Frank Corcoran

I want to see the Irish Pavilion at this year´s Biennale di Venezia and especilly young Richard Mose´s
work ” The Enclave” there at Fondaco Marcello .
Yes, I have very clear memories of having worked at the Künstlerhaus Bethanien in ( – then it was West ) Berlin in 1980 – 1981, where Richard Mosse showed last year.
For me it was bliss to be alive. I finished my first big orchestral work there, my First Symphony , ” SYMPHONIES OF SYMPHONIES OF WIND” for 23 Wind . And I also began work there on a
very different work, the Second Symphony for Large Orchestra, a mighty belt of deep brass and percussion at the very beginning . ( Hear it up on YouTube )
Yes, bliss to be alive.

Still very dark outside. The cock crows twice. The Blank Sheet Of Note-Paper Problem is acute – no, not so much the what and the how now as the WHY ?
Yet not a lot has changed really, in the sense that a well-wrought and -thought musical work must have one, have several good “ideas”, – I´ll then work them not to death but to completion, to closure, apogee and cadence. Somehow.
Beware that WHY? The alleged ( yet it is true ) indifference of the cosmos, the problems of performance and dissemination and dissipation and disappearence, the omnipresence of the begrudgers and blockers and blackguards. Imagine ! Conceive! Write!
Beauty´s in that writing well, writhing properly, squeezing the esence of those initial ideas. Dare. I´ll Go for the big sound.
Still dark. Thecock has collapsed on his dung-hill.

Frank Corcoran
Geburtstag: 1. Mai 1944
Nation: Irland

von Annette Kreutziger-Herr und Axel Klein

Frank Corcoran – Biogramm

Stand: 01.04.2006

Frank (Francis B.) Corcoran, geboren am 1.Mai 1944 in Borrisokane bei Tipperary/Irland als Sohn eines Hochbauingenieurs und einer Lehrerin. Der auf dem Land aufwachsende Corcoran erlebte mit 18 Jahren sein erstes Orchesterkonzert und hörte mit 19 erstmals ein Streichquartett. Während seiner Schulzeit hatte er sich jedoch bereits mit Palestrinas Kontrapunkt befaßt. 1961–64 studierte er am Maynooth College in Dublin Griechisch, Latein, Philosophie und Musiktheorie (Bachelor of Arts mit First-Class Honours 1964) und schloß 1964–67 ein Theologiestudium an der Lateranuniversität in Rom an. Gleichzeitig studierte er am vatikanischen Istituto di Musica Sacra Gregorianik und Polyphonie der Renaissance. Obwohl sich weitere Kompositionsstudien an der National University, der Dublin University und der Royal Irish Academy of Music anschlossen, gab ihm erst Boris Blachers Kompositionsklasse in Berlin/West, der er 1969–71 angehörte, den Schlüssel zu seinem Individualstil. Ergebnisse waren die Medieval Irish Epigrammes für vierstimmigen Chor (UA Dublin 1973) und die Two Meditations für Sprecher und Orchester (John Barth, 1973; UA Dublin 1974, RTE Symphony Orchestra).

Erste Preise (Varming Prize for Young Irish Composers 1974 und Dublin Symphony Orchestra Prize 1975) ermutigten …

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Lucene – Search engine library

1.

Furious ! Jealous ! / Small-minded bitch Athena ! / Alas! Just
like she…
2.
Across the washed mole / All storm-tossed waves slosh, gurgle /
Sloppy, slap, breaking

3. Aphrodite´s thighs / Cream in this white, hot light / I love
you, us, me.

4. Who dared shower her ? / That goddess´s salty arse / Breasts,
cleft, everything ?

5. Our great Stagyrite / He forgot women and slaves / Were ,
ahem, Greeks too !

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Fear Of Jove is born

7. Well, my Greece or Rome ? / I choose brawn , brain, thought or
sword? / Sudden lightening kills.

8. A tourist languid / I´ll sneak through this wet Sunday / ”
The examined life” ….

9. Clouded midday sun / I need no hat for swimming / ” It´s
now or never ” !

10. By Jove , what thunder! / For lunch at my hotel : rain / (
Did we pay drachmas ? )

11. Sad music, merry / Now savour the mousaka / At our steamy sea.

12. One sleek lightening fork / Licks the sea´s grey horizon /
Why Saloniki ?

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fbcorcoran@aol.com

Still Life with Guitar
Emma Coulthard, flute – Philip Heyman, viola – Michael McCartney, guitar

The National Museum of Wales, Cardiff
Sunday, 15 September 2013, 1 p.m.

