Arturo Marquez

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Arturo Marquez

Jesús Arturo Márquez Navarro (Álamos, Sonora, December 20, 1950) is a Mexican composer recognized for using Mexican musical forms and styles and incorporating them into his compositions. He was awarded in 2009 with the National Fine Arts Award of Mexico.

Arturo_Marquez’s Biography

Son of Aurora Navarro and Arturo Márquez, is the oldest of nine brothers and the only one dedicated to music. His first lessons were listening to traditional music: waltzes, polkas and chotises.

His family moved to Los Angeles, California, in 1962. Three years later, at 16, he began to study violin, tuba, trombone and piano, with which they begin their first compositions with an accompaniment of intuitive harmony. At age 17 he returns to Navojoa leaving his family in California.

Between 1969 and 1970 he directed the Municipal Band of Navojoa, Sonora; from 1970 to 1975 he studied piano with Carlos Barajas and José Luis Arcaraz at the National Conservatory of Mexico.

In 1976 he joined the Composition Workshop of the National Institute of Fine Arts and studied with Joaquín Gutiérrez Heras, Héctor Quintanar, Federico Ibarra and Raúl Pavón, and in 1980, at the end of this workshop, the government of France awarded him a scholarship to improvement in Paris, with Jacques Castérède, for two years, where he makes the compositions of Moyolhuica and Enigma, at the Cité des Arts.

In 1982 he joined the National Center of Research, Documentation and Musical Information “Carlos Chávez” Cenidim, and in 1983 premiered Mutism for two pianos. Meet Ángel Cosmos, who invites you to form the Chamber Music Group together with photographer Juan José Díaz Infante. In 1985 he presented the Interdisciplinary Concert with musicians and photographers.

In 1987 he won second place in the National Composition Contest “Felipe Villanueva”, and worked as a researcher and dissemination coordinator at Cenidim in Mexico, and from 1988 to 1990 he attended the California Institute of Arts, with a grant from the Fulbright Foundation, where he studied with Morton Subotnick, Mel Powell, Lucky Mosko and James Newton, and ventured into applied computing to music, where his works are fused with Latin music, jazz and contemporary music, and composes of En Clave for piano.

In 1990, already in Mexico, he was part of the Mandinga group, with Irene Martínez and Andrés Fonseca, and performs the composition of Tierra, La Nao and Cristal del Tiempo, with electronic media. They introduce the composer to the world of ballroom dancing, especially danzón. Thus, it is inspired by the latter and composes the Danzón (1) with computer and synthesizers.

In 1992, he was invited by Ángel Cosmos and the painter Ismael Guardado to carry out the Ollesta project. Composes Son a Tamayo for harp and percussion, tape and video made by Eduardo Vélez. That same year he was Musical Director of Vox Urbis of Margie Bermejo.

In 1993 he made the composition of Landscapes under the Sign of Cosmos; and is interested in Egberto Gismonti, meets Huasteca music and performs the composition of Homage to Gismonti for the Latin American Quartet.

In 1994 he joined the National System of Creators. During the months of January and February, the Philharmonic Orchestra of the UNAM (OFUNAM) entrusts a work to him, and writes soDanzón no. 2, dedicated to his daughter Lily Márquez. The piece premiered that same year, on March 5, with OFUNAM in the Sala Nezahualcóyotl under the direction of Francisco Savín. This danzón was written during the months of the Zapatista Uprising, which would move the composer’s mind towards a new justice for indigenous peoples.

Subsequently composes other works as a tribute to the wonderful world of lounge music: Danzón no. 3 in 1994, Zarabandeo in 1995, Danzón no. 4 in 1996, Octeto Malandro in 1996, Danza de Mediodía in 1996, Danzón 5-Portales de Madrugada in 1997, Danzón no. 6-Calvary Port. In 2001, Danzón no. 7, in 2001 and the Danzón no. 8, 2004.

In 1998 Marquéz composed Masks for harp and orchestra (dedicated to Lidia Tamayo), this work conformed by four dances: Mask Flower (dedicated to the children massacred in Acteal), Mask Son, The Passion according to San Juan de Letrán (danzón sesquiáltero) and The Passion according to Mark. In 1999 he was Musical Director at the Tajín show, in 2000, he composed Espejos en la Arena for cello and orchestra, commissioned by the Mexican cellist Carlos Prieto.

In 2004: Danzón no. 8 (Chihuahua, Chihuahua), with a crash of elegy, Fuga en Clave, these last three commissions by CENIDIM for its thirty years.

In 2005, he made the musical composition of the cantata “Sueños”, in co-authorship with the Mexican poet Eduardo Langagne, author of the script and the poetic texts of the cantata that was premiered in Querétaro and the Cervantino International Festival, held annually in Guanajuato, Mexico.

In 2006, Juárez premiered Maximiliano, a work dedicated to Benemérito de las Americas, Benito Juárez.

In 2008 is premiered by the OFUNAM “Marches of duel and anger” work composed by Márquez on the occasion of the commemoration of the slaughter of Tlatelolco in 1968.

In 2009 (September) the OFUNAM premiered four Cuban dances by this composer. In the month of November of the same year, he premiered in the city of Tlaxcala the work “Rhapsody Tlaxcalteca”, compilation of songs by Pepe Guizar, Crisanto Cuellar Abaroa and Efrain Ortiz Linares, at this moment he performs the special orchestration for the State Symphony Orchestra of Tlaxcala. During the premiere, the scores were handed over to the State of Tlaxcala, something very few authors do.

In September 2010, the Philharmonic Orchestra of the Americas premiered in Cuernavaca, Morelos, “Leyenda de Miliano”, a work composed on the occasion of the centenary of the Mexican Revolution, specifically in honor of Emiliano Zapata.

In November 2013, the Monumental Orchestra and Chorus (Networks 2025, Colima, Se’wá, Community Orchestra King Poet of Nezahualcóyotl, Bajío System, Renaissance, Metropolitan Echoes, Jimbani Er Meza (female singers kumiai of Neji Juntas , BC), Spanish Association of Young Orchestras) under the baton of Eduardo García Barrios premiered “Alas (a Malala)”, work commissioned by the National System of Musical Development to mark the beginning of the National Movement of Community Music Groups, dedicated to the of Community Music Groups of the World.

He made a reconstruction of the second act of Ricardo Castro’s Atzimba opera, which premiered in February 2014.

Carlos Chavez (CENIDIM) of the National Institute of Fine Arts (INBA) in Mexico works as researcher and director of popular music groups.

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