Frank Corcoran

irish composer


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, ”


” 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
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 “.


Supposing things had gone the other way, his eyes filmed over at the end, his poor last Seven Last Things in the wheel-barrow ? Once upon a given ? Empirically ratifiable ? At times it certainly was a permanent Satanic presence, never uttered, no, but ready at the nod of a dudeen to be unleashed ? His ultimate ROAR at cosmic indifference ? At the going down of the sun he´d puff a bit when he´d think about rescuing the family´s fortunes, his dialogue between screen and scream. And air. Opposites attract is all I am suggesting in our dialogue about There´s No Why. To scream, the mouth unvoiced and unutterable and appalling and unspeakable and unscreamable.


Classical radio-station , WFMR- FM ( 98.3 ) isn´t generally thought of “trail-blazing” ( Milwaukee Sentinel 1989 ) . But think again.
In September WFMR embarked on a 26-part series of hour long programmes devoted entirely to 20th -century music. Entitled ” LEGACY” , the series was written and narrated by Irish composer, Frank Corcoran. “Legacy is a comprehensive , arresting and delightfully accessible introduction ( Nancy Raabe ) to the music of our amazingly varied age…. ”

Roma 13. April 1996. Ada Gentile : ” Dear Frank, I am very glad that you have accepted my proposal to write a solo cello piece ( ” ICE-ETCHINGS” Nr. 2 ) for Madeleine Shapiro…. The concert will take place on 11 November in Rome… ”

FRANK CORCORAN SOLO CONCERT to include: Piano Trio, Medieval Irish Epigrammes ( RTE Singers ), WIND QUINTET ( Les Amis de la Musique ) , GESTURES OF SOUND AND SILENCE.


Neue Zeitschrift für Musik 152 ( 1991 =ktober )

Axel Klein: ” GROSSBRITANNIEN – IRLAND. ” Corcoran, caoin tú fhéin ! Frainc ! I gcéin.

Dienstag, 15. Jan. 1985 , 19 Uhr ( Hochschule der Musik Hamburg . My 1984 planned New Professor´s Concert – the 1984 planned concert had been successfully sabotaged by an anonymous bomb-scare telephone-call to the Hamburg police. Together with Musikhochschule Vizepresident , Prof. Johannes Th. Eschen and the courageous police I inspected every toilet, every shadow. )
No plastic explosive. Good musicians ! Who was responsible ? I
know . For my children, silence. GREAT music !

1990 METROPOLITAN ARTS PROGRAM ” Symphonies , Saints and SCHOLARS ) ” University of Wisconsin .


Harvard University Gazette March 13. 1992:
” The Dolmen´s Lament. Musical Archetypes in Irish Oral Keening Tradition ( Dept. of Celtic Language and Literature ) . Prof. Frank Corcoran of etc. Room 2, Music Building, 4.15 p.m. etc. ”

Paris June 7 – 12. 1979. Radio Telefís ´Eireann INTERNATIONAL ROSTRUM OF COMPOSERS . Frank Corcoran: ” THREE PIECES FOR ORCHESTRA” ( ” Pictures From My Exhibition”. )

INDIANA UNIVERSITY . April 1. 1990. To the Fulbright Commission, Washington D.C. ( Prof. John Eaton , School of Music / Prof. Willis Barnstone , Dept. of Comparitive Literature ) : We would like to invite Prof. Frank Corcoran to address a joint meeting of our graduate seminars in music composition and comparitive literature on April 2. 1990, from 7. to 8.30 p.m. ”


GPA GROUP LTD. Jan. 30 1989. Executive Vice-President
Seán Donlon to the ( then ) Irish FULBRIGHT Commission:
” I have known Professor Frank Corcoran since etc. and have followed his career etc. etc.
not least because he has succeeded in breaking new ground abroad for Irish musical achievement…. ”

20.Feb.1990. BOSTON COLLEGE. Prof. Mícheál ´O Súilleabháin.

” Dear Professor Corcoran, We would be delighted if you would visit us here in BC to give a seminar in composition…. ”

JOHN HARBISON ” Dear Frank, There is a kind of job-search going on at the New England ….. ” 1990 .

