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 “.