( today whacked; after my NDR – Kultur ” Prisma ” radio recording for that focal, stunning April 4 2015  programme.  Hear who can. Hear or listen who must   )

Take the sheer erotic power of his ( highly ” economic”  )   oboes ‘ entry in Symphony Nr. 29  ( A Major )   – opening Allegro, bar 13. Bitter. Tonic.  His two horns in A  in bars 22 to 23. Certainly.  Magna in parvis.

No, I mean more – yearning in erotic brass , wood.

4. April 2015   NDR – Kultur  .  Prisma Musik  :

Frank Corcoran  ” hears ”  Mozart’s Symphony Nr. 29 and his ” Jupiter ”  .  After 22.05 p.m. then,

Frank Corcoran’s     FOURTH SYMPHONY  in one movement. 1996  ( Irish National Symphony Orchestra  /  Colman Pearce )    Marco Polo recording.

Just in the door, dog tired after producing for NDR – KLASSIK Prisma Musik   my radiophonic thoughts for April 4. coming :

Mozart’s Symphony Nr. 29  AND  his ” Jupiter”  , his early and late / youthful and last masterpiece  /   his two symphonies under one hat ( – Oliver Sacks has terminal cancer )  .

These two symphonies share a four tone cell ?  How ?

As ” high” art, they are at least ( but are they ? ) on a par with The Doors ? With The Rolling Balls ? The Insects ?  Well, prove this :  improvised music has mountains. Art-music also.

Prisma Musik

Samstag, 01. November 2014, 20:00 bis 22:00 Uhr

Der 1794 in Dessau geborene Dichter Wilhelm Müller war seinen Zeitgenossen vor allem als “Griechen-Müller” und Vertreter des literarischen Philhellenismus ein Begriff; heute kennt man ihn, wenn überhaupt, noch als Autor jener Gedichte, die Franz Schubert in seinen Zyklen “Die schöne Müllerin” und “Die Winterreise” vertonte.

Bild vergrößern

Franz Schubert, dargestellt in einem Aquarell von Wilhelm August Rieder, 1825.

Fünf Jahre vor Schuberts Tod erschien das erste Dutzend der Gedichte zur Winterreise im Urania Taschenbuch auf das Jahr 1823, die restlichen kamen wenig später in die Öffentlichkeit, unter anderem in den hinterlassenen Papieren eines “reisenden Waldhornisten”.

Eine Sendung von Frank Corcoran und Gerhard Müller

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.