I am a composer, currently based in Valencia (Spain). I have studied, lived and worked in Barcelona, Paris and Geneva.
My musical universe, somewhere between the Mediterranean transparency and taste for simple things, the French focus on sound and timber, and the Swiss precision and contentment, is broad and encompasses several musical typologies, from collaborations with choreographers to a «concerto grosso» with electronics.
My music, often enjoyed and praised by performers for its technical facture, has been commissioned and premiered by some of the most well-known and respected European ensembles, like Intercontemporain, Contrechamps, Linea, the BBC Scottish Symphony or Recherche.
Here you can find more precise info about my career and my academic background.
2018 | Ensemble Vocal Séquence: Dictionnaire à l’usage des oisifs for accordion and 8 solo voices.
2017 | SoloVoices: Native Foreigners, for vocal quartet and live electronics.
2015 | Ircam, Contrechamps, Archipel: Trencadís, for soloist trio, ensemble and live electronics.
2014 | Ministère français de la culture: Primera Escena, for Ensemble Intercontemporain.
2014 | Ernst von Siemens Musikstiftung: Perpendicular, for CrossingLines ensemble.
2013 | Radio France: Aroma, “alla breve” for Ensemble Diagonal.
2012 | BBC Scottish Symphony Orchestra / University of Aberdeen: Tanzmusik mit B. for orchestra.
2010 | Institut Valencià de la Música: Interruptus II, for Trio de Magia.
2013 | XXIV Premio Jóvenes Compositores de la Fundación SGAE – CNDM (ES) for Alias.
2011 | University of Aberdeen Music Prize (UK) for Plastic Trio.
2009 – 2011 | Grant for post-grade studies of “la Caixa” foundation and the French government.
2008 | Finalist of the Reine Marie José Composition Prize (CH) for Microscopi 1: Malson.
2007 | Prix des 6º rencontres internationales de composition musicale de Cergy-Pontoise (FR).
2018-21 | Resident composer of the Jove Orquestra de la Generalitat Valenciana.
2011-12 | Resident composer at the program Transorm/Write Down by Fondation Royaumont.
2007 | Resident composer for the cycle JIC 2007/2008 in Barcelona by La porta clàssica.
Biographies
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His music, often enjoyed and praised by performers for its techical facture, has been commissioned and premiered by some of the most well-known and respected European ensembles, like Intercontemporain, Contrechamps, Linea, the BBC Scottish Symphony or Recherche.
His musical universe, somewhere between the Southern Europe’s transparency and honesty, the French focus on sound and timber, and the Swiss precision and contentment, is broad and encompasses several musical typologies, from collaborations with choreographers to a «concerto grosso» with electronics.
In 2008 he was finalist of the “Reine Marie José Composition Prize», in 2011 he was awarded the “University of Aberdeen Music Prize”, and in 2013 he received the Young Composers Prize from foundation SGAE-CNDM. He has also received commissions from “Insititut Valencià de la Música”, “Radio France”, the French Ministry for Culture, the «Ernst von Siemens Stiftung»…
Born in 1985 in Valencia (Spain), he studied composition at the ESMUC in Barcelona with Luis Naón, Ramón Lazkano and Gabriel Brncic, and obtained a MA in Music Composition and Theory at the Haute École de Musique of Geneva with Michael Jarrell, Luis Naón and Eric Daubresse, specializing in Electroacoustic and Instrumental Composition. He developed the technical part of his MA project at the IRCAM, in Paris, by following the Cursus 1 and 2 under Yan Maresz’s guidance, for which he received the financial help of “la Caixa” Foundation. He has attended workshops and seminars like Villafranca del Bierzo 2006 or Royaumont 2010, and masterclasses by T. Murail, B. Ferneyhough, L. Lim, M. Stroppa, F. Filidei, H. Kyburz…
He was engaged as resident composer by “La porta clàssica” for the concerts season “Joves Intèrprets Catalans IV 2007/2008”, the “Transform/Write Down” program of the Abbaye de Royaumont 2011/12 and for the “Jove Orquestra de la Generalitat Valenciana” 2018/2021, for which he has written three orchestral pieces including a Viola Concerto for Joaquín Riquelme.
