Yes, see :
here a CMC link for the Festschrift.
YES, FESTSCHRIFT FRANK CORCORAN :
Yes, see :
here a CMC link for the Festschrift.
YES, FESTSCHRIFT FRANK CORCORAN :
After Bartok , Ligeti and Lutoslawski
how can I write something hot and strange ?
As I approach the age of seventy five, my new quartet’s 3 movements must aim for tautness ;
the ( time-honoured ) Fast – Slow – Fast model must attempt the ( again time-honoured ) ideal of ” Variety Out Of Unity… ” – in plain English, everything must flow from
the opening bar of Mov. 1. , ” Allegro irascibile ma nobile ” .
Already in this opening is the electric tautness that I want , each instrument using the same 4 notes ( G . A flat . C sharp and D ) in different order .
This Leitmotiv provides the building-blocks for the entire first movement ; – each phrase and colouring and tonal region and my derived versions and expressed yells, screams,
musical protests or denials, they all comes out of the opening sound explosion;
Yes, my architectural ideal here is as old as that of the great string quartets by the Viennese masters , but also those of Webern , Schoenberg and Alban Berg.
“Ex parvis multa” .
My composed unity IS audible ; it’s the thinking ear. The solo cello then announces the simple exhaustion of the 4-note material . Movement One collapses.
Movement Two is a slow celebration of the melodies which I weave out of my Frank Corcoran 7 -Note Scale ( – consisting of G. A flat. C sharp. D. E flat. F sharp. A. ), heardfirst on the first violin, pizzicato. Melody plus accompaniments. That’s it.
Movement Three I have marked “Allegro Barbaro ” and ” feroce e ruvidissimo ” . The throbbing dyads on each of the four instruments shift and interlock , descend or ascend, sounding
great choirs of 4, 5, 6 and 7 voices.
This is no Irish minimalism but rather the most violent string music I have ever imagined.
The final chords are also all derived from the quartet’s opening. ( “In my end is my beginning”. ) No neo-Bartokisms or Lutoslawskieries but neo-Corcoran.
High voltage. Kinetic art.
New Music from Ireland (Emma Coulthard)
Cath Barton travelled to Chapter Arts Centre to witness a St Patrick’s Day performance from flautist Emma Coulthart, in which she presents a concert of Irish music in partnership with CMC.
It was reported in January of this year that, after a ten year gap, Ireland would be reopening its Consulate in Cardiff. This is a move to ensure that whatever happens with Brexit, political and economic ties can be maintained between Wales and Ireland. It is also important as regards cultural ties, and at a concert of new music from Ireland held at Chapter Arts Centre in Cardiff, Linda O’Shea Farren from the Contemporary Music Centre, Ireland, welcomed the new Consul, Denise Hanrahan, who will shortly be taking up her post.
The concert was curated by the prolific commissioner of new music, Cardiff-born and Dublin-raised flautist Emma Coulthard, who wanted to present something other than the “usual expected greenery” in celebration of Irish music for St Patrick’s Day. Performing herself, with and alongside composer/performers Jenn Kirby and Benjamin Dwyer, she presented a programme of fresh and exciting new music.
Emma Coulthard opened her set with
One Minute for St Patrick, written by Frank Corcoran for the occasion.
She described it as “a piece to chase the snakes away”, which it surely would have done, had any been lurking in the corners of the theatre at Chapter Arts.
Scrutinise Anthony Long’s claim a little deeper and you’ll see a much deeper problem with the N.S.O. repertoire planning.
Towards 2022 is focused not just on Irish music, but also music with “links to” our rich and underexplored classical music heritage.
Gerard Victory, whose Three Irish Pictures, opened Friday’s programme, studied with Alan Rawsthorne and also attended the DarmstadtSchool in Germany. John Field, whose Sixth Piano Concerto was dispatched with finesse by Alessandro Taverna, taught Mikhail Glinka, the first Russian composer of note.The great composer/pianist Ferruccio Busoni, who died in 1924, had been planning to get a Field revival under way in the 1920s.
In the context of Victory’s limited training – he was mostly self-taught – it’s interesting to see where the international connections of other Irish composers lie. Seóirse Bodley, now in his mid-80s, studied in Stuttgart with Johann Nepomuk David.
Frank Corcoran, who turns 75 this year, studied in Berlin with Boris Blacher.