PARIS June 2. 1975 : RTE and the International Rostrum of Composers UNESCO: Frank Corcoran: ” Medieval Irish Epigrammes ” for RTE Radio Choir ( then the ” RTE Singers “. Cond. by Hans Waldemar Rosen. )

Roma 1968 . Prof. Roberto Masi della Università Lateranense : 26.9.68.
” Ho il piacere di presentare e raccomendare lo studente FRANCIS CORCORAN che ha seguioto i miei corsi alla Università lateranense , negli anni 1964-67 …. alla Deutsche Akademische Austauschdienst. ”

Schloss Leopoldskron, Salzburg-Austria . The Director:
” Frank Corcoran was a Fellow at Session 189 ( ” Musical Ideas and Musical Institutions” – 22. April till 5. May. 1979 ) of the SALZBURG SEMINAR IN AMERICAN STUDIES.

Romae 28. Sept. 1968. Prof. Ferdinandus LAMBRUSCHINI , Ordinarius Theologiae Moralis in Pont. Universitate Lateranensi ROMA ) :
” Admodum Reverende Domine Francisce Corcoran, Litteris die 20 sept. datis, commendationem a me petisti ut ab adsociatione , vulgo Deutschen Akademischen Austausch ( – sic ! ) stipendia studiorum habere valeas ad curriculum theologicum in Germania perficiendum. proh dolor tantummodo hesterna die litteras tuas accepi, at spero responsionem meam tempestivam adhuc ese. Revera perlibenter testimonium tibi reddo de tuis qualitatibus intelligentiae ac voluntatis simulque de optima scientifica actuositate in addiscentis theologicis disciplinis, prout potui constatare perdurante quadriennio 1964 – 67 apud nostra Pontificiam Universitatem Lateranensem….. ”

IRISH INDEPENDENT . 1. May 1981, ” Vienna to hear Irish symphony: Tipperary-born composer, Frank Corcoran, who will in the space of a few days lecture on contemporary Irish music at the International Symposium of the WORLD MUSIC DAYS AT BRUSSELS and have two of his works played at concerts on Sunday and Tuesday at Brussels…. ”


It is the push. Or touch. Flesh of finger-tip unused. Forty years did not seek here joy. Muscular, ” thinking” down from the high point of the shoulder.

The gesture . Marry with the intention. Thus will I push, parry, point, pen and ponder, don´t stop my finger on the cool ivory now. Apparently you fight against Solera Carlos Uno. Reserva. You lose. But the best of piano music is ( seldom ) one-fingered.
How then, two ( or nine ? ) fingers ? Both trained hands press while listening to each other? No grab, not a grasp. Fingers sidle to play which music?
a. to sing my song of my seventies and of my children and ups and downs.

b. to shape for ( great ) Saint Horace the legato line plus arpeggiato chord – to liberate its arching which your ” ODES” wished to formulate ? Our Horace will have nothing of the composer´s biographical boiled egg. Art. Artfulness and artifice and great curved arches and melodic spaces and dense , massed low chords and a lot , or a little action on eighty eight , your present ivories , got it thus , you´d type up Horace thus?
One double-space lower, we´ll have to come to suffering. Here suffice it to recall Horace´s Grandiosity. Construct on GREAT piano-sculptures, with finger-flesh! Tip-toe.
“My” suffering is ” mine ” ? ? Ten fingers now desist. They rejoice in their keys´ polyphony. Very beautiful ( muscle-flab ) artifice.
Marry gesture with intended shoulder push. Sculpt through the not yet quite melodious air its illusions ( ! ) as Horace´s percussive tones are worked as wicker-basket, you see. Melody as a trick.


Suppose the sandal had been on the other frozen foot, doctor ? The scream a mere whimpered whim ? I did win the 1974 Varming Prize for Irish Composers. I did win the 1975 Dublin Symphony Orchestra Prize ( with , as it happened, ” Three Orchestral Pieces – Pictures From My Exhibition” ).
Only supposing that symphonic pat on the back had not come , the scream never to be unleashed at the nod of a redenned dudeen ? My orchestral roar against cosmic indifference?
Hide the truth; my four horns are singing it out now ! Trumpets´ dialogue between smoke and screen. ( I smell burning ) There is the loneliness angle, too. ( On his Death Certificate, par. 3., his neck after they cut him down, sore but unbroken. )
Unbowed the strings. – I meant, as in ” unbowed their backs “…. As for the percussion section, well, how right was Richard Strauss: ” never, never even dare to look in THAT direction; otherwise your tom-toms and your timp.s and all your faithful gongs and tam-tams and myriad drums will ruin her vocal line. Believe! ”
My time is short. How´ll I translate her Scream´s Shadow ? Into something more interesting ? More durable and ( subcutaneously ) more riveting ? Deeply disturbing and deploring end exploring ?