Frank Corcoran

We got lift off. High cold up at 11.500 metres Lufthansa height , giving me a composer’s special view of the birth and sounding and death of composed tones. Landing at J.F.K., I then got a high-wire, tightly controlled, very electric first performance by North South Consonance of my newest work for 13 strings , “Quasi Una Storia”. High octane.

Max Lifchitz was my conductor. Yes to Henry Purcell’s chest of viols and Bach’s string-colours and great 20th. c. masters’ stringy compositions for violas and deep celli or bass and sheeny violins , grave, moving, swiftly flowing music, its lines and blocks exploring itself, its plucks and bowings.

Mr. Corcoran, his delighte. In the white cold of the still city.

Lift off. Two splendid Lufthanse pilots will hoist me high over the awe-filled

Atlantic’s awesome February  God’s terror .

Should we belly-land, well. Well. And all manner of things shall be well under gigantic grey-green waves racing towards Ireland.

I will arise. Lift off. Go now.

Two splendid ( no longer ) Young Luftwaffe pilots will.  Our North Atlantic in

February ? Better vomit before , during, after our machine has settled – hardly an instant of unearthly peace

The event will start at 3 PM and end approximately at 4:30 PM. It will be held at the intimate but acoustically superior auditorium of Christ & St Stephen’s Church (120 West 69th St – between Broadway and Columbus) on Manhattan’s Upper West Side. The auditorium is ADA accessible. Admission is free – no tickets required.

The compositions to be heard for the first time are: Frank Corcoran’s Quasi una storia (Nearly a Story); Max Lifchitz’s Brightness Aloft; William Schimmel’s Max to Max; and Thomas Whitman’s Anniversary Fanfare. Terry Riley’s Half-Wold Dances Mad in Midnight will receive its East Coast premiere in a performance marking the composer’s 80th birthday. Accordionist William Schimmel will be the featured soloist in the performance of his recently completed work for accordion and strings.

The composers will be present at the concert to introduce their works and meet with the audience. The event is part of the Composers Now Festival.

Performers and composers are available for media events and interviews and may be contacted through the North/South Office at ns.concerts@att.net

Since its inception in 1980, North/South Consonance has brought to the attention of the New York City public over 1,000 recent works by composers representing a wide spectrum of aesthetic views. It activities are made possible in part, with public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs. Special funding for this program provided by Culture Ireland and the Music Performance Trust Funds.

The event will start at 3 PM and end approximately at 4:30 PM. It will be held at the intimate but acoustically superior auditorium of Christ & St Stephen’s Church (120 West 69th St – between Broadway and Columbus) on Manhattan’s Upper West Side. The auditorium is ADA accessible. Admission is free – no tickets required.

The compositions to be heard for the first time are: Frank Corcoran’s Quasi una storia (Nearly a Story); Max Lifchitz’s Brightness Aloft; William Schimmel’s Max to Max; and Thomas Whitman’s Anniversary Fanfare. Terry Riley’s Half-Wold Dances Mad in Midnight will receive its East Coast premiere in a performance marking the composer’s 80th birthday. Accordionist William Schimmel will be the featured soloist in the performance of his recently completed work for accordion and strings.

The composers will be present at the concert to introduce their works and meet with the audience. The event is part of the Composers Now Festival.

Performers and composers are available for media events and interviews and may be contacted through the North/South Office at ns.concerts@att.net

Since its inception in 1980, North/South Consonance has brought to the attention of the New York City public over 1,000 recent works by composers representing a wide spectrum of aesthetic views. It activities are made possible in part, with public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs. Special funding for this program provided by Culture Ireland and the Music Performance Trust Funds.

Liebe Freunde und Leser,

kunstMusik begann als regelmäßig erscheinende Zeitschrift. Die Änderungen unserer gehetzten Zeit haben uns dazu veranlasst, das Magazin in Zukunft in loser Folge herauszugeben. Jede Ausgabe wird einen eigenen Gastgeber oder eine Gastgeberin haben, der Sie durch seinen Zugang zu Musik als Kunst leiten wird. Diesmal haben wir uns auch entschlossen, uns einem internationalen Publikum zuzuwenden, indem wir ganz auf Englisch veröffentlichen. Der Gastgeber dieser Ausgabe ist der spanische Komponist Miguel Angel Tolosa. Er arbeitet im Bereich Field Recordings und Drones. Er betreibt in Madrid das Label con-v mit Schwerpunkt auf zeitgenössische Entwicklungen und elektroakustischer Musik.

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Dear friends and readers

kunstMusik started as a periodical. Due to the changes of our hectic times we decided to publish the magazine at irregular intervals in the future. Each magazine will have its own host who will use their own personal approach to lead you towards music as an art form. Moreover, in our efforts to open up to a more international readership we have decided to publish exclusively in English this time. The current issue?s host is Spanish composer Miguel Angel Tolosa. Working in the area of field recordings and drones, he runs the con-v label in Madrid and focuses on contemporary developments in electroacoustic music.

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CONTENT

MIGUEL ANGEL TOLOSA: INTRODUCTION

STEVE RODEN: 265 x 433 (EXCERPT)

Excerpts from a diary of daily performances of John Cage’s 4′ 33”: Notes, sketches, lists of sounds, concrete poetry, short prose texts.

ANTOINE BEUGER/SAMUEL VRIEZEN: ASKING QUESTIONS, TRYING ANSWERS

Documentation of an e-mail-coversation: the inside and the outside name of music, the pre-existence of pieces, intercorrelations in music, the politics in musical form, participation, extra-musical influences and atmosphere, is there ever an end to be written?

MANFRED WERDER: SCORES

Six score facsimiles and a photo. Objets trouvés in performance

WILL MONTGOMERY: FIVE WAYS OF LOOKING AT MANFRED WERDER

Five experiences from watching the endles in-space-performances by Manfred Werder. Sound and absence, space and awaiting. The feeling of abundance.

WADE MATTHEWS: THREE SUPPOSITIONS

Music as a dishrag: music as something that absorbs what it touches. Invading and shaping sound. Music as a die: the graceful and fragile gesture of flinging out a tone. Music as a mark: creating meaning and orientation.

MATTIN: NOISE VS CONCEPTUAL ART

A political text. The anarchy of noise. Noise as meta-chaos. Noise in the state of crisis. In extremes we meet!

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All the snow-blizzards. So then I divide my life into chapters, I suppose;   encounters of the third kind. Grace. Could be rotten or even mushy .  Indeed . Flame. Imagining the flaming sounds, a line or a motivic cell, an aura,  or kinetic impulse. Would you mind rubbing that out ! ( Not yourself, no!  )  A reed bending in the wind. Did you hear that ?

Music as snarl, as threatening or soothing or taking off. Angelology, part two. We’re all getting on, some famously. Nor ear heard. I suppose courage is a big part, too. The simple in the complex.  Many are one here.To sum up: it is my eye or hear which impose a leitmotiv – that it ? So proves just what ?

National Library, 2 Kildare Street, Dublin 2

Composer: Frank Corcoran
Composition: Buile Suibhne
Year: 1996
Time: 18’04”
Literary Connection: Seamus Heaney

The mission of the Library is to collect, preserve, promote and make accessible the documentary and intellectual record of the life of Ireland and to contribute to the provision of access to the larger universe of recorded knowledge. Irish writers, historical and contemporary, have and continue to use the National Library on a regular basis. Buile Suibhne (Mad Sweeney) by Frank Corcoran is translated from middle Irish by Seamus Heaney one of our greatest living Irish writers.

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