Sunday, March 17, 2019 at 3 PM
Happy St Patrick’s Day!
FRANK CORCORAN at 75 ( Clarinet Concerto )
JOHN DAVID LITTLE
Quasi un concerto
Petali di Gelsonimo
Sacred Prelude (Stile Antico)
Daughters of the Stars
Lisa Hansen, flute
Sammy Lesnick, clarinet
Max Lifchitz, conductor
The North/South Chamber Orchestra
What‘s it like to be Frank Corcoran?
1. How and when did you get interested in composing?
Frank Corcoran: A seven year old lad: my first piano-lesson with kindly Sister Francis at Borrisokane Convent. I wanted to re-compose sections of The Rosebud Waltz. I was then studying intensively — and intensly.
2. Is composing your ‘day job’ or do you do something else as well?
F.C.: I am a music professor at Hamburg’s Staatliche Hochschule für Musik und Theater (‘day-job’). However, when the Cúchulainn warp-spasms get me with a new composition, I work a day and night also at that.
3. Where do you mostly get your ideas?
F.C.: Triggers of the past: poor Mad Sweeny (turned biography and breakfast — of cress and pure, cold water — into art); a poem (Rosenstock, John Barth, medieval Irish lyrics, etc.); a scaffolding (rondo as rosary-beads, etc.); an obscure form (e.g. exploding tonal shell or mine, etc.); out of the living air…
4. What are you working on the moment?
F.C.: ” Tradurre-Tradire” : electro-acoustic with many voices, commission of Deutschland Radio Berlin for 2 July 2004 premiere. Hope to begin a strange new work for orchestra straight after that. Obscure longings…
5. Describe your typical working day.
F.C.: As with Brahms and other Viennese, the best ideas come very early, by first light; are worked and whittled and soldered at any available hour of the not song enough day.
6. What is it like hearing a new piece played for the first time?
F.C.: My Platonic Form becomes Sounding Flesh. No (even excellent) performance ever is exactly that form.
But it is my sounding embodiment of it.
Like so many other (I do hope) composers, i must also respect good musicians’ wishes: a nuance here, a wood-wind phrasing there. The past greats were always humble about having occasionally to watch the weight of their orchestration. Me too…
7. What has been the highlight of your career so far?
F.C.: The premiere in Vienna (luminous 1981) of my ” Symphony of Symphonies of Wind ” (O.R.F. Symphony Orchestra — glorious wind-sounds — conducted by Lothar Zagrosek).
8. What has been the lowlight of your career so far?
F.C.: When the then RTÉ Symphony Orchestra (it wasn’t their fault; the repeat performance was great!) premiered my Two Meditations on (texts by) John Barth in, I think, 1973-ish in the Francis Xavier Hall, Dublin. My work for speaker and orchestra sounded (Oh technology!) as a work for orchestra without speaker. Next time, I was on the alert.
9. What is your greatest ambition?
F.C.: To keep the courage up; moral, artistic courage.
To go out on the edge. With new work in difference genres, e.g. my present, new
Tradurre-Tradire, ‘How to translate her scream’.
10. Which musician in history do you most admire and why?
F.C.: Of the many candidates, today it’s Schubert. In his death-year, he knew how he would syphiliticallly end.
He continued to the last to produce high masterpieces, music of the highest order and, I’ll say it again, courage.
11. Which present-day musician do you most admire and why?
F.C.: Ligeti, my former colleague at Hamburg, is still living.
Late Boulez: works, e.g. ” Sur incises ” , continue to stretch him and us.
Lutoslawski up to the end, a high heroism.
12. Which period of history would you most like to have lived in and why?
F.C.: I’ll stay put in today.
_ In spite of the most vicious neo-con anti-art wind known to man.
13. What is the best thing about being a composer?
F.C.: I can’t let up a new work, being, gives me relief from the creative, itching obsession.
14. What is the worst thing about being a composer?
F.C.: My fellow-Irish have not yet (will they?) accepted music as an art on a par with eg. Irish literature, Irish painting, etc.
Here I include fellow Irish artists — intelletuals, cultural philosophers, pun-poets, fun-poets, pub-poets and princes, powerful potentates.
Is this fear of Irish art-music, of Irish composers, genetic? Or education – induced?
– Very strange for a ‘European’ nation. Very.
15. If you weren’t a composer, what other career might you have chosen?
F.C.: A thinker, a tinker, philosopher, theological traveller.
