Frank Corcoran

Corcoran, Frank(b Borrisokane, Tipperary,1 May1944). Irish composer.He studied music at St Patrick’s College, Maynooth (1961–4), music, philosophyand theology in Rome (1964–7) at the Pontificio Istituto di Musica Sacra andthe Università del Laterano, and composition in Berlin with Blacher (1969–71).He has served as music inspector for the Irish Department of Education(1971–9), been a guest of the Berlin Artist’s Programme (1980–81) and hastaught at the Staatliche Hochschule für Musik, Stuttgart (1982–3) and theStaatliche Hochschule für Musik und Darstellende Kunst, Hamburg (from 1983). Hewas elected to Aosdána, the Irish academy of creative artists, in 1983. He was a Fulbright visiting professor and Fulbright scholarin the U.S. in 1989-1990.  His compositionshave won a number of prizes including the Studio Akustische Kunst First Prizein 1996 for Joycepeak Music, firstprize at the Bourges International Electro-acoustic Music Competition in 1999for Sweeny´s Vision, the EMS Prize,Stockholm in 2002 for Quasi Una Missaand the International Federation for Choral Music’s Second InternationalCompetition for Choral Composition for EightHaikus in 2013.Corcoran has developed a distinctand complex language of aleatory macro-counterpoint in which sound layers aresuperimposed polyphonically but retain independence through distinctivepolymetric, agogic and dynamic indications. This technique is evident from theearly Piano Trio (1978) to Ice Etchings no.1 and Mad Sweeney(both 1996). The later was the first of a series ofworks initially inspired by Seamus Heaney’s translation of the Irish epic.His many cultural interests are reflected in the texts of his vocal works; theopera Gilgamesh (1990), for example, is based on a Sumerian epic. The IrischeMikrokosmoi for piano (1993) are based on traditional Irish melodies andrhythms. From 1999 until 2009 to he worked on a seriesof works utilizing the descriptor ‘quasi.’ These ranged from orchestral workssuch as Quasi un canto and Quasi un Visione to solo instrumental works such asQuasi un Basso.  Works(selectivelist)Op:Gilgamesh (G. Rosenstock and Corcoran), 1990 Orch:Carraig Aonair Suite, 1976; Chbr Sym., 1976; 3 Pieces ‘Pictures from MyExhibition’, 1976; Caoine [Lament], fl, str, 1979; Sym. no.1 ‘Syms. of Syms. ofWind Insts’, 1981; Sym. no.2, 1981; Conc., str, 1982; Farewell Syms.(Corcoran), spkr, orch, tape, 1982; Shadows of Gilgamesh, 1988; Cantus decalamitate hiberniorum in patria antiqua, 1991; 6 Irische Mikrokosmoi, str,1994; Sym. no.3, 1994; Sym. no.4, 1996; Quasi un canto,2002; Quasi un concertino, 2003; Quasi un vision, 2004; Quasi un fuga, 2005;Violin Concerto, 2011; Cello Concerto, 2012 Vocal(SATB, unless otherwise stated): Aifreann [Mass], unison vv, org, 1973; DánAimhirgín (old Irish), 1973; 9 Medieval Irish Epigrams, 1973; 2 Meditations (J.Barth), spkr, orch, 1973; More (J. Pupacic), 1976; Herr Jesu Christ (P. Eber),1978; 5 Liric de Chuid Rosenstock [5 Lyrics after Rosenstock], S, pf, trio,1980; Das Stundenbuch (R.M. Rilke), SATB, org, 1990; Mad Sweeney (S. Heaney),spkr, chbr orch, 1996; Quasi una melodia (Anon), S, asax, vib, mar, vn, va, pf, 2000; Beyond Beckett, S, vn, vc, b cl, 2006; Songsof Terror and Love (F. Corcoran & Jacopone Da Todi), B, fl+picc+afl,cl+bcl, pf, vn+va, vc, 2011;  Two UnholyHaikus (G. Rosenstock, F. Corcoran), 2011; Eight Haikus (F. Corcoran),SSAATTBB, 2012 Chbr:Brass Qnt, 1973; Chbr Sonata, fl, vn, va, vc, perc, 1974; Gestures of Sound andSilence, vc, pf, 1976; Str Qt no.1, 1976; Pf Trio, 1978; Shorts, vn, vc, 1978;Wind Qnt, 1978; Str Qt no.2, 1979; Rhapsodies on a Windy Night, cl, vn, va, vc,db, perc, 1981; Lines and Configurations, b cl, mar, 1983; 5 Amhráin ganFhocail [5 Songs without Words], ob, eng hn, trbn, perc, pf, str, 1984; Musicfor the Book of Kells, 5 perc, pf, 1990; 4 Concertini of Ice, fl, ob, cl, hn,vn, vc, db, perc, 1992; Dream Song, fl, cl, bn, vc, gui, pf, 1992; See-ThroughMusic, fl, vn, va, vc, pf, perc, 1993; 4 Miniatures, fl, vc, 1994; RhapsodicThinking, 4 vn, 1994; Rhapsodic Delight, 2 vn, 1995; Trauerfelder, 4 perc,1995; Ice Etchings, wind nonet, 1996; Str Qt no.3,1997; Wind Qnt  no. 3, 1999; Sweeney’sSmithereens, fl, pic, cl+bcl, perc, pf, vn, db, 2000; Quasi una Sarabanda, cl,bn, hn, 2 vn, va, vc, db, 2009; Clarinet Qnt, 2011Soloinst: Suite, vc, 1972; Sonata, org, 1973; The Quare Hawk, fl, 1974; Variationswith Air, a sax, 1976; Hernia, db, 1978; Changes, pf, 1979; Mythologies, perc,1979; Variations on Caleno Costure, hpd, 1982; 3 Pieces, cl, 1987; 3 Pieces,gui, 1990; Irische Mikrokosmoi, pf, 1993; Ice-Etchingsno. 2, vc, 1996; Sweeney’s Total Rondo, pf, 2002; Quasi un basso, db, 2005; Inthe deep heart’s core, hp, 2011; A dark song, b cl, 2011 Tape:Balthasar’s Dream, 1980; Joycespeak, 1995; Sweeney’s Vision, 1997; Sweeney’sLast Poem, 1998; Quasi una missa, 1999  MSS in IRL-Dc Principalpublishers: Naxos Selfhelp,  BibliographyKdG (A. Kreutziger-Herr) A.Klein: Die Musik Irlands im 20. Jahrhundert (Hildesheim, 1996) J. Page: ‘A Post-War “Irish” Symphony: FrankCorcoran’s Symphony no. 2’ in Cox & Klein (eds) Irish Musical Studies 7: Irish Music in the Twentieth Century(Dublin, 2002)Gareth Cox

