Frank Corcoran

Frank Corcoran´s new ” SONGS OF TERROR AND LOVE” for Bass and “Pierrot Ensemble” was part of Culture Ireland´s
“Imagining Ireland” 2011 Mega-Show on March 14 in New York, Manhattan. Max Lifchitz conducted the North South Consonance Ensemble splendidly. David Salsbery Fry was a highly musical, dramatic, plastic soloist in my
Jacopone Da Todi texts – Umbran and English ( by Frank Corcoran ). At Christ and St. Stephen´s Church in 69th. Street West this world-premiere unwound like a great “sonorous column” , as the Italians poetically put it. Cello, viola and violin, piano, flutes and clarinets surrounded , supported, gave their musical commentary to the singer´s mini-drama of jacopone locked against ” O Papa Bonifazio!” Strong stuff, high art.
Next day the Gregg Smith Singers did a Composer´s Reading / Recording of my new choral score, ” EIGHT HAIKUS BY FRANK CORCORAN” , washing and fluting and whispering and chording the lines of my magical syllables and consonants. eg. in ( I like this one especially ! ) my
Haiku Nr. 4:
” Deep purple twilight / / In the bay lie three islands / /
Asleep like children. ”
Cori spezzati, velvety chording, well, the sung synaesthesia was a new New York special, spanning the choral distance, Borrisokane takes notes, between Gabrieli and Ligeti. And The Word was made Choir.

WHO´S WHO IN IRELAND ( 2006 ) : ” Frank Corcoran”

ENCYCLOPEDIA OF IRELAND ( 2003 ). ( Ed. Brian lalor. Yale University Press ) : ” Frank Corcoran “

IMMA presents “In Conversation 3: The Composers”

March 2, 2011 by ditmdlibrary

On Sunday, 6th March Bernard Clarke from RTE Lyric fm will steer an open discussion between Irish composers Gerald Barry and Donnacha Dennehy on developments of music in Ireland in the 20th century. This event will take place in the IMMA lecture room in Kilmainham Jail. It is running in conjunction with the Moderns exhibition which featured work by Sean O’Riada, Derek Ball, Brian Boydell, Gerald Barry, Frank Corcoran, Raymond Deane and Seoirse Bodley.

” Not to be modest ( for a composer ) is ridiculous. ”

” Creative artists live in an ideal world, several hours a day…. The world in which we live, the “real” world, doesn´t really need us. ”

” I may have suffered in Poland but yet my music is independent, safe, isolated from that. We composers are messengers from an ideal world. “

The stars separate.

Romeo and Juliet

Also. Stop sobbing !

As found in the Oxford Music Online encyclopedia (only accessible through

universities):

Corcoran has developed a distinct and complex language of aleatory

macro-counterpoint in which sound layers are superimposed polyphonically but

retain independence through distinctive polymetric, agogic and dynamic

indications. This technique is evident from the early Piano Trio (1978) to Ice

Etchings no.1 and Mad Sweeney (both 1996). His many cultural interests are

reflected in the texts of his vocal works; the opera Gilgamesh (1990), for

example, is based on a Sumerian epic. The Irische Mikrokosmoi for piano (1993)

are based on traditional Irish melodies and rhythms.

Chef Dirigent LOTHAR

1. I referred above to ” Condae Mhuigheo ” as a parent cell. Behind it are many mutants.

2. “Against , the second element in Frank Corcoran´s Law, what I am calling the recital-tone or highest note . I appears in a number of guishes”

3. Irish Musicology ( ? ) , weep. – ” Caoin tú féin “.

4. ” 4. 11. 1991. ” MY father was – AT LEAST – his , ” his ” late eighties. My first symphony had been premiered in Vienna, 1981 ( O.R.F.Symphony Orchestra / Lothar Zagrosek ) .
” 25 Mount Alton, Knocklyon, Dublin 16, ”

4.11.2091.

” One of your letters mentioned the thologian, L. Boros. I tried to look him up but could not find him. However , in the past, I made copious notes. You may remember how in my last letter to you I developed how the soul , plastered up the newly plastered wall , developed how the soul of an ivy , creeping up the newly plastered wall, grows LITLE FEET ( – my Killavalla capitals, now may > Mama FlanneryHairy reign )
climb. And the pony.
Stretches out its forepaw . To the order of a whip……
” from deafness its forepaw to the order of a whip

)

1. Frank Corcoran ( – Francis ? ” Próinsias ” ? – only then , an impatient slave, I DARE question: ” ´O Corcoráin ” ? – am I perhaps a ” Mac Corc – – – ? ”
was awarded the 1980 – 81 artist-in-residence / / Künstlerprogramm des Deutschen Akademischen Austauschdienstes Berlin. An ” IRISH ” ( ? ) ” Composer ” ! ?
( ” Cumadóir Ceoil ” ) . – Courage ? Coraggio ?

