The junction of time and space: sculpture and music

In this presentation, Tomás Marco reviews the different function of nature and movement in sculpture and music, polyphony as a representation of volume and the role of memory for the spatial conversion of time. The expression of movement in static sculpture and the temporality of mobiles articulate a journey, punctuated by some historical examples and the spatial function of geometry and time of number. We will also see the exemplification of the “Infinite Column” seen sculpturally by Brancusi and musically by Tiberiu Olah. The session proposes the analysis and listening of the movements of “Mobility of sculpture” by Tomás Marco:

1.”La Victoria de Samotracia sobrevuela la escalinata del Louvre”.

2 “Koré y Kuros junto a un Chac Mool”.

3.Bernini coronado con el laurel de Daphne”.

4.”Viento de Chirino moviendo un Calder”.

5.”Pietà Rondanini”.

6.”Pájaros de Brancusi atraviesan huecos de Moore”.

7.”Paolina Borghese abandona el diván”.

TOMÁS MARCO

Madrid 1942. He studied violin and composition. Degree in Law. Masters like Maderna, Boulez, Stockhausen, Ligeti or Adorno. 1967 Stockhausen's assistant. Awards: National Music Awards 1969 and 2002, Gaudeamus Foundation (Holland) 1969 and 1971, VI Paris Biennial, Casals Centenary, Golden Harp, UNESCO Composers' Tribune. Music Award of the Community of Madrid 2003. Medal of Gold of Fine Arts 2014. Tomás Luis de Victoria Ibero-American Music Prize 2016. Doctor Honoris Causa from the Complutense University of Madrid. Member of the Royal Academy of Fine Arts of San Fernando, since 2021 he has been its Director. He teaches courses in Europe and America. He has worked as a music critic and in various management positions. Compositions: 7 operas, 1 zarzuela, 1 ballet, 10 symphonies, chamber music, choral and solo. Main books: Spanish avant-garde music, History of Spanish Music: the 20th century, Musical thought and the 20th century, Cultural History of Music, Music on stage, From tradition to postmodernity: History of opera in the 20th centuries XXI etc.