Frank Corcoran

October 30. 2013 Croatian Radio , Radio 3, broadcasts:
Frank Corcoran PIANO TRIO ( from the 2013 Zagreb Biennale. Zagreb Trio )

February 15. 2014 .
N.D.R. KULTUR : Frank Corcoran´s Radiophonic Analysis of Richard Strauss´s
TILL EULENSPIEGEL ( for the 2014 Richard Strauss Year )

Work. Good work. Thinking and thinking about tones, their tinkle and sparkle and gravitas and gravity and emotional / moral weight , use, abuse. Good. Work. Sweet.

My visit this year was compressed, concentrated on Venice and sound; the whoosh and slide of the sea under my vaporetto, great grinding gears, bumps and knocks as the pilot ( yes, they are supreme waterdrivers ) manoevred his unwieldy craft in to the pontoons and out again, the roar of water-taxis out in the lagoon, waves and running spray and the gulls gone mad entirely, also the still water out near San Giorgio. Venezia, its name written on water. Water sounds. Kinetic art for La Serenissima. Tiziano , Tintoretto and Tiepolo, they heard these rhythms also, their Sea Symphony; it´s in the work, the colours and lines and huge masses of swirl.

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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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….