Frank Corcoran

irish composer

END OF MARCH THE SUN TILTS INFINITESIMALLY

Nearly five months up here. Now I fly . South. Kindly German Wings. Over those waiting Alps.   ( – kindly ?  )

Good CELLO CONCERTO Premiere with the Irish N S O / Kenneth Macmillan, and my giant soloist , Martin Johnston. Mighty. 13.3.2015.

Good   QUASI UNA STORIA  Premiere  in NYC with the North South Consonance String Orchestra , great Max Lifchitz. He also mighty.  15.2.2015.

Unleashed then rightly  , my new  six Cello – Piano Duets .  –   Short miracles.  Refined miniature Irish Slow Airs  – ” ar an sean-nos ”  –  each an explosive miracle. Never Kitsch, never  neo- Romantic, never-never minimal  or  – istic, never neo- Bartok.  Yes, beautiful Corcoran

ALSO POSITIVE REVIEW ON: www.goldenplec.com

Period-performance concerns, from orchestral layout to lightness of vibrato and transparency of textures, are ones that Kenneth Montgomery also brings to his concerts with the orchestra. Last Friday he conjured up otherworldly magic and mystery in Mendelssohn’s Midsummer Night’s Dream Overture and buoyant energy and outdoor freshness in Beethoven’s Pastoral Symphony. It would be hard to imagine a greater orchestral Operation Transformation than the one Montgomery effected in these two works. More, please.

In between, the orchestra’s principal cellist, Martin Johnson, gave the first performance of Frank Corcoran’s Cello Concerto. Corcoran long ago established a reputation as being something of a wild man, musically speaking, among Irish composers. Rawness and roughness are his stock in trade. He prefers the jagged, the shrill, the disruptive to the smooth, the sweet or the calming.

His note about the new concerto refers to the idea of the solo instrument singing in all registers. On a first hearing it sounds as if his concern to allow the cello breathing space has created something of a Jekyll and Hyde effect, with the orchestral ranting standing distinctly apart from the cello’s often more plaintive cries.

mdervan@irishtimes.com

NOW NEW MARCH IS TURNING

March 13 2015

Premiered in Dublin  .  National Symphony Orchestra  / Kenneth Macmillan . Soloist :  Martin Johnson.

 

See on www.cmc.ie  :

 

Martin Johnson , Fergal Caulfield on  Frank Corcoran’s new CELLO CONCERTO.

Frank Corcoran on  his new CELLO CONCERTO.

Hear More On ” Sound Cloud ” .

MY TALE OF THREE MUSICAL CITIES

1.  West Berlin 1981.

After my  Berliner Kuenstler Programm 1980  (  “Symphonies Of Symphonies Of Wind ”  =  my  first symphony  )  ; the  Symphony Nr. 2 ,  ( I counterpoint :   ” SOLI ” and ” TUTTI ” ) ,  I became a guest professor at the  Hochschule der Musik where , a few very short years earlier  Boris Blacher had taught me :  a sense of musical  responsibility ; beware all new-born music Fascists;  for Gawd’s sake keep a door open  for:

form in music , hearable shape  .

 

2. Stuttgart  1982  : Oh Hoelderlin ! Sweet airs and wines above that boiling  Kesseltal ”  !  Beware the post-war terror and infallible ” we only, ahem, know  – contemporary composition, choirs and tin.-whistles  and quintets and bagpipes, it all !”

 

3. Hamburg 1983 till  quasi yesterday. Coming from the South, I had just  tripped across the Hamburg  Musikhochschule’s  main portal ( No. There was no one to greet me , to welcome me, I felt instantly  a  local-Hamburg  tollabawns’  ignorance of any saving grace known to Western man . They had justly perfected what ?  The snarl. The rictus. Clear your  Hanseatic Liberal Throat indeed ….  )  . Here was musicality , creativity, plasticity, humanity, normality….   not understood. I gasped. I reeled. I screeched : ” This can not be true ! ”

 

TO  BE  CONTINUED

SUNDAY IS TOMORROW AND TOMORROW WEEPS AGAINST FUZZY THINK

I quote some horrors and some beauts.

1. “What you see is what you hear ”   ( HEAR HEAR HOYKES !   )

 

2. ” A way of spoken ( ! )  Language and music which  is not oppressing ( ! ) Others  ( ? ! )  ”

 

3.  “So that the music and the words can be equivalently ( ! )  incorporated …. to include ( ? ) the perspective ( ! ) of the audience  in a creative way ( OUCH ! ! ! )  ”

 

4.Heiner Goebbels ( ! ) :  “I was never interested in the music only ;  I was Always interested in the musical PROCESS. ”          (   …     ?     )

ENTER TITLE HERE ? WHY ? EVER ?

I am sitting between two flying stools, kindly and awe-filled North Atlantic storms a mere  11.500 metres under my aeroplane seat and a night sleep back from New York to all too airy Hamburg -but soon will be my March flight to Dublin, the Cello Concerto’s  premiere.
(  Corcoran’s newly premiered NYC work for 13 Strings , ” QUASI UNA STORIA” , was quite different only  one movement, fifty shades of burnished brown and Guarnieri polish, this lone composer’s colour nuances all bowed and plucked . )
The Dublin ( Yes, March 13 2015   ) concerto pits violent sound- masses ( Certainly I  remember Dvorak and Lutoslawsky )  ,   our cello’s High Line against ( too ? ) vast orchestral forces.  In the violent Scherzo   timpani ( – all five ) try to overcome  the soloist’s High Song.
So how shall solo cello sing and shout or scream or whisper,  woo me positively, hymn me, its creator ?
I built four dolmens in sound. Four orchestral movements.  Then the orchestra ;  well, how  screech / sing / sigh / sob / proclaim ,dreaman incantation ? The High Romantic Concerto since Paganin is a muster, well-thrashed. Very well. Struggle on, agon, sacred syllable, motif, phrase, quasi quotations, all the building stones of my Corcoran Scale Seven.

FOUR LAST WORDS FROM THE CROSS

Edition Ferrimontana      (  EF 3885 )  :

 

Frank Corcoran’s  new S A T B  publication:

 

FOUR  LAST  WORDS  FROM  THE  CROSS”      ( 2015. ca. 4′ .  )

1. Eli,Eli, Lama Shabachthani ?   2.  Sitio  .  3.  Tetelestai.  4.  Father, into Thy hands….

MAD MARCH HARE

Frankfurt Radio         Frank Corcoran Composer Portrait :

 

Hr2 – Kultur     March 5 2015.       21.30  –  22.30

 

” Aus dem Tintenfass des Himmels  /  Trinken Baeume  /  Sich satt    “.

WHY DOES HIS “JUPITER” SYMPHONY LIFT ME ? DOG – EYED ?

( today whacked; after my NDR – Kultur ” Prisma ” radio recording for that focal, stunning April 4 2015  programme.  Hear who can. Hear or listen who must   )

 

Take the sheer erotic power of his ( highly ” economic”  )   oboes ‘ entry in Symphony Nr. 29  ( A Major )   – opening Allegro, bar 13. Bitter. Tonic.  His two horns in A  in bars 22 to 23. Certainly.  Magna in parvis.

No, I mean more – yearning in erotic brass , wood.