Frank Corcoran

irish composer

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6.1.2014 BAVARIAN RADIO PORTRAIT FRANK CORCORAN

Montag, 06.01.2014

> 22:05 bis 23:00 Uhr

>

> BR-KLASSIK

>

> Der irische Komponist Frank Corcoran

> Von Ulrike Zöller

>

> Die Klänge seiner Kindheit in der Grafschaft Tipperary am irischen

> Fluss Shannon bestanden aus Flussrauschen, Naturgeräuschen und, wie

> Frank Corcoran schmunzelnd erzählt, einem „Schweineorchester“, 100

> Schweinen in vielen Tonlagen. Mit 21 Jahren hörte er zum ersten Mal

ein

> Streichquartett und begeisterte sich so sehr für die Musik, dass er

> neben seinem Studium der Theologie und Philosophie auch Musik

> studierte. In den Studienjahren in Dublin, Rom und Berlin entdeckte

der

> Komponist bei sich die Fähigkeit, seine Faszination für alte Mythen,

> die Erinnerung an die Klänge seiner Kindheit und seine literarische

> Begeisterung in Musik umzusetzen. An der Hochschule für Musik in

> Hamburg lehrt der 1944 geborene Corcoran bis zu seiner Pensionierung

> Komposition. Daneben schreibt er in vielerlei musikalischen Formen,

für

> verschiedene Klangkörper, Ensembles, auch mithilfe elektronischer

> Mittel. Immer wieder aber scheint bei seinen Kompositionen die alte

> Welt der Druiden, der irischen Heiligen, der Feen, der Naturwesen und

> weitsichtigen Literaten durch – ebenso wie die ersten musikalischen

> Eindrücke seiner Kindheit: Die archaischen Klänge der Totenklagen wie

> auch das „Schweineorchester“ seiner ländlichen Heimat.

> f

OH HAPPY HAPPY 1975 NOW DISAPPEARED DOWN THE SLURRY-HOLE FOR EVER

IRISH TIMES APRIL 21 1975

Geraldine Neeson on:

THE CORK CHORAL FESTIVAL

The most controversial event in this years Choral Festival at Cork was, without doubt, Frank Corcoran’s commissioned
SYMPHONIES FOR CHOIR.
This provocative work was first analysed, discussed and performed at the Seminar held in U.C.C. , in conjunction with the Festival, by the Choir of the Goethe Institute Dublin, directed by Cait Lanigan- Cooper, who deserves tremendous praise in accepting and coping so admirably with the challenge presented to her. It received its first public performance the same evening during the programme at the City Hall.

Even with the advantage gained by a second hearing the work presented difficulties to the listener.
It is the most avantgarde music that has found its way into the Festival so far, and reaction was bewildering but enthusiastic.
The various vowel and consonantal sounds found in half a dozen words , chosen from different languages, form the basic sonic material of the work.
Ranges of pitch are approximate; explosive, percussive sounds abound, suggesting the age of technology, and spoken syllables crackle through the score.
The later section of this agressive piece discloses an unexpected tender lyricism, and the whole work has a uniform point in the reiterated G , played on a recorder.
All this may read as if the purpose of the composition were to shock the hearer by the use of successive gimmicks.
I don’t believe this is so.
Mr. Corcoran is certainly a sincere, serious-minded, energetic and enthusiastic man,
but his music is obscure.
Beantworten Allen antworten Weiterleiten

DEC. 2 2017 NDR KULTUR – FRANK CORCORAN

0:00 Prisma Musik
Thema: Kleine Schule des musikalischen Hörens
Frank Corcoran hört das Cellokonzert von Edward Elgar
“Elgars langsame Passagen zerreißen mich innerlich gerade … Es ist wie das Destillat einer Träne”, gestand Jacqueline du Pré einmal, die vielleicht berühmteste Interpretin dieses Werks. Kurz nach dem Ersten Weltkrieg entstand das Cellokonzert, das man einmal die “Elegie auf eine untergegangene Zivilisation” genannt hat, in der ländlichen Abgeschiedenheit seines Landhauses in Sussex. Das Werk markiert gleichsam den Gegenpol zu “Pomp and Circumstance” in Elgars Schaffen, eine Musik des Abschieds, verhaltener und sparsamer in den Mitteln als alle Orchesterwerke der Vorkriegszeit.

20:00 Nachrichten, Wetter

22:00 Variationen zum Thema
Musikbeispiele zum Themenabend
Edward Elgar:
Konzert für Violoncello und Orchester e-Moll op. 85
Steven Isserlis, Violoncello
Philharmonia Orchestra London
Leitung: Paavo Järvi
Klavierquintett a-Moll op. 84
Pihtipudas Kvintetti
Frank Corcoran:
Cellokonzert
Martin Johnson, Violoncello
RTE National Symphony Orchestra
Leitung: Gavin Maloney

Do not weaken or waver.
Keep going.
Hear the musical forms.
Write them for a potential audience.
But first write for me. For inner hearing. For the serenity of meaning . Value. Only then make:
A Confession In The Cold Glasblaeser

Perhaps there NEVER, ever was even a modest wave of support , understanding or acceptance here for New Music in our 20 c.
? Perhaps all you had was those brave
moral heroes of the Second Viennese School before the Nazi thirties ? ( Schoenberg’s hasty departure, Berg’s early death and Webern’s total lonely
loon in his Austrian Alps ? )

Since then you had (im)modest little footlings of composers in Munich and Berlin , WDR’s blandishments in the sixties and seventies ( I am bracketing out Poland and Paris here, also Ligeti’s Luck ) ?