16. What is your concept of heaven?
F.C.: Please email Dante on this …
17. What is your concept of hell?
F.C.: Please email Richard Perle and all other U.S. neo-con think-tankers.
18. What is your favorite food?
F.C.: Cannelloni cooked in any village in Umbria, Lazio or Chianti.
Also well-composed Irish Stew ( – But where’ll I get it?).
19. If someone gave you three months off with unlimited travel and living expenses, what would you do?
F.C.: Month 1: Skelling Rock, composer’s camp for one.
Month 2: An Umbrian village I’m keeping nameless, cannelloni and accompaniments to lave the soul’s ear.
Month 3: Mount Athos with paper and pencil (shouldn’t be too hot or waterless).
20. If you could have one thing in the world that would really help you as a composer, what ould it be?
F.C.: Change places — for a pleasant while — with eighteenth-century Joseph Haydn. I, too, would enjoy his Duke’s extraordinary Esterhazy orchestral generosity.
Join this trinity of Irish musicians and composers for an alternative St Patrick’s Day celebration at Chapter.
Internationally esteemed virtuoso guitarist Benjamin Dwyer, voice and electronics artist Jenn Kirby and flautist Emma Coulthard present an exciting collection of contemporary Irish music that reflects the extraordinary diversity and richness of output from our Celtic cousins. From a new incantation for St Patrick to the shocking witnessing of the ancient Sheela-na-gig, this music, rarely heard in the UK, will challenge definitions and present a fresh perspective.
£10 (£7 conc) to include post concert reception hosted by CMC Ireland
Delivered in partnership with The Contemporary Music Centre Ireland
Emma Coulthard Flute
Frank Corcoran One Minute for St Patrick (First performance)
Fergus Johnston Planxty
John McLachlan Filament 1 (First performance)
Benjamin Dweyer Crow
John Buckley Les Oiseaux Rèvent dans les Arbres (UK premier)
Jenn Kirby, voice/electronics
Jenn Kirby The Phonetics Project
Benjamin Dwyer, guitar
Benjamin Dwyer Ètude no 1 (Relentless).
Benjamin Dwyer Ètude no 6 (African Print)
Benjamin Dwyer Tombeau sur la Mort de Claude Debussy
Benjamin Dwyer From KnowingUnknowing
John McLachlan Sympathetic Strings (UK premier)
With Emma Coulthard, flute
Benjamin Dwyer Hag! (First performance)
Market Road, Canton
Venue Contact Info
Emma Coulthard’s Planxty(2018)
Flute (preferably with sliding head joint) and electronics (2/4 channel)
Recorder and tape
Jenn Kirby(b. 1987)
Jenn Kirby is a composer, based in Dublin. She composes both acoustic and electronic contemporary works.
HAYO MUSIK VERLAG
Musik aus dem Herzen Europas
Art. Nr Aufwärts sortieren Abwärts sortieren Titel Aufwärts sortieren Abwärts sortieren Preis
Download Anz. MP3 anhören Probepartitur (PDF)
HY99665G An Irish Christmas Carol 1.75 EUR
MP3 anhören Probepartitur (PDF)
HY96097M Farewell to Ireland 1.75 EUR
HY2079M John O’Dwyer of the Glenn 1.95 EUR
HY2085G Medieval Irish Epigramms 5.80 EUR
hayo-music on Facebook
Sent from my iPhone
( Emma Coulthard , Flutes Magic )
Rhapsodic Celli: The Music of Frank Corcoran
CD Release June 2017 – Available for Review Now
DOWNLOAD FULL ALBUM MP3s AND BOOKLET HERE http://bit.ly/2r8MZHj
Rhapsodic Celli will be launched at The Hugh Lane Gallery Sundays@Noon concert, Parnell Square North, Dublin 1 on 4th June.
Soloist Martin Johnson explores Frank Corcoran’s writing for cello in all its nuances, from the swagger of a concerto and the rhapsodic polyphony of his work for eight cellos through to the composer’s arrangements of folk tunes for cello and piano informed by the rhythms of the Irish language.
Frank Corcoran has lived and taught in Germany for most of his professional life but has retained a profound connection with the literature and traditional music of his native country. The CD features his Cello Concerto, a rhapsody for cello octet and eight miniatures based on traditional tunes for cello and piano.