Mario Marques
Clarinette
Clarinette basse de l'orchestre symphonique de Campinas
Licence et maîtrise de musique à l'université d'État de Campinas. Membre de l'orchestre symphonique de Campinas et du quintette Madeira de Vento, avec lequel il a enregistré les albums "Chovendo Canivetes" (2002) et "Assanhado" (2009), il a également participé à des festivals internationaux de clarinette à Atlanta (États-Unis), Vancouver (Canada), Naning (Chine) et Assisi (Italie). Marques a participé aux trois premières éditions de la rencontre brésilienne de clarinette basse et aux cours d'été internationaux proposés par l'université italienne de clarinette, à Camerino (Italie), où il a été l'élève du clarinettiste basse Sauro Berti.
Il a créé "Bittersweet Brazil" pour clarinette basse, cordes et percussions, de Frederico Zimmerman Aranha, accompagné par l'orchestre symphonique de Campo Grande, et a ensuite interprété l'œuvre avec l'orchestre symphonique de l'université d'État de Campinas et l'orchestre symphonique de Campinas. Marques s'est produit en tant que soliste avec le Henrique Marques Band (Limeira, São Paulo), le Sumaré Symphonic Band et le Cubatão Symphonic Band. Il a participé au ClarinetFest de 2018 (Belgique), jouant dans un récital solo avec de nouvelles pièces brésiliennes pour clarinette basse et dans le concert de gala du festival aux côtés du contrebassiste hollandais Henri Bok.
Depuis 2015, Marques s'est engagé à fomenter un répertoire original avec des compositeurs brésiliens. En 2021, l'album "Um Clarone Brasileiro" a été publié numériquement afin d'enregistrer et de diffuser une partie de ce répertoire.Marques est un artiste Buffet Crampon, jouant avec des clarinettes Bb et A et une clarinette basse Tosca.
Photos
Videos
Discography
UM CLARONE BRASILEIRO
The album UM CLARONE BRASILERO (A Brazilian Bass Clarinet) had its genesis in a conversation I had with professor Henri Bok in 2015 at the First Brazilian Meeting of Claronists. After a recital in which I was the only one to perform an unreleased piece, he advised and inspired me to continue working on further developing and promoting new music works for the bass clarinet. In that same year, I had the opportunity to play at a solo bass clarinet recital in Camerino/Italy, which emphasized the importance of having a repertoire that truly reflects my artistic ideals as a Brazilian musician.That was the beginning of a journey of creating a Brazilian bass clarinet repertoire alongside composers. I started contacting the composers I already knew and slowly started to approach those I didn’t already know personally. Producing this work with household names of Brazilian contemporary concert music, such as Villani-Côrtes, Ernst Mahle and Sergio Vasconcellos Correia; young but already established composers, such as André Mehmari and Hudson Nogueira; composers from the new generation, such as Fernando de Oliveira, Gian Correia and Wagner Ortiz; and, finally, acclaimed choro composers, such as Mauricio Carrilho and Pedro Paes, was an honor; I was increasingly fulfilled, as I got to see each composition, with the certainty of the relevance of this work for brazilian bass clarinet.The bass clarinet has gained a prominent place in avant-garde music since the middle of the 20th century, due to its sound possibilities, but this project seeks another place for the bass clarinet: the Brazilian music scenario. I dare to say that this album may be labeled as a part of what musicologist Gunther Schuller called the “third stream”, the music that is located in between classical european and popular musical traditions; in this case, brazilian popular music, in such a rich and compelling pairing.
Gravadora Experimental
2021
UM CLARONE BRASILEIRO