Certainly here in Ham and in Burg the woeful few Hogskool Concerts in my eighties and nineties were not to be trusted … But one was thankful for the few thrown crusts.
And I remember well all those well-meaning “Schulmusik” publications and books on New Music In The Schools etc., mostly pap.

Perhaps.

And NO kind of understanding percolating down to your intellectual, to a public or private ; no acceptance of these lonely heroes, no kind of parallel at all with , say, the
accepted development of pictorial arts or literary productions or avant-garde theatre, let alone film .

The world-ocean of musical bilge and cowardly media contributed , certainly. No journalist prepared to call a spade a spade, popular shit as sonic shit. Seldom
analytic light cast on the marketing of punks and pricks and rocks and cunts and pricks and raps , whether American or helots.

A bit bleak .

HOW WRITE OR WRITHE A CELLO CONCERTO ?

Frank Corcoran

CELLO CONCERTO

For years I´d wanted to compose a Concerto for Cello and big orchestra – my singing David against its mighty Goliath . But I didn´t trust myself to face what
is, yes,
a mighty challenge until I´d first composed my Violin Concerto which Christopher Warren-Green premiered with the NSO and great soloist, Alan Smale, in
Nov. 2012 .
I’d worked closely with Alan as he prepared his Concerto ; his advice to me , the composer, was ” Frank, SING IT !” And this same advice was vital
as, one year later, I began work on this even bigger Corcoran Concerto for the mighty cello – bow of Martin Johnson.

This four movement work has even greater proportions ; this
solo instrument has to face an even bigger orchestral battle .

It sings and soars, somewhere between Dvorak ´s and Lutoslawski´s epic works.

The opening reveals a broad gesture for trumpets and brass which will
return several times , quasi a ” motto” theme.
My Slow Movement would tear the heart out of you, the cello´s beautiful cantilena weaving, sobbing,
dying.
The searing Scherzo, with its huge battery of percussion is the most violent music I ever wrote….
The music winds down then in the last, meditative finale.

PSALM 22, HOW ARE YOU ?

Thomas Aquinas SUMMA THEOLOGICA

1. 3. Introd. ” e Deo scire non possumus ”

quid sit !” ( ” Concerning God we cannot know WHAT (S)He is ” …. )

In my three full theologian’s years in Roma at the ( most Papal ) Universita del

Laterano, my magic years there were 1961 – 64

nobody ever, ever, ever pointed this God-text out. To me.

Why ?

FRANK CORCORAN ON HIS NEW STRING QUARTET ( March 3 2019 Dublin Festival)

After Bartok , Ligeti and Lutoslawski how can I write something hot and strange ?

On May 1. 2019 I will be SEVENTY FIVE . My new quartet aims for tension, unity. How ?

Easy.

Difficult.

Everything must flow from

the opening bar of Mov. 1. , ” Allegro irascibile ma nobile ” .

Bar One’s motiv yells for an electric tautness from each instrument. Each uses the same “Corcoran notes” ( G . A flat . C sharp and D ) .

– My Leitmotiv provides the building-blocks for my entire first movement ;

each phrase. each ainstrumental colour and tonal region,all my derived motivs ,

these musical protests or denials, they must all come out of that Bar One ?

Yes, my architectural ideal here is that of the great string quartets , Stravinsky’s Three Pieces , Webern , Schoenberg and Alban Berg
….Late Beethoven.

Movement Two is a play of those naughty pizzicati quintuplets versus arco chords, a celebration of these melodies which I weave out of ( my ?) Frank Corcoran 7 -Note Sca

Movement Three is marked “Allegro Barbaro ” and ” feroce e ruvidissimo ” .

The throbbing dyads shift and interlock , descend or ascend,- they saw the torture.

High voltage. Kinetic art. Take your pick. Guantanamo or Gethsemane .

TRIO DI PEATOLEVA MY HOT SUMMER GUESTS 2019

Hi Frank.

Here is our definitive programme for Orvieto MANCINELLI THEATRE and Bolsena PICCOLO TEATRO CAVOUR :

Lily Boulanger- Nocturne

Frank Corcoran- Hot Dialogues

Esposito- Alba

Chris Corcoran- Deep Blue Windows

Puccini- Foglio d’Album

Petr Eben- Fantasy for Viola and organ (arr. for piano)

Enescu- Concertstuck.

I hope this is Ok.

By our calculations this is c.55 mins of music.