Skip to main content

Marbe, Myriam (Lucia)

Marbe, Myriam (Lucia)

Marbe, Myriam (Lucia), Romanian composer and teacher; b. Bucharest, April 9,1931; d. there, Dec. 25, 1997. After initial studies with her mother, the piano pedagogue Angela Marbe, she pursued her training at the Bucharest Cons. (1944–54), where her mentors included Florica Musicescu and Silvia Căpăţnnă (piano), loan Chirescu (theory), Marxian Negrea and Ion Dumitrescu (harmony), Mihail Jora and Leon Klepper (counterpoint and composition), and Theodor Rogalski (orchestration). Later she attended the summer courses in new music in Darmstadt (1968–69; 1972). From 1954 to 1988 she taught at the Bucharest Cons. She received prizes from the Romanian Composers Union (1970–71; 1973–74; 1980; 1982). In 1972 she was awarded the Bernier Prize of the Académie des Beaux-Arts in Paris. She was honored with the prize of the Romanian Academy in 1977. In her music, she pursued an advanced path in which she experimented with serialism, sonorism, and spatial music.


orch.:In memoriam (1959); Musica festiva (1961); Le temps inévitable for Piano and Orch. (1971); Serenata-Line kleine Sonnenmusik for Chamber Orch. (Bra§ov, June 29, 1974); Evocãri for Strings and Percussion (Tîrgu Mureş,, June 22, 1976); Viola Concerto (Bra§ov, Feb. 1977); La parabole du grenier II for Harpsichord and Chamber Orch. (Zagreb, May 13,1977); Trium (1978); Concerto for Viola da Gamba or Cello and Orch. (1982; Ploiesţi, May 31, 1983); Sonata for Strings (1986; also as String Quartet No. 2,1985); Saxophone(s) Concerto (1986); Sym. No. 1, Mr-Ariadne, for Mezzo-soprano and Orch. (1988). chamber:Viola Sonata (1955); Clarinet Sonata (1961); In-cantatio, sonata for Solo Clarinet (1964); Sonata for 2 Violas (1965); Cyclus for Flute, Guitar, and Percussion (1974); Vocabulaire II-Rythme for 3 Percussion (1975); La parabole du grenier I for Piano, Harpsichord, and Celesta, with Glockenspiel and Bells ad libitum (1975–76); Concerto for Harpsichord and 8 Instruments (1978); Narratio for Flute, Violin, Viola, and Percussion (1979); 4 string quartets: No. 1, Les musiques compatibles (1981), No. 2 (1985; also as the Sonata for Strings, 1986), No. 3, Lui Nau (1988), and No. 4 (1990; also as Pre\uitorul for String Quartet, Trombone, Percussion, Speaker, and Tenor); Sonate per due for Flute and Viola (1985); Trommelbass for String Trio and Drum Bass (1985); Des- Cântec for Wind Quintet (1985); After Nau, sonata for Cello and Organ (1987); The World is a stage...for Violin, Double Bass, Clarinet, Trombone, and Percussion (1987); Diapente for 5 Cellos (1990); E-Y- Thé for Clarinet and 4 Cellos (1990); Et in Arcadia...for Flute, Bass Clarinet, Percussion, and Piano (1993); Yorick for Clarinet or Recorder, Violin, Piano, and Percussion (1993); Haikus for Flute and Piano (1993–94); Le temps inévitable ’94 for Chamber Ensemble (1994); Le jardin enchanté for Flute, Percussion, and Tape (1994); Prophet und Vogel for Cello and Piano (1994); Paos for Clarinet and Viola (1995); Suite for 4 Trumpets (1996); The Song of Ruth for 5 Cellos (1997); Ariel, sonata for Solo Cello (1997); Renaissance for 3 Recorders (1997). piano: Sonata (1956); Le temps inévitable I and II (1968); Clusterstudie I and II (1970); Accents (1971). vocal:Noapte ţărănească, cantata for Chorus and Orch. (1958); Madrigals After Japanese Haikus for Women’s Chorus (1964); Clime for Mezzo-soprano, Women’s Chorus, Children’s Chorus, and Chamber Orch. (1966); aducere aminte for Chorus and Small Orch. (1967); Ritual pentru setea pãmântului for 7 Voices and Instruments (1968); Jocus secundus for Small Vocal Group, Instruments, and Tape ad libitum (1969); Vocabulaire I-Chanson for Soprano, Clarinet, Piano, and Bells (1974); Chiuituri for Children’s Chorus and Small Orch. (1978); Les oiseaux artificiels for Narrator and 6 Instruments (1979); Timpul regăsit for Soprano or Tenor and 7 Instruments (1982); An die Musik for Alto, Flute, and Organ (1983); An die Sonne for Mezzo-soprano and Wind Quintet (1986); Fra Angelico-Marc Chagall-Vorone-Requiem for Mezzo-soprano, Chorus, and Instrumental Ensemble (1990); Stabat Mater for 12 Voices and Instrumental Ensemble (1991); Na Castelloza for Mezzosoprano, Oboe, Viola, and Percussion (1993); Mirail-Jeu sur des fragments de poèmes de femmes troubadours for Soprano, 2 Mezzo-sopranos, Flute, Oboe, Violin, and Viola (1993); Überzeitliches Gold for Soprano, Percussion, and Saxophone(s) (1994); Passages in the wind for Tenor, Recorder, Cello, and Harpsichord (1994); d’ a Cantare-Cantarellare for Soprano, Violin, and Percussion (1995); Sympho-nia for Mezzo-soprano and Chamber Ensemble (1996).


G. Gronemeyer, ed., Klangportrait: M. L. M.(Berlin, 1991); T. Beimel, Vom Ritual zur AbstraktiomÜber die rumänische Komponistin M. M.(Wuppertal, 1994).

—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire

Cite this article
Pick a style below, and copy the text for your bibliography.

  • MLA
  • Chicago
  • APA

"Marbe, Myriam (Lucia)." Baker’s Biographical Dictionary of Musicians. . 18 Sep. 2019 <>.

"Marbe, Myriam (Lucia)." Baker’s Biographical Dictionary of Musicians. . (September 18, 2019).

"Marbe, Myriam (Lucia)." Baker’s Biographical Dictionary of Musicians. . Retrieved September 18, 2019 from

Learn more about citation styles

Citation styles gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA).

Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. Then, copy and paste the text into your bibliography or works cited list.

Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, cannot guarantee each citation it generates. Therefore, it’s best to use citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites:

Modern Language Association

The Chicago Manual of Style

American Psychological Association

  • Most online reference entries and articles do not have page numbers. Therefore, that information is unavailable for most content. However, the date of retrieval is often important. Refer to each style’s convention regarding the best way to format page numbers and retrieval dates.
  • In addition to the MLA, Chicago, and APA styles, your school, university, publication, or institution may have its own requirements for citations. Therefore, be sure to refer to those guidelines when editing your bibliography or works cited list.