Studied in Perugia, Strasbourg, The Hague, Rome, Darmstadt and Paris with Fabio Cifariello Ciardi and Ivan Fedele. From 2007 to 2010 he studied and worked at IRCAM in Paris. His works have been awarded in several international competitions such as Gaudeamus Music Prize, Seoul International Competition, Impuls – Klangforum Wien, Reading Panel IRCAM-EIC. In 2008 he received the Kranichsteiner Music Prize from the city of Darmstadt. Marco has been composer in recidence at the Akademie der Künste Berlin (2010-11), in Turin at the Fondazione Banna Spinola (2012) and at the season of the Divertimento Ensemble in Milan. (2013). His music have been performed by Ensemble Intercontemporain, Neue Vocalsolisten Stuttgart, Accroche Note, Ensemble Modern Akademie, Nikel, ASKO, Nieuw Ensemble, Itinéraire, Slagwerkgroep Den Haag, Alter Ego, Taller Sonoro, MDI, Algoritmo, Divertimento Ensemble, David Brutti, Marco Angius, Matteo Cesari, Bas Wiegers, Marino Formenti, Mario Caroli, Robert HP Platz, Andrea Pestalozza and others, in festivals such as Musica Strasbourg, Agora Paris, ManiFeste Paris, Warsaw Autumn, Culturscapes Basel, Music Today Seoul, Magister Ludi Moscow, IMD Darmstadt, Gaida Vilnius, Akademie der Künste Berlin, Bang on a Can New York, IRCAM, AudioArtCircus Osaka, Tzlill Meudcan Tel Aviv, Gaudeamus Music Week, ZKM Karlsruhe. He received commissions from Institutions such as the French State, Radio France, Ernst von Siemens Foundation and ADK Berlin.
The series Nudi is a brief exploration of the solitude of an instrument with its player. A Small collection regarding the evenescence of a dialogue that becomes a monologue. The Nudi probe the overexposure of identity. A perceptual space made up of stories that don’t need to be told because there is no audience:their life expires in the passing of a thought. A dimension in which the exposed body rids itself of social characters, sniffs itself, hugs itself. The Cinque nudi for saxophone and stomp boxes are like an instrumental portrait in the mirror, where the doubling takes on different, complex interpretations: from the qualitatively distinct double sounds, to the construction by pairing and asymmetrical response; from the systoles and diastoles that seem to demand inner clarification, to the schism in a traditional discourse that can no longer purge itself of an internal divergence; and lastly, the final piece, hinging on a loop around which rarefied facets are inlaid in staggered formation, along with an obstinately circular and obtusely solemn component.