He worked as Assistant Professor at the Haute École de Musique of Geneva between 2011 and 2014. He is currently working as composition teacher at the Conservatorio Superior de Música de Valencia.
Rus Broseta lució su conocida aptitud y fino olfato como traductor de la música de su tiempo con una lectura impecable de las cinco miniaturas sinfónicas de García Vitoria. Música bien escrita, descriptiva casi hasta la narración, impregnada de un uso hábil, atrevido, eficaz y nunca gratuito de los recursos tímbricos; que respira y transpira las viejas vanguardias de los años sesenta y de Darmstadt, sin que ello presuma que su autor renuncie o merme su condición de creador pleno del siglo XXI. De hecho, acaso la cualidad más remarcable de la bien escrita música de García Vitoria -al menos la de sus personales interludios sinfónicos- sea la de dueño de un lenguaje personal que, sin ser sordo a su entorno y tiempo, cursa con determinación sus propios senderos y trechos.
by Justo Romero / Beckmesser
(full article @ Beckmesser)
Merece ser aplaudido su perspicaz trazado de la arquitectura formal subyacente a la partitura: en concreto, dos salidas inesperadas de sendos puntos culminantes lograron un eficaz contraste, de notable impacto emocional en el oyente, al tiempo que fueron sabiamente absorbidas a posteriori por la forma global. La cadencia del Trio K/D/M fue uno de los momentos más deliciosos de esta bella obra, que logró una ovación unánime del público al bajar el director su batuta.
by José L. Besada / MundoClásico
(full article @ MundoClásico)
Cabe destacar que el único estreno de la noche tuvo lugar en la apertura de este bloque, con Primera Escena del joven compositor español Marc Garcia Vitoria. Aunque la obra empezó con una cierta tibieza en su primer movimiento, poco a poco fue tomando forma, y tras el gesto cómico –el violín segundo atorado en un loop– que ejercía de bisagra entre el segundo y el tercer movimiento, la música terminó por resolverse con una gran rotundidad desde su sólida coherencia formal en retrospectiva. El público recibió el estreno con un caluroso aplauso.
by José L. Besada / audioclasica.com
(full article @ Audioclasica)
Mimesis (incluant l’accordéon) du valencien Marc Garcia Vitoria exploite cet outil d’analyse sonore et d’orchestration assisté par l’ordinateur pour jouer très finement sur l’hybridation des couleurs instrumentales et les effets de spatialisation, à la faveur d’une écriture inventive et d’une grande souplesse
by Michèle Tosi / Resmusica
(full article @ Resmusica)
Dans Mimesis, traitement en temps réel, spatialisation et diffusion WFS interviennent sans pesanteur, ni « faute de goût », mais toujours en harmonie avec le quintette dirigé par le pianiste Oliver Hagen : harpe, accordéon, percussion, alto et contrebasse. D’abord lâche, le tissu sonore se resserre et se densifie dans une grande variété de climats tendrement tendus et de surprises jamais violentes – comme lorsque que Frédéric Stochl frappe le corps de l’instrument fiché au sol, qu’Anthony Millet racle les soufflets du sien et que Gilles Durot abandonne le marimba pour l’harmonica. À juste titre, cette pièce – peut-être sentimentale, au fond – est très applaudie.
by Laurent Bergnach / Anaclase(full article @ Anaclase)
It was certainly an exciting and extraordinary work – like nothing I have ever heard before. For me it was not so much a dance piece as a dazzling firework display for orchestra and it was as if Vitoria had succeeded in transforming the entire orchestra into a giant percussion ensemble.
by Alan Cooper / Sound
(full article @ sound-scotland)
by Bruno Serrou @ Classique d’aujourd’hui