Estanislao Marco Valls (La Vall d’Uixó, Castelló, May 17, 1873 – Valencia, June 22, 1954) was a Valencian composer and guitarist.
Estanislao Marco is one of the most unknown figures in the history of the guitar, his role being essential as a link between Francesc Tàrrega and the generation of guitarists born in the second decade of the 20th century.
Estanislao’s professional life was not easy at the beginning. Of very humble origin, at the age of five he moved with his family to Valencia, where he began his performances as a traveling musician through the streets and squares of the city. His father, Manuel Marco, was a Forofo guitarist and taught him the first notions of the instrument. The music theory lessons he received from his brother Manuel, who attended the music academy of the teacher Manuel Penella, making great progress in a short time. He met Tomás Rico, businessman at the Teatro Principal in Valencia, who authorized him free entry through the stage door that opened onto the stage where the musicians of the orchestra met during the intermission. There, barely eight years old, he began to learn interpretation and musical technique. He had the opportunity to listen live and to interact with the great figures of the time such as Tàrrega, who performed in November 1880, the violinist Pablo Sarasate, the Madrid soprano Adelina Patti, the tenor Francisco Vinyes, Anton Rubinstein …
Many times he performed with his brother for some theater, opera and zarzuela companies. In 1887 they were in charge of organizing a fable of guitars, lutes and bandurries with blind musicians for the execution of the parade and the final jota of the first act in the premiere of the zarzuela by Ruperto Chapí La Bruja, at the Teatro Principal in Valencia, and in The Dolores of the teacher Tomás Bretón.
He was part of the well-known as “Cuarteto del Turia”, where he could give wings to his creativity in the form of compositions of different types. He also stood out as a teacher, becoming a true apostle of the guitar in Valencian lands
A romantic renaissance artist in La Vall.
At the end of the 19th century, Estanislao Marco was a young and cultural man, who had trained under the shelter of those musicians and artistic entrepreneurs who built the solid cultural life of Valencia in the Renaissance. The figure of Estanislao Marco, as other valleros also did, such as Lleonard Mingarro, received and catalyzed those romantic influences that Goethe, Lord Byron or Alexandre Dumas propagated in Europe at the time. Thus, his contribution to the Valencian Renaissance was based on some brief but exquisite pieces (such as waltzes, tangos or mazurcas) that were born in the choir itself and were transferred with passion to the scores without losing sight of folklore and tradition popular of the Valencian people, who became both source and recipient of the most genuine work of the Vallero author.
A great guitar name unfairly forgotten.
The shocks of history, however, made Estanislao Marco fall into an unfair forgetfulness that we now contribute to leaving behind. It is surprising that no advanced disciple of the magnificent Francesc Tàrrega has not filled pages with lines about his work and settings with sounds from his scores. So far, little work has been done to bring to light an unjustly unknown author at the state, regional and unfortunately also local level. Researchers like Jorge Orozco, whom we have in the organization of this festival, have been one of the few who have tried to remove our most outstanding guitarist from the shadows of oblivion.