2. ” Take warning , waves, take warning, crown of the sea,
I, Corcoran, witless from your discords,
Were Spanish sails again afloat
And rescue on your tides,
-Would force this outcry ( ? ) down your wild throat,
-Would make you swallow these Atlantic words “.

3. ” Joyce, der Dublin früh verlassen hatte, war ein Heimatloser…. ”

4. Liam De Noraidh ( ” CEOL ÓN MUMHAN ” – focal Gael-Bartokiana-Gael ) sweated in his galluses in An Roinn; – terraced thousands died in drowned / bombed nearby Coventry. ” Macht´s Nix …. ” ” – Tá go maith agus níl…. ”
Out of De Noraidh´s ( – compare very carefully Bartók before you open your STUPID mouth ) Waterford empirical quarter-tone epiphanies observe….

1. I give my body to the earth as it was before , in order that the enduring blocks and materials thereof may be employed in new combinations ; and I give my soul to God ( – UMPH ! – ) with Whom ( – capitals ? ) it always was , to be in Him ( – more UMPH needed here obviously – ) and with Him ( ditto ) for ever , in closer and more conscious ( ditto ) union….

2. Breandán ´O Madagáin ” ist dahin ” . – D´ éag sé. ( eg. ” Gaelic Lullaby : a charm to Protect the Baby ? ” in Scottish Studies 29, 1989, and SO MANY OTHER studies ( excellent ) of our Irish Caoine .

3. Also Breandan Piper Ó Madagáin ( of “SONGS AND DANCES OF IRELAND ” ) with whom I worked and sighed and laughed and sighed.

4. Also BERIO ” Intervista Sulla Musica “, his ” symphonic ” ” branching ” and Webern´s ” Path To The New Music ” – how HE ” froze” ” emotions” in tones.

5. In seeking my Weeping Fathers, I have e-writhed elsewhere on great LIGETI and on great LUTOSLAWSKY . Si monumenta , si !
6. As a prelude to my ( ? ) SLIGO FESTIVAL OF CONTEMPORARY MUSIC 2000 ( – Okay, I was its ” Director ” its ” spiritus spiriti ” )
at the Sligo Teachears ´( sic ) Centre, 2.10.2000, I spoke gently of:

Intervallic Conciseness in ” Is Maith An Bhean Muire Mór “, Beethoven´s opening orchestral remarks in the V. Symphony, Gabriel Rosenstock´s : ” ÍOSA : ” I measc seangán faoi cloch tá ´Iosa…. ”
Sligo remained deafeningly silent.

7. Dolmens don´t keen the dead. We Irish do – or did until comparitively recent times – down the long centuries since the Old Tipperary Stone Age food-gatherers perfected their three-note music. I keen. ( No necessary Yeatsian ) keenly I keen our CONTINUING inability – Edward Said , ” ciúnas ! A dhuine bhoicht ! ” – to overlep our long shadow of musical etc. etc. from the neighbouring Henry Purcell island. Irish musicological supineness is never pretty. The present ( ? ) discourse about ” What Then Is Irish Music” is painfully late, painfully inadequate, painfully ( once again ) supine in its very sociology.

8. Elsewhere I have proved that , YES, great Bach came through Killavalla, 18th. c. Tipperary , his C – Dur ( ” An Dó Cruaigh ” / ” Il Do DURO ” ) Sarabande spawning so many “Irish ” ( ? ) Slow Airs.

9. March 14. 2011 New York most recent Frank Corcoran world-premiere , ” SONGS OF TERROR AND LOVE” for Bass and Ensemble ( North South Consonance / Max Lifchitz / David Salsbery Fry ) is derived
TOTALLY
from great ( “Great” ) Jacopone da Todi´s GREAT musical-poetical ” STABAT MATER ” . Motivically.

10. ” We wish to thank the following…. for their support of Glucksman Ireland House NYU Programm …. ” – ” Ciúnas “.