BIOGRAPHY

CAREER | STUDIES | PROJECTS
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Restless and enthusiastic, she is presently one of the most versatile and active performers. A specialist in historical keyboards, she feels equally comfortable on harpsichord, organ, or fortepiano.

Concerts

Born in Zaragoza, she won First Prize for both Harpsichord and Organ in 1996 at the Young Music Performers’ Permanent Contest. From that point on, awards and acknowledgements followed: Special Jury Prize for the best historical performance and an Honorable Mention at the 1999 Spring International Contest in Prague, an Honorable Mention at the 2001 Bruges Harpsichord International Contest (Belgium), among others. She was a member of the 2001 European Union Baroque Orchestra, performing in France, Germany, England, the Netherlands, Belgium, Italy, Spain, Hungary and China, under conductors Roy Goodman, Andrew Manze, Alfredo Bernardini and Edward Higginbottom. 

She has performed in Spain, France, Germany, Ireland, Switzerland, The Netherlands, Italy, Croatia, Andorra, Austria, Slovakia, Estonia, Portugal, Bolivia and Panamá, and for the last few years she has been invited to be a member of the jury in numerous competitions. She widely performs as a soloist, chamber musician, and orchestral player with such conductors as Fabio Biondi, Giuliano Carmignola and Paul Goodwin, among others. She has appeared as a soloist with the Orquesta de Cámara Española, Orquesta Sinfónica de la Región de Murcia, Soloists Orquesta Barroca de Sevilla, Grupo Enigma and others, and she regularly performs with early music ensemble Forma Antiqva.

Recordings

A number of her concerts have been recorded and broadcast by RNE2, RTVE, BBC, RTL and Czech Radio. Her recordings include discs of music by A. Vivaldi (Warner 2004), D. Scarlatti and Haendel (MAA 2007), C. P. E. Bach (Arsis 2009) and L. Boccherini (alongside harpsichordist Alfonso Sebastián).

Her first solo release, “Chaconnerie” (IBS 2018), is an exciting and unusual journey through the chaconas for keyboard from the 16th century to our days, and includes Roberto Sierra’s Montuno,  composed for her and nominated to the Latin Grammy Awards 2018.

“Herbania” (IBS 2019), with three world premieres, means the first CD in the market entirely devoted to Spanish XX century music written for harpsichord.

At  present she is an IBS Classical artist.

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“The absolute silence in which the room was kept during her performance became a passionate applause at the end of it.”
MUNDOCLÁSICO
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Projects

Nevertheless, she focuses predominantly on conducting her own group, La Tempestad, founded in 2000, performing at the most important early music festivals and whose acclaimed discs of the premiere recording of Joseph Haydn’s 12 London Symphonies in the arrangements of Johann Peter Salomon, and Mozart Infrecuente attest to their research in this field. A recent release, Iberian Harpsichord Concertos (IBS Classical 2017), with the first Iberian concertos writen for the keyboard (M. Narro, J. Palomino, G. B. Pergolesi), is a world premiere.

Atentos al patrimonio musical ibérico, colaboran con el ICCMU (Instituto Complutense de Ciencias Musicales) en la recuperación de obras de G. y F. Brunetti, José Lidón o Mª Luisa de Parma. En la misma línea han publicado “Iberian Harpsichord Concertos” (IBS Classical 2017) con los conciertos para clave de M. Narro, J. Palomino y G. B. Pergolesi (primera grabación mundial) y “Scarlatti: Venezia 1742” (IBS Classical 2018).

La Tempestad was awarded two prizes for the best Classical Ensemble and best Director (Silvia Márquez) by GEMA (Spanish Early Music Groups Association) in 2015, and both prices again in 2018. The ensemble was the winner of FestClásica Early Music Network 2016.

La búsqueda de nuevas sonoridades y la necesidad del juego con otras disciplinas artísticas le ha llevado a crear proyectos como Fantangueando –junto al acordeonista Gorka Hermosa– y en colaboración con los actores Antonio MM y Núria Espert, con el pintor Carlos Pardo o con la bailarina Sara Calero.

Siempre con el máximo respeto a la obra de arte, Silvia Márquez trata de acercar la música antigua a todo tipo de públicos, ideando nuevos formatos como Clavicembulante –conciertos de clave en localizaciones poco habituales, con un “menú” musical en el que el público elige lo que quiere escuchar– o ElConservatorio.es –eventos que aúnan música antigua, storytelling y gastronomía para una audiencia muy reducida–.

En el ámbito de la gestión cultural, a los veinte años de experiencia a cargo de La Tempestad se suma la dirección y organización de eventos como el Ciclo “Murcia Músicas Históricas”, la Feria Internacional de Música Antigua GEMA o el Día Europeo de la Música Antigua Aranjuez 2017 (retransmitido por RTVE), junto a otros muchos proyectos artísticos y pedagógicos.

