Max Eschig
String Quartet No. 8, 1956, published in 1990 Editions Max Eschig
Suite pour 3 flûtes à bec, 1956, published in 1956 UE
String Quartet No. 9, 1958 (?), uncompleted
Suita for bassoon and piano, 1960, published in 1960 Editions Max Eschig
Fantaisie for violin and piano, 1963, Paris-Toulouse 1965 Centre d’Art National Français
3 pièces for clarinet, harp and string quartet, 1970, published in 1996 Editions Max Eschig
Miniatures pour trio de cuivre, 1976, published in 1995 Editions Max Eschig
Musique à six for clarinet, string quartet and piano, 1977, published in 1977 Editions Max Eschig
Musique pour clarinette et quatuor à cordes, 1982, published in 1984 Editions Max Eschig
Alla polacca for viola and piano, 1985, published in the collection Panorama, chapter Alto 1, Paris 1990 Billaudot
piano:
Mazurkas for piano, book 1: 1915–28, published in 1929 Editions Max Eschig
20 pièces faciles sur des mélodies populaires polonaises for piano, 1917–24, published in Paris 1925 Senart
Petite suite for piano, 1917–19, published in Paris 1921 Demets, published in 1965 Editions Max Eschig
7 preludes for piano, 1921, published in Paris 1921 Demets
3 études transcendantes for piano, 1922, published in Paris 1923 Senart
5 impromptus for piano, 1922–25, published in 1926 Editions Max Eschig
Etude-Scherzo for piano, 1922, published in Paris 1923 Mathot
[I] Sonatina for piano, 1923, published in Paris 1924 Senart
4 danses miniatures for piano, 1923, published in Paris 1924 Mathot
Sonata rustica for piano, 1925, published in 1926 UE
Feuillet d’album for piano, 1925, published as music supplement to “Muzyka” 1926 no. 5
Sonata No. 2 for piano, 1929, published in Mainz 1929 Schott
Suite dans le style ancien for piano or small orchestra, 1929, piano version: 6 parts, 1. Entrée, 2. Sarabande, 3. Gavotte, 4. Choral fugué, 5. Aria, 6. Toccata, published in 1931 Editions Max Eschig, orchestra version: 4 parts (without a gavotte and toccata, Choral fugué moved to the end, after Aria), published in 1936 Editions Max Eschig
Berceuse for piano, 1929, published in “La Revue Musicale” 1929, music supplement no. 6
Burlesque for piano, 1929, published in the collection Treize Danses, published in La Sirène Musicale and with Berceuse as 2 pièces, 1929, Paris 1929 La Sirène Musicale
[II] Sonatine transatlantique for piano, version for 2 pianos, orchestra version, all 1930, published in Paris 1930 Leduc
Arabesques for piano, 1930, published in 1931 Editions Max Eschig
Tempo americano for piano, transcription of the 2nd movement of Symphony Concertante No. 3, 1931, published in Editions Max Eschig
Sonata No. 3 for piano, 1932, published in 1992 Editions Max Eschig
Mazurkas for piano, book 2: 1932, published in 1933 Editions Max Eschig
Sonatina No. 3 for piano, 1933, published in 1933 Editions Max Eschig
Le tour du monde en miniature. 15 feuillets de voyage for piano, 1933, published in 1933 Editions Max Eschig
5 impressions for piano, 1934, published in 1935 Editions Max Eschig
3 préludes en forme de blues for piano, 1937, published in 1937 Editions Max Eschig
8 novelettes for piano, 1936, published in 1936 Editions Max Eschig
Le Géant for piano, 1937, published in 1938 Editions Max Eschig
Intermezzi for piano, books 1 and 2: 1939, published in 1948 Editions Max Eschig, book 3: 1939–40 and book 4: 1940, both published in New York 1944 Associated Music Publishers
3 Ballads for piano, 1941, published in 1990 Editions Max Eschig
Sonata No. 4 for piano, 1941, published in New York 1942 Associated Music Publishers
6 études de virtuosité for piano, 1941, published in 1995 Editions Max Eschig
Canzone orientale, Mazurka and Moment musical for piano, all 1941, published in St. Louis 1941 Union by Art Publication Society
Mazurkas for piano, books 3 and 4: 1941, published in 1949 Editions Max Eschig (book 3) and 1990 Editions Max Eschig (book 4)
Sonata for 2 pianos, 1941, published in 1988 (?) Editions Max Eschig
6 caprices for piano, 1943, published in 1994 Editions Max Eschig
4 Piano Moods for piano, 1944, published in New York 1944 MCA Music Publishing
Piano Miniatures for piano, 1945, published in New York 1945 Leeds Music Corporation
8 Cantilenes for Piano. Hommage to J.S. Bach for piano, 1949, published in New York 1950 Leeds Music Corporation
4 nocturnes for piano, 1952, published in 1952 UE
Suite varié for piano, 1953, published in 1955 UE
Sonata No. 5 for piano, 1955, published in 1956 UE
11 interludes for piano, 1955, published in 1957 Editions Max Eschig
In the Contemporary Piano Literature, books 1 and 2, 1955, published in Evanston, Clayton F. Summy Company