Still Life with Guitar would like to invite you to our next free concert of new music for flute, viola and guitar.

On this programme we are pleased to present the world premieres of three new trios:

‘Beiliheulog’ by Peter Reynolds, inspired by a hidden chapel in the Welsh valleys,

Luke Starkey’s quixotic and sometimes humourous ‘Six Bagatelles’, and

Frank Corcoran’s ‘Seven Cubist Miniatures for Cardiff’, a tribute to early modern art and an Irish composer’s homage to Debussy.

We hope you’ll join us for these exciting new works!

For more information please visit www.stilllifewithguitar.co.uk

2 Grafiken im Anhang

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fbcorcoran@aol.com

Seamus Heaney, the Farrier, oh he is dead then …. his duty all ended.

My pen pales and fails : ” a gentleman and a scholar” we repeat as the August light dies.

Hi Frank,

Just to let you know that your score has gone live and can be found at the bottom of the Séan Ó Riada page: http://www.corkchoral.ie/index.php/education/sean-o-riada-competition.html

You’ll see that we’ve added a small line with regards copyright to the bottom of each score, as well as a link to your website.

Would you be happy to proceed with this?

Looking forward to hearing from you.

Kind regards,

Joya

Joya Kuin
Festival Manager
Cork International Choral Festival

Wednesday 1st – Sunday 5th May 2013
Address: Civic Trust House, 50 Pope’s Quay, Cork, Ireland

Tel: +353 21 421 5125, Fax: +353 21 421 5192

www.corkchoral.ie

I do, actually. Daily. Train the music-thinking cerebral centre. Early morning is best, I write a fugue or a Bach chorale prelude , normally 3 voices , on any one heroic day four. The element of time is very important – complete within an hour . The clock increases pressure – corrections and stylistic details or commas much later ; the main focus is on form and train and shove those motives or tones around quickly in the musical argument so as to have got some kind of a musical composition ( – Gawd help the style ) at the end of the hour. Muscle training. Tonal tone. Keep it up as Autumn cools into September with its wasps and Keats and great sun-sets and the feeling that that was that , our summer heat. Musical jerks, the horizontal and the vertical.
Of course these Humble Hamburg Musings blog on this very same principle; “spontaneous”
writing, quick-we-have-not-a-second thinking. In words now. Same training….

But how and where and why should they hear and listen to ( keep distinct, please ) any
Corcoran composition ? Which festivals, radio-stations, multipliers to cast broad ?
Why
listen ? Without the necessary accompanying hype, advertising, ?
– Are you kidding ? In this age of Scopology Gone Mad ? ( Ours is the age of Peeping Tom, the viewer-zapper rather than Listening Tom, the courageous searcher for a well-crafted , exquisitely composed musical work ? )
Who has any longer the capacity / facility/ expectancy/ musical culture to “think tones” with their composer ? To listen to and to understand any musical structure that lasts longer than , say, a minute ? Illiterate hearing is global ; for where are the kindergartens and little schools to school our skill of listening ?

Zbigniew Herbert : MR. COGITO

beware of dryness of heart, love the
morning spring,
the bird with an unknown name,
the winter oak,
the light on the wall, the splendor of the sky.
they do not need your warm breath;
they are there to say: no one will console you….

Maybe I should not have added the punctuation ? I knew him, a great man, Zbigniew Herbert ( he was proud of his English relatives in Poland some centuries ago, his
connection with George Herbert ) , great poet, ironicist , true rebel; faithful to himself.
1980 in West Berlin ( we shared the Berliner Akademischer Austauschdienst as guests of the beleagured city ) we tippled and dined. MR. COGITO is one of the great poems of understatement. There are others. Gives me courage, actually.