Frank Corcoran

Irish Composer

20.9.2014 FRANK CORCORAN BROADCASTS

Frank Corcoran

NDR 3 KULTUR ( PRISMA MUSIK ) hört die 9. Sinfonie von Antonín Dvo?ák

„Ich soll auf 2 Jahre nach Amerika fahren“, berichtet Antonin Dvo?ák am 20. Juni 1891. „Es wird mir die Stelle

eines Direktors am Konservatorium und die Leitung von 10 Konzerten eigener Kompositionen angeboten und als

Entgelt jährlich 15.000 Dollar, d.h. über 30.000 Gulden.“ Gewichtige Argumente, die den international

renommierten Meister des tschechischen Nationalstils dazu bewogen, seine böhmische Heimat für eine Weile mit

der Neuen Welt zu vertauschen. Auch hier war er auf der Suche nach dem unverwechselbaren Nationalkolorit, das

einfloss in seine 9. Sinfonie.

25.11.2017 NDR-KULTUR RADIO PRISMA MUSIK Frank Corcoran Broadcasts

Elgars vor dem Ersten Weltkrieg entstandene Musik spiegelt diesen Glanz wider wie keine andere. Ganz anders

sein Cellokonzert: Mit verhaltenen und sparsamen Mitteln markiert es gleichsam den Gegenpol zum imperialen

Pomp früherer Zeiten und ist eine Musik des Abschieds. Kurz nach dem Ersten Weltkrieg entstanden und voller

Trauer, hat man diese Musik einmal die “Elegie auf eine untergegangene Zivilisation” genannt.

“Elgars langsame Passagen zerreißen mich innerlich”, gestand die Cellistin Jacqueline du Pré, die wohl

bekannteste Interpretin dieser Musik, sie sei “wie das Destillat einer Träne”.

Eine Sendung von Frank Corcoran

NDR Kultur Livestream
Jan Wiedemann © NDR Foto: Mathias Heller
Klassisch in den Tag
06:00 – 08:30 Uhr
Live hören
Jetzt: Violinkonzert d-Moll – Larghetto (2. Satz) – Myslivecek, Josef (1737-1781)
Titelliste
Übersicht
Stimmgabel und Noten © Fotolia.com Foto: rossler
Prisma Musik

“Prisma Musik” widmet sich spannenden Fragen aus der Musikwelt – natürlich mit viel Musik. mehr

DIRTY WAR HAIKUS

The Afganistan

Buddha, smiling, said: ” explode

Me and my smile now !”

Under a low sun

Evening on the battlefield

All dirty, all dead.

The Afghan Buddha

Blown up by unshaven men

Smiled for one last time.

As I lay dying

On the battlefield, Buddha

Was dying with me

Sullen evening sun,

You mock my dying soldiers,

All their wounds stinking

In Afghanistan

The dirty evening sun dies

Jihadists groaning

Watch their broken jaws

Lie with the battlefield flies,

The dying sun low. * Frank Corcoran 2013 (

grian íseal…

scáileanna ar a dteitheadh

thar mhachairí an áir

a low sun …
shadows flee
across battlefields * Gabriel Rosenstock 2013 (

EXCITING NEW CD : FRANK CORCORAN’S ” RHAPSODIC CELLI “

Rhapsodic Celli: The Music of Frank Corcoran

CD Release June 2017 – Available for Review Now

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.

Corcoran’s Duetti Irlandesi for Cello and Piano pay homage to a distant musical ancestor, the master harper Floirint Ó Corcorain. These traditional melodies would originally have been played on the Irish harp and the Composer says, “…have been haunting me since my rural childhood in Tipperary. I had long been appalled by the settings of old Irish melodies attempted by Beethoven, Haydn, Britten, Harty and too many other well-meaning composers: their often saccharine harmonies, their rhythmic iron corsets or indeed the foursquare form too often adopted.” Instead, Corcoran has incorporated the freer sean nós or old-style singing rhythms and grace notes into his classically informed settings of these tunes so they become “… historical miniatures of my vanished Ireland.

2011 WHERE IS IT NOW ?

FRANK CORCORAN

25 November 2011 (Friday)

4:00 pm

venue: Royal Irish Academy of Music , Dublin 2, Ireland

composer: Frank Corcoran

work: CLARINET QUINTET (premiere . RTE Commission )

and ( 2011 ) A DARK SONG ( Bass Clarinet Solo )

performer(s): Fintan Sutton ( cl. and bass cl . ), RTÉ Vanbrugh Quartet.

( note: The composer will be present and will talk about his newest work. )

TO WHOM IT MAY CONCERN…. ( WHOM ? )

Yes, art can be defined.

Yet watch the context, the cultural and historical period.

Art or arts ? Which art ?

See also Horace, the Roman poet. See also ” craft ” ( as in 19th. c. ” Arts and crafts” ) . etc.

Clear the decks.

Or are we attempting a definition in this 21 st. c. ?

Where we do the defining is also important. eg. Take Ireland and, say, the contemporary art of composed

music. Why do I insist that in Ireland

still today there is hardly a concept, a definition, the possibility of defining composed musical works –

composed by Irish composers – as art,

indeed as Irish art, an art on a level with eg. Irish poetry, film, painting etc.

What are the causes of this blindness, this prejudice, this exclusion of this definition ? Are they dogmatic

? Is it lazy thinking? Could it be lack of

experiencing New Irish Music, is that it ?