CONTEMPORARY MUSIC

Equally passionate about music of the 20th and 21st centuries, during her stay in The Netherlands she specifically worked on contemporary repertoire with harpsichordist Annelie de Man, with whom she recorded music for two harpsichords by Roderik de Man (Attacca 1999). She has premiered works by various composers from Spain and abroad, both for soloist (R. de Man, A. Strootman, L. Grant, I. Ribas, A. Bernal, R. Sierra) and chamber ensemble (she performed the premiere in Spain –Auditorio Nacional– of Concerto Nocturnal by Roberto Sierra).

Her repertoire includes harpsichord concertos by F. Poulenc, F. Martin, B. Martinu R. Sierra and M. de Falla, besides numerous works for solo instrument or with electronic (José Mª Sánchez-Verdú, G. Ligeti, J. Cage, M. Ohana, L. Berio, T. Bruynel, T. Marco, J. Tiensuu, J. L. Turina,  T. Catalán, etc.) and she works with composers to encourage the creation of new pieces.

She is a member of the Jury at Prix Annelie de Man –concurso dedicado a la música contemporánea para clave–, cuya próxima edición tendrá lugar en Ámsterdam del 1 al 5 de abril de 2020.

Her last project, focused on Spanish 20th century music for harpsichord, has led her to receive the Leonardo Grant 2017 for Researchers and Cultural Creators, BBVA Foundation.

Se trata de un proyecto de recuperación, edición, divulgación y nueva creación, gracias al cual ha editado el Concierto para clave de Salvador Bacarisse (1961), ha encargado y estrenado relecturas #4 – «air» –para clave y electrónica– de Alberto Bernal  y acaba de publicar Herbania, grabación dedicada a la música española para clave en el siglo XX (IBS Classical).

El proyecto culminará próximamente con la grabación de un segundo CD con orquesta y la publicación de un documental sobre el clave y su música en España en el siglo XX.

Training

Silvia Márquez completed her degrees on Harpsichord and Organ in her birth place under the guidance of J. L. González Uriol. Awarded a scholarship by the Spanish Ministry of Foreign Affairs and the Dutch government, she went on to further her studies at Amsterdam’s Sweelinck Conservatorium and at The Hague’s Royal Conservatory, where she studied Harpsichord (Jacques Ogg and Menno van Delft), Organ (Jacques van Oortmerssen) and Fortepiano (Stanley Hoogland). On the organ, the teachings of Montserrat Torrent were relevant for her, as was, in a wider field, the guidance of Gustav Leonhardt, Jesper Christensen, Jan Willen Jansen, Guy Bovet, Jon Laukvik, Christine Whiffen, Andrea Marcon, Patrick Cohen and Lars Ulrik Mortensen.

She has taken postgraduate courses at C.S.I.C. (Musicology section) in Barcelona and the University of Alcalá de Henares, while studying Art History and Musicology at various universities (Zaragoza, Granada, UAM). She holds a Master’s Degree in Cultural Management with an Extraordinary Prize from the UOC (Barcelona).

Teaching

With over twenty years of pedagogical experience behind her, Silvia Márquez has given masterclasses in such diverse places as Conservatorio Nacional de La Paz (Bolivia) and the Estonian Academy of Music and Theater (Tallin, Estonia), and has been guest teacher at several Spanish institutions and summer courses: Real Conservatorio Superior de Música de Madrid, ESMUC (Escola Superior de Música de Catalunya, Barcelona), Conservatorio Superior de Música de Castilla y León (Salamanca), Fundación Príncipe de Asturias (Oviedo, Asturias), Academia de Música Antigua de Gijón (Asturias) and others.

En 1999 obtiene por oposición la plaza de Clave en el Conservatorio Profesional de Música de Murcia. Silvia Márquez was Professor of Harpsichord at the Conservatorio Superior de Música de Aragón in Zaragoza (Spain) –where she was also in charge of the Baroque Orchestra and the Early Music Chamber classes– from 2007 until 2016. After two years on leave, focussing on her artistic career, she is currently Harpsichord Professor at the Real Conservatorio Superior de Música de Madrid.

Harpsichord, Organ, Basso Continuo courses and master classes | Talks & lectures | Pedagogical projects with orchestras and chamber ensembles.

First and foremost, she is increasingly convinced that music is an act of communication, regardless of the age of the music or the instrument used for it… Together with the beauty and personality of the sound of early keyboard instruments, language and imagination are two of the favourite words forming the basis of her concert approach.

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