A selection. 
Miguel Franco searches a language that properly combines the typical evolution of the twentieth century with a very personal idea, eliminating all traces of artificial avant-garde in order to achieve a kind of work that communicates, beautiful, and especially with a peculiar atmosphere. In this line his marimba concerto maintains a formal structure, with three movements and a clear attitude between tutti and solo, adding an important melodic content, articulate and expressively developed.
The marimba moves freely marked in some virtuosic cadences, like in the first movement, and expressive as the sweetly slow second movement finishing with a perfect chord, or the evil spirit Presto, steeped in rhythm. The sound of the marimba takes over the work in a constant flux revealing its large expressive possibilities.

Juan Chupé. Diario La Verdad,
Murcia. February 21, 1994.

But there were more of importance in the evening. It was the premiere of “Overture in the form of variations", opus 58, by Miguel Franco, double-bass soloist of the same formation, who demonstrated again with this new work-concert version of the overture of an opera "unwritten" - his obvious mastery of the secrets of the symphonic language. "

Leopoldo Hontañón. ABC.
December 5, 2001.

"Actually, the Four Views of Párraga is a large scale concerto for cello and orchestra that is handled with apparent ease by the composer. The work is listened always with evident pleasure and in more than one aspect may be a continuance of the generation of the great masters of Spanish music. "

Octavio de Juan. Diario La Verdad, Murcia.
April 11, 2004.

"An example of what would be necessary and appropriate to fill the gap comes from the program proposed by the Orchestra of the Province of Bari with a work of Miguel Franco, composer of 45 years old, author of the “Overture in the form of variations", very interesting piece that reveals an open author but with a careful and sensitive measure of modern languages at the same time, able to combine the taste of instrumental color and rhythmic games ideally characteristic attributed to the typical music - popular or academic-of the country. Positive experience for the audience who attended the Sheraton, even more intense by the fact that on the podium was José Miguel Rodilla, who owns a consistent professional curriculum. Rodilla has offered a vital interpretation of the Franco’s piece, obtaining a both sincere and effective collaboration from the orchestra of Bari.

Nicola Sbisa. La Gazzetta del Mezzogiorno. Bari.
September 15, 2007.

"... The one written by Miguel Franco, entitled" The Triumph of Death "for its relationship with the Flemish painting by Pieter Brueghel. It was heard in one of the rooms of the Spanish Museum of Abstract Art. Antonio Saura at the bottom and around Manuel Millares, Manuel Rivera, Antoni Tapies, in a complex dialogue, as is anyone who tries to reconcile the uninhibited, powerful and personal art with the one that talks about memory, common formulas and inevitable quotations to express.
Honest work, no doubt ... forced to think about the long tortuous way of artistic creation. Another form of medítate.”

Alberto González Lapuente. Diario ABC.
23 de marzo de 2008.

Another point to celebrate was the premiere of the Passacaglia for orchestra (op. 90) written by the composer and bassist Miguel Franco ... Commissioned by the orchestra, that played his Overture in the form of variations two seasons ago, the author surprised us again by the strength of his creation and the intrinsic charm of his work, which put its author in the first rank of contemporary Spanish music scene, at the same level of names perhaps more widespread but certainly not better.

F. Javier Santos. ABC.
March 1, 2009.
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