” I will move on to the next step. And it’ll be good ”  ( Irish poet James Liddy , preparing for death ) .

Wintering out in Hamburg, many flying miles on up above. There’ll be a flurry of choral activity in my 2015. The CELLO CONCERTO premiere is in Dublin in March ;  QUASI UNA STORIA for String Orchestra in New York in February. Also new 3 PIECES FOR VIOLIN AND PIANO. Also new 3 MOVEMENTS FOR OBOE QUARTET. Even a new IRISH CHRISTMAS CAROL ( Hayo – Verlag ) . And it’ll be good. New tales spun from these still quite sound entrails, musical form as its own sounding substance or ” content is shape , context, aura, composed audible structure “. Performance then gladdens. – Keep the mystery; keep the filmic. ( – No preaching allowed )  Aurora is busy dawning now, certainly, light like  milk spilled for the cats outside mother’s cow-shed so many flying miles ago.

Annual batten down of these hatches ;  quickly depart these lovely climes before the waiting Winter Solstice. Be quick ! Bi curamach ! Be still!  Bi laidir !

Yes, a good strong Pratoleva harvest .  Orchestral MY ALTO RHAPSODIES ( well, yes, once again my very own texts )  , a major Corcoran work, it will gain momentum and the needed Kathleen Ferrier contralto voice. This my summer also saw : 3 Pieces for Violin and Piano, 3 Pixels for Oboe and String Trio, a very plethora of choral works including  AN IRISH CHRISTMAS CAROL and my self-crucifying FOUR LAST WORDS FROM THE CROSS,  strong crafting , strong energy. We had then my CMC / Mark Linnane Frank Corcoran Film  THE LIGHT GLEAMS. Seventieth Birthday Castle Shenannigans  as high noon danced .

Bring all this harvest in. Hamburg awaits with bated ( not beaten ! ) breath,  merchant’s sacks full of eccentric pepper.

Spin orchestral, vocal or or instrumental music out of the still sleeping entrails ; for a Bolsena Concert ( October 12.  2014 ), a music publisher, a contralto with symphony orchestra , a child’s 13 th. birthday, an American string orchestra, a Christmas choir, a Schott choral collection. Spin and weave. Imagine the crafted lines sounding in great spaces. Take up the intervallic slack, the slap of the chordal wads and blubberings and instrumental mutterings and onward surging form. Strong form. Well heard hearable form. Bliss.

