Editorial Board
MusicWeb International
Founding Editor Rob Barnett Editor in Chief
John Quinn Contributing Editor Ralph Moore Webmaster
David Barker Postmaster
Jonathan Woolf MusicWeb Founder Len Mullenger
Tomás MARCO (b.
1942) Concierto del agua (1993)a [25:04] Oculto carmen (1995) [5:59] Laberinto marino (2001)b [23:39]
Sinfonietta No.1(1999) [23:31]
Gabriel
Estarellas (guitar)a; Dimitar Furnadjiev
(cello)b
Orquesta Sinfónica Ciudad de Oviedo/Gregorio Gutiérrez
rec. Auditorio Principe de Asturias, Oviedo, Spain, September
2003 VERSO VRS2032 [78:31]
Tomás
Marco and his older colleague Cristóbal Halffter (b. 1930)
are amongst the most prominent Spanish composers of the 20th and
21st centuries. In saying this I do not minimize
the achievement of some other distinguished Spanish composers
who have done much to put Spain firmly on the contemporary
music scene. I think in particular of the late Francisco
Guerrero (1951–1997) or Luis de Pablo, to mention but two.
In
spite of his many academic and official appointments, Marco
has composed a sizeable and varied output including several
concertos and six symphonies. The present release offers
four pieces written between 1993 and 2001, thus providing
a fair sampling from his recent output. Earlier in his composing
career, Marco’s music displayed a rather radical stance,
much in tune with what was going on at that time on the international
music scene. Even so it could not be easily ‘labelled’ because
of Marco’s often idiosyncratic thinking. His earlier works
were not always readily accessible because of the composer’s
uncompromising vision. Over the years, though, his music
has mellowed and, while still remaining strongly personal,
is more accessible, as these four recent works generously
demonstrate.
The
earliest here is the Guitar Concerto Concierto del
agua (“Water Concerto”) composed as a homage to Andrès
Segovia and completed in 1993 on a commission from BWM Spain.
The work, in three movements played without a break, is scored
for guitar and strings. Each of the three movements bears
a title more or less related to water, both as a natural
element and as a symbol. In the first movement Almadabra,
the orchestral strings are mostly used as a large strumming
guitar through the exclusive use of pizzicati, whereas
the second movement Acuario (“Aquarius”) is appropriately
more flowing, with some mysterious harmonies as possible
allusion to Aquarius as well as some richly melodic writing.
The final movement Anadiomena is somewhat more troubled,
with rather unsettling glissandi and percussive sounds propelling
the music into a frantic dance bringing the work to its assertive
conclusion. The music is free from any picturesque ‘Hispanicisms’ and
goes its own entirely personal way. The end result is a splendid
addition to the repertoire and a work that deserves wider
exposure.
The
short orchestral work Oculto carmen was written
as a fiftieth birthday present for fellow composer José García
Román. “Carmen” is the word usually used to suggest a Granada
garden, which is why the music is “based on elements taken
from Albeníz’s piano piece Granada”. The piece
is laid-out in an arch form in which oriental-sounding arabesques
underpinned by timpani and pizzicati are piled-up
in layers of varying density building into a climax before
dying away. A very fine concert opener.
Laberinto
marino (“Marine Labyrinth”) for cello
and strings is another work in which the symbolic image
of water is again present although
the music is not programmatic. The piece, in a single
movement, unfolds in waves ebbing to and fro, and building
towards the richly sonorous final section, abruptly cut-off.
The often richly melodic cello part is almost always
in the forefront, with short cadenza-like episodes and
a big cadenza about halfway into the piece. Though mostly
song-like in character, the music also has its more virtuosic
moments: in the cadenzas and in the Scherzo-like sections.
This is another marvellous piece of music, and this and Concierto
del agua undoubtedly are the finest works in
this selection.
Up
to 2003 when these recordings were made Marco had composed
six symphonies and two chamber symphonies. His Sinfonietta
No.1 (incidentally the only one as at 2003) is scored
for medium-sized symphonic orchestra. Hence the diminutive
title. The work is longer than any of the first three symphonies
- once available on Discobi D-2005 - that I know. It is in
a single movement, in which various short fragments dart
in and out underpinned by what the composer describes as “a
sort of timpani continuo”. They sometimes seem willing to
coalesce, often before disintegrating again. Only in the
last stage is some sort of climactic “getting together” achieved.
This is a complex work that I find rather puzzling and enigmatic.
Not that the music is difficult to listen to; but it is difficult
to see what the composer is really up to. Its typically colourful
but ultimately unhelpful subtitle, Opaco resplandor
de la memoria, does not really help to make things
any clearer.
These
performances appear really very fine, and so is the recording.
As mentioned earlier, this well-filled release provides a
fair overview of Marco’s recent works. There is much highly
enjoyable music, and both Concierto del agua and Laberinto
marino certainly deserve much more than the occasional
hearing.
Hubert Culot
Reviews
from previous months Join the mailing list and receive a hyperlinked weekly update on the
discs reviewed. details We welcome feedback on our reviews. Please use the Bulletin
Board
Please paste in the first line of your comments the URL of the review to
which you refer.