Fantaisie sur des valses de Johann Strauss for 2 pianos, 1961, published in 1964 Editions Max Eschig
Etude for piano, 1967, published in 1969 Editions Max Eschig
Hommage à Arthur Rubinstein for piano, 1973, published in 1973 Editions Max Eschig
Album d’amis for piano, 1980, published in 1982 Editions Max Eschig
guitar:
Mazurka for guitar, 1925, published in “La Revue Musicale” April 1926 and London 1928 Schott, versions: for piano, London 1928 Schott, for violin and piano, edited by S. Dushkin, London 1931 Schott, for guitar and string quartet 1950 and for guitar and harp 1979, not published
Cavatina for guitar, 1950, published in London 1952 Schott
Sonatina for guitar, circa 1951 (?), part 2 Elegy and part 4 Fughetta published in Alexander Tansman Posthumous Works for Guitar, Ancona 2003 Bèrben
Danza pomposa for guitar, 1952 (the piece was included as the last part of Cavatina), published in London 1961 Schott
Pièce en forme de passacaille for guitar, 1953 (published as Passacaille), published in Alexander Tansman Posthumous Works for Guitar, Ancona 2003 Bèrben
3 pièces (Canzonetta, Alla polacca, Berceuse d’orient) for guitar, 1954, published in 1962 Editions Max Eschig
Prélude et interlude for guitar, 1955, published in Alexander Tansman Posthumous Works for Guitar, Ancona 2003 Bèrben
Invenzione, Notturno romantico e Segovia for guitar, 1957, published in Mexico 1989 Yolotl; two last pieces together are known as Suite or Suite pour Segovia
Suite in modo polonico for guitar, 1962, published in 1968 Editions Max Eschig, version for guitar and harp, 1976, published in 1999 Editions Max Eschig
Ballad for guitar, 1965, published in 1998 Editions Max Eschig
Hommage à Chopin for guitar, 1966, published in 1972 Editions Max Eschig
Inventions (Hommage à Bach) for guitar, 1967, published in Alexander Tansman Posthumous Works for Guitar, Ancona 2003 Bèrben
Quattro tempi di mazurka for guitar, 1967, published in Alexander Tansman Posthumous Works for Guitar, Ancona 2003 Bèrben
Pièces [brèves] for guitar, circa 1968 (?), published in Alexander Tansman Posthumous Works for Guitar, Ancona 2003 Bèrben
Pezzo in modo antico for guitar, 1970, published in Alexander Tansman Posthumous Works for Guitar, Ancona 1970 Bèrben
Variations sur un theme de Scriabine for guitar, 1971, published in 1972 Editions Max Eschig
2 chansons populaires for guitar, 1978, published in Mexico 1989 Yolotl, version for 2 guitars, edited by A. Wendland, Łódź 1996 Ars Longa Edition
Hommage à Lech Wałęsa for guitar, 1982, published in 1982 Editions Max Eschig
6 miniatures for guitar, 1985 (transcriptions of 6 piano pieces from the collection Pour les enfants, 1933, published in 1933 Editions Max Eschig), published in 1989 Editions Max Eschig
Vocal and vocal-instrumental:
8 melodies japonaises Kaï-Kaï for voice and piano, words from Japanese uta paraphrased by R. Kwiatkowski, 1918, published in Paris 1922 Demets, version with chamber orchestra, 1918
2 Lieder for voice and piano, lyrics A. Spira, German translation R.S. Hoffmann, 1925, published in 1927 UE
5 mélodies for voice and piano, lyrics Anna E. Tansman, 1927, published in Paris 1928 La Sirène Musicale
Vocalise-Etude for voice and piano, 1930, published in the collection of vocalisations, published in Paris 1930 Leduc
6 Songs for voice and piano, lyrics N. de Bragança, 1934, published in 1934 Editions Max Eschig
Adam and Eve for reciter and orchestra, part Genesis, a piece written by 7 composers for a reciter, for men’s choir and orchestra, words from the Book of Genesis, 1944, not published
Symphonie No. 6 “In memoriam” for voice, choir and orchestra, 1944, cf. works for orchestra
4 choeurs d’enfants avec piano, 1945, published in Boston, Birchard
Kol-nidrei for tenor, mixed choir and organ, 1945, published in Boston, Birchard
Ma Tovu – How Fair are thy Tents for tenor or baritone, mixed choir and organ, 1946, published in New York, Liturgical Music by Contemporary Composers
Ponctuation française for voice and chamber orchestra or piano, lyrics Ch. Oulmont, 1946, version with piano published in 1948 Editions Max Eschig
Apostrophe à Zion for choir and orchestra, words from the psalm found in 1947 in one of Chirbet Qumran caves, 1976–77, not published
Isaiah, The Prophet, symphonic oratorio for mixed choir and orchestra, words from the Bible, 1950, published in EU
4 prières for mixed choir a cappella, words from Psalms, 1951, published in New York, Leeds Music Corporation
Prologues, cantata for female voices and chamber orchestra, words from the Bible, 1957, Paris 1957 Editions Françaises de Musique –S.O.F.I.R.A.D.