Then return to bed. Before aurora and alba and dawn bliss blush. A new day. No bad aspiration , respiration, perspiration or, shaky word, inspiration. Really. The mind has mountains and great mountains.

ccolo Cavour in Bolsena Italy will host a concert by cellist Martin Johnson and pianist Fergal Caulfield, performing a programme that includes two works by Frank Corcoran. The first, titled Im Aonar Seal, was written especially for the duo for this concert, while the second is a chamber version of a new large-scale Cello Concerto by the composer, the full version of which will be premiered by the RTÉ National Symphony Orchestra in March 2015. Martin Johnson, who has performed Corcoran’s works in the past, will also be the soloist of the full premiere, under the baton of Kenneth Montgomery. The composer on his Cello Concerto: ‘Without the success of my Violin Concerto ( 2012 RTÉ NSO , Alan Smale Soloist, Conductor Christopher Warren Green) I couldn’t and wouldn’t have started work on the four mighty movements of the Cello Concerto. The Concerto sways bouyantly  between its great forebears, Dvorak’s 1890 Cello Concerto and Lutoslawsky’s powerful work for the soloist Rostrapovitch of the early seventies. I, too, use a huge symphony orchestra . My opening movement uses a motto theme on the trumpets which appears a number of times, using the 7 notes of my Corcoran Scale ( G, A flat, C sharp, D, E flat, F sharp, and A) which has supplied the building-material for most of my recent works (incl. the Violin Concerto). My Slow Movement uses my chromatic version of Dvorak s hymn in his Slow Movement. My Scherzo is the most violent music I have ever composed. Its massed percussion and brass are bent on annihilating the solo cello. But it wins. My final fourth movement gives a tranquil resolution to everything already heard in the three previous movements, a summing up, the solo instrument’s triumph.      12 Oct, 6pm, Piccolo Teatro Cavour, Balseno, Italy

October 12 2014                      Piccolo Teatro Cavour Bolsena     18.00

Martin Johnson ( violoncello ) and Fergal Caulfield ( pianoforte )    play Beethoven and Ravel and :

Frank Corcoran :  “Im Aonar Seal ”   (  2014  )  and

Frank Corcoran :   Cello Concerto     (  2013  )  reduction in preparation for   13.3.2015       Concerto for Violoncello and Orchestra  Dublin Premiere with the National Symphony Orchestra , Cond. Kenneth Montgomery , Solo Martin Johnston

Variations On An Issa Haiku  :

1.   The pig in its sleep   /   Giggles and shakes and snortles   /   Poor,   doomed animal

2.   Worst winter in years   /   Cold shakuhachi music   /    Snug the pig inside

3.  Wind, howl at the sty   /   In which the piglets snuggle    /    And giggle in sleep

4.  Issa slips on ice    /    His cold pig chortles, hungry    /    Either she or me

5.    The wintry cold wind’d     /    Slice the poet as his knife   /    Slits a giggling pig.

6.     Sleep inside, snug sow    /     Time enough for your piglets    /    To face their killing

“William of Ockham, oh where have you been ?”

“I’ ve been out dancing on the head of a pin!”

What do you conclude, now your task is complete? ”

“It’s fine for the angels, but hard on my feet !”

Not bad as a comment on this composer’s life and time-signatures , getting the work hewed and sculpted, cut and measured and ready for the first performance, in one sense ( but only one ) its “REAL” birth. In the beginning was the sound. Then came tone and word and egg and chicken and all such.

Just a little further. Come on ! Finishing ( and beginning ! ) the Oboe Quartet was bloody murder!  Also the summery 3 Pieces for Violin and Piano. Also my choral works ( Hayo-Verlag ). And the Eight Haikus, to be published by Schott.( – “He should be shot….  ”  Sorry! )  The Different Voices Publication is a little help ( better late than ….  ). Keep going, good little donkey ! Compose, conceive, decompose. What ever is next ? ( I had mentioned the Piccolo Teatro Cavour Concert in Bolsena on October 12 ?  ( My Cello Concerto in the reduction for Piano and Cello )  Also North South NYC on February 13 2015 (

Quasi Una Storia for String Orchestra ? ) . Also Concerto for Cello and Orchestra world premiere in Dublin on March 13 2015.
Move on!