Frank Corcoran

irish composer

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http:// sonosphere.org/de . About “TRADURRE TRADIRE”

2004

Tradurre-Tradire

CORCORAN, Frank

00:24:01

Beschreibung

Das Wortspiel und Sprichwort „Tradurre – Tradire“ will sagen: „Übersetzen bedeutet Verrat, Betrug.“ Frank Corcoran setzt sich in seiner Komposition ganz wörtlich mit diesem Grundproblem jeder sprachlichen Übersetzung und Vermittlung auseinander. Anhand eines kurzen gälischen Gedichts des irischen Poeten Gabriel Rosenstock und dessen englischer und deutscher Übersetzung schafft Corcoran in seinem elektroakustischen Werk ein Beziehungsgeflecht der Bedeutungen und Missdeutungen. Die polyphone Klangkomposition für vier Stimmen führt den aufmerksamen Hörer in philosophische Abgründe.

Tags

Wortwanderung, stille Post, scream

A BLACK HAMBURG WIND

Narcissus is THE patron saint of all artists.
( I love, now in this clear mythic water, mythic me. But who then is , then, me, is myself ? Who would be this” I ” ? Then why do ” I ” love ” me ” as self-perceived in “my” mind´s very “I” ? )
Not true.
Great art, the very highest composed music does travel much farther; it aims at timeless constructs, for atemporality, wrought tougher than steel. The best climb farther and they then kick away their autobiographical ladder, swinging serene from that higher arboreal position.
“Me” – sodden art is never enough. High art, the best, conceals with Horace ALL of its author´s origins: ” I love me, Narcissus, me kisses I, I – WHO? – these watery lips”.

HOLD ON A MINUTE ! OPEN MICROPHONE

Frank Corcoran broadcasts on new music for:

Norddeutscher Rundfunk, Raidió ´Eireann, RAI
Roma, Lyric Fm, Nat. Public Radio, Radio Bremen, H.R., Bavarian Radio, W.F.M.R., W.D.R., Sender Freies Berlin, RIAS, Deutschlandfunk, Deutschland Radio, etc. etc.

A COLD MONTH MARCH IN HAMBURG

They say hope is the last to die.
Wrong. It´s FORM. I have to create form in my new work. How
the different parts relate to the whole thing – and to each other. And I have to re-think this anew each time; none of your neo-this or -that with a pre-cooked formula. Good form, the best, has to feel right, must proclaim that its today is the first day of Creation. Must grow . Out of the opening music, the opening statement, idea, shape, colour, motif. Weak form is weak art.

NEW AND NEWEST WORKS

CELLO CONCERTO 2014
VARIATIONS ON MYSELF for Chamber Orchestra 2013
IN THE DEEP HEART´S CORE for Solo Harp 2013
EIGHT HAIKUS ( S.S.A.A.T.T.B.B. ) 2013
4 PIECES FOR TWO CLARINETS 2013
5 TENORLIEDER 2012
CONCERTO FOR VIOLIN AND ORCHESTRA 2012
TWO UNHOLY HAIKUS ( S.A.T.B. ) 2012
A DARK SONG ( Solo Bassclarinet ) 2011
CLARINET QUINTET 2011
SONGS OF TERROR AND LOVE ( Baryton/ Pierrot Quintet ) ”
FOUR ORCHESTRAL LIEDER 2010
QUASI UNA FUGA revised version for Large Orch. 2009
NINE ASPECTS for Solo Violin and Large Choir 2008
QUASI UNA FUGA for 18 Solo Strings 2007

CHOIRS A – SINGING IN SPRING

National Chamber Choir performs Frank Corcoran´s “CAOINE” ( 1973 ) in “Elegies”

Feb. 25 . Carlingford Heritage Centre
Feb. 26 . St. Ann´s Church, Dawson St., Dublin.
also in ” An Irish Colloquy” :
18. April Kilmacanogue, Wicklow.
19. ” Waterford.
20. ” Galway
21 ” Callan, Co. Kilkenny
22 ” Hugh Lane Gallery , Dublin

TOTALLY ALERT STORY-TELL IS BEST :

1967 in Dublin I began “studying” piano with Miss Elizabeth Huban – yes, check back to Cortot and Schnabel and she in her electric Paris before the War.
Wow! She then said : ” Now press that four part C major chord down. Again. Softly. That tenor voice isn´t singing . More tone. Now pianissimo. You hear? You listen? Listen!”
I was shocked, whocked – up till then nobody had ever told me thus to listen to that acoustic arc between my left ear , the right shoulder, fore-arm, finger and -tip pressure.
We ” did” Beethoven. SING! We touched Schoenberg´s Opus 11, we re-touched ( listening haptically ) his 6 Little Piano Pieces: I hear Miss Huban´s – to me- ” Don´t you HEAR Mahler in this chord ? ” “Listen to yourself playing that unison, descending phrase in that last, poised miniature In Memoriam eg. as performed by all the violins ( – violas, too ? – Celli ? ) of the Berlin Philharmonic…. ”
Did I practise piano ? Enough ? Enough for Miss Elizabeth Huban ? No. – I skimped, I sweated endesslessly onto and over my worried young composer´s note-paper a few bars of my own compositional concoction. My self-challenge. But she´d unlocked in me LISTENING. My trumpets salute !