11 Chansons pour Pippa for voice and harp or piano, 1959, published in Paris 1990 Billaudot
Psalms for tenor, mixed choir and orchestra, 1960–61, published in 1964 Editions Max Eschig
8 Stèles de Victor Segalen for voice and chamber orchestra, lyrics V. Segalen, 1979, score and 2 pianos reduction published in 1980 Editions Max Eschig
Scenic:
7 operas (only completed ones are included):
La nuit kurde, libretto J.-R. Bloch, 1925–27, performed in Radio France 1927, conducted by A. Tansman, not published
La toison d’or, libretto S. de Madariaga y Rojo, 1938, performed in Radio France 1947, conducted by R. Chalan, not published
Le Serment, libretto D. Vincent according to H. Balzac, 1953, staged in Brussels 1955, conducted by R. Defossez, published in 1955 UE
Sabbataï Zévi, le faux Messie, libretto N. Bistritzky, 1958, staged in Paris 1961, conducted by Ch. Bruck, published in 1966 Editions Max Eschig
L’Usignolo di Boboli, libretto M. Labroca, 1964, staged in Nice 1965, conducted by J. Perisson, published in Milan 1965 Ricordi
George Dandin, libretto according to Molier, 1973–74, staged in Sarlat-la-Canéda 1974, conducted by D. Chabrun, not published
ballets:
Sextuor (other titles: The Tragedy of the Cello, Silvesterspuck, Petit drame à six instrument, Mélodrame pour six instruments), libretto according to A. Arnoux, 1923, staged in Paris 1924, piano reduction published in 1923 Editions Max Eschig, radio version Paris 1990 Billaudot
Le cercle éternel (ballet version La danse de la sorcière and Symphonic Overture – cf. works for orchestra), libretto according to H.Ch. Andersen, 1929, staged in Paris 1929
Bric-à-brac, libr. A. Arnoux, 1935, staged in Lyon 1958, piano reduction staged in 1938 Editions Max Eschig
La grande ville (ballet version Sonatine transatlantique, cf. works for piano), 1935, staged in Cologna 1935, 2 pianos reduction published in 1938 Editions Max Eschig, version for orchestra 1944, staged in Santiago 1951, not published
He, She and I 1946, staged in 1946 (?), not published
Der Nachtzug, libretto K. Jooss, 1951, staged in Essen 1952
Les habits neufs du Roi, libretto according to H.Ch. Andersen, 1958–59, staged in Venice 1959, score and 2 pianos reduction published in 1960 UE
Résurrection (other title La robe noir de Claire), 1961–62, libretto according to L. Tolstoy, staged in Nice 1962, piano reduction published in 1962 Editions Max Eschig
La table, ballet for string orchestra (suite with 6 mouvements for string orchestra), 1963, staged in Paris 1983
film music:
Poil de carotte, directed by J. Duvivier, 1932
La châtelaine du Liban, directed by J. Epstein, 1933
A. O. F., 1934
Civa-Dassi, 1936
Flesh and Fantasy, directed by J. Duvivier, 1941–42, cf. works for orchestra
Since You Went Away, directed by M. Steiner, 1942, not published
Tempo di Conga, 1943, not published
Paris-Underground, directed by G. Ratoff, 1945
Sister Kenny, directed by D. Nichols, 1946
Dunkirk to Dunkerque „Et c’est arrivé ainsi”, 1950, published in Paris 1951 Boris Morras Productions
The Bargee, 1964
theatre and radio music
Works:
O mej twórczości muzycznej, „Muzyka” 1925 nr 4/5
Igor Stravinsky, Paris 1948
O „lekcji” Chopina „rewolucjonisty”, translated by M. Gamrat, „Muzyka21” 2010, nr 11
W hołdzie Strawińskiemu. Rozmowa z Aleksandrem Tansmanem, translated by M. Gamrat, “Muzyka21” 2012, nr 5 [reprint of the interview: Une voie lyrique dans un siècle bouleversé]
Karol Szymanowski, translated by M. Gamrat, “Res Facta Nova” 2017, 18(27)