Mull this over.

There have in the past been many definitions of art, of musical composition. It´s also worth reflecting a

moment on some of the things we still

today might define composing as:

sicut fumus, like smoke, ethereal – a temporal art, indeed THE time-art par excellence. Ti

me-bending, stretching, sculpting, stitching, overlapping, deluding, defying, conquering.

Composing is hope, utopian, mythic, fighting the good fight.

If “cinis aequat omnia”, still a Frank Corcoran composition will yell and shout and erect its own resistance

to John Montague´s ” – The sea of history /

Upon which we all turn / Turn and thrash / And disappear… ”

Music keens, protests, praises a fightin´ transcendence which potentially can live beyond the grave.

Certainly, music can be defined. Art can be defined.

Irish contemporary music fights for its place in defining Ireland, Irish art, Irish artists.

MORE TEXTING ( MYSELF, MY CAPTIVE AUDIENCE )

– After Beckett’s line in ‘‘GODOT’’:
“The light gleams an instant”

Tiocfaidh ár lá, yes, do try to hang on to this always, but especially in
the fight for The Faith against all tonight’s Benedictine blandishments.
They, I was there, tunnelled upwards from Norcia’s grand Lower Chapel,
painting their genitalless Gesù at the third curve of the tufa in (their)
eighth century.
All is not lost. Lab – ora!

So therefore: Light = Dante’s ‘‘Prime Mover’’
(-Beckett’s, too, as
it so happened).

It gleams. My violin, bass-clarinet and cello must paint that ‘‘gleeeeeee’’
in full flight and its full-mouth stop.

Genuflecting as profoundly as a Luciferian will ever now, can ever click
the knee-muscle’s innate need to worship. – Now hang on! – WHY? Why
worship?
WHICH super-knee’s what’s behind much Dantesque dishonesty, trickery, archery? Precisely Whose knee? You may laugh. It is forbidden.

What therefore cuts off its gleaming? After, after all, one instant?

We supposed it’s His Prime Mover, – okay? Now watch, ye Benedictines! – Either:

1. its ‘‘gleaming’’ (still gleaming …. ?) is cut off after it has gleamed a full instant, remember; – but by WHOM, pray?

– or: 2. Supposing the light supposes it is worth
only supposing that it gleameth for a mere nothing, a nano -nothing ,
God’s mosquito-inspiring ‘‘instant’’?
This our light therefore decides to
cease now its gleaming, mother?
( ” Whist, alanna, would you stop all your gleamin’? ” )

A kind of Old Hebrew –Irish Divine Self-definition , you guess:
‘‘I gleam that which I shall
gleam?’’

ORVIETO, VENICE, OLD LAZIO COLOURS SYMPHONY

Another year,
another train-ride up from Orvieto to Mestre.

Perhaps it is the colours the eye wants?

– Or the swoosh and whoosh and gear-changing boats’ clutches that clutch my ear.

Not so much the usual Jesuit confessor’s cry : ” since September 2015, my son, how many times ? Tones ?

Musical works I have just crafted included the Piano Trio ( with viola ) of last winter 2016, in Hamburg,then the
gestating Clarinet Concerto,
my delightful ” 8 Duetti Irlandesi ” for Piano and Cello
which had, face it, haunted me for a long time ,
also the cello solo piece, ” Rhapsodietta Joyceana ” .

The Arena RTE Interview .
The autumn 2016 RTE programme, ” New Cross-currents ” , also.
Venice next Sunday should bring be colours and time to situate myself a little. Walk. Dawdle. Sounds and sky.
Certainly form matters, the opening strings
‘ rhythmicized chord before the soloist lifts off / in the new Clarinet Concerto for new York 2019 .
A dreamed fragment or a motivic phrase.

I am not to blame for the
musical world’s GREAT mess. No.
So after my death in Venice, release this :

Life was harsh. Hands up those for whom it was not? More help, any help, would have been a great help; a little bitty praise, un poco ” notice” was a sin .

( very good ) TENORLIEDER,
my massive , choral EIGHT HAIKUS ,
“stunning ” was the I FC M’s International Jury’s word in awarding me their 2013 Premier Prix. m
snobs or yobs were blocking, blatant incompetence and ignorance . The worst, indifference.
We are bet in the Irish national schools and in the university music-departments and somewhere in between.

Bhi an ceart ag an bPiarsach, ‘ swounds !

So the self and its shadows nimbly snake on , continue to block or embrace or question or accompany each other . Till death us do part.
Musical death, no doubt, before that, the death of desire and passion to continue the noble slog, the composer as coal-miner.

Twas nobler in the mind. Release this jumble, certainly. Much good.

FRANK CORCORAN WINS BIG CORK FESTIVAL PRIZE 2012

Cork International Choral Festival 2012

43rd Seminar on New Choral with FRANK CORCORAN

Saturday 5th May 2012

10.00 John.Fitzpatrick: Opening address

10.05 R.C. Introductions (Paul & choir, & Frank Corcoran)

10.15 NCC Performance of FRANK CORCORAN’S “Two Unholy Haikus” Premiere of this ( Sean O Riada Prize)

10.20 Frank Corcoran on his “Two Unholy Haikus”

10.35 Paul Hillier and the NATIONAL CHAMBER CHOIR on performance perspective

10.45 Open discussion

11.00 15 minute break