Marco, Tomás, Spanish composer; b. Madrid, Sept. 12,1942. He studied violin and composition at the Univ. of Madrid (1959–64), and also attended the Darmstadt summer course in new music (1967). An ardent modernist, he founded in 1967 the magazine Sonda, dedicated to new music. His compositions are of an experimental, almost exhibitionistic, theatrical nature.
dramatic: ballet: Llanto por Ignacio Sanchez Mejias (1984–85). orch.:Los caprichos (1959–67); Glasperlenspiel for Chamber Orch. (1963–64); Vitral (Música celestial No. 1) for Organ and Strings (1968); Anábasis (1968–70); Mysteria for Chamber Orch. (1970–71); Angelus novus (Hommage à Mahler) (1971); Violin Concerto, Les Mécanismes de la mémoire (1971–72; Royan Festival, April 19, 1973); Cello Concerto (1974–75); 5 syms.: No. 1, Sinfonia Aralar (1976), No. 2, Espado cerrado (1985), No. 3 (1985), No. 4, Espado guebrado (1987), and No. 5, Modelos de Universo (1988–89); Concierto del Alma for Violin and String Orch. (1982); Concerto austral for Oboe and Orch. (1982); Pulsar (1986); Triple Concerto for Violin, Cello, Piano, and Orch. (1987); Settecento for Piano and Chamber Orch. (1988); Campo de Estrellas (1989); Espejo de viento for 12 Saxophones (1989). chamber:Roulis-Tangage for Trumpet, Cello, Guitar, Piano, Vibraphone, and 2 Percussionists (1962–63); Trivium for Piano, Tuba, and Percussion (1963); Car en effet for 3 Clarinets and 3 Saxophones (1965); Schwan for Trumpet, Trombone, Viola, Cello, and 2 Percussionists (1966); Maya for Cello and Piano (1968–69); Rosa-Rosae, quartet for Flute, Clarinet, Violin, and Cello (1969); Floreal for a Percussionist (1969); Kukulcan for Wind Quintet (1969–72); Albor for Flute, Clarinet, Violin, Cello, and Piano (1970); Necronomicon, choreography for 6 Percussionists (1971); Jetztzeit for Clarinet and Piano (1971); Nuba for Flute, Oboe, Clarinet, Violin, Cello, and Percussion (1973). piano:Piraña (1965); Evos (1970); Espejo Desierto for String Quartet (1987). vocal:Jabberwocky for Actors, Tenor, Saxophone, Piano, 4 Percussionists, Tape, 6 Radios, Lights, and Slides (1966); Cantos del pozo artesiano for Actress, 3 Chamber Ensembles, and Lights (1967); Tea Party for 4 Vocal Soloists, Clarinet, Trombone, Cello, and Vibraphone (1969); L’Invitation au voyage for Soprano, optional Narrator, 3 Clarinets, Piano, and Percussion (1971); Ultramarina for Soprano, Clarinet, Piano, and Percussion (1975); Concierto Coral 1 for Violin and 2 Choral Groups (1980) and 2: Espado Sagrado for Piano, Chorus, and Orch. (1983).
—Nicolas Slonimsky/Laura Kuhn/Dennis McIntire