seamus dubhghaill

Promoting Irish Culture and History from Little Rock, Arkansas, USA

Tag Archives: Cork International Choral Festival


by Leave a comment

Birth of Rhona Clarke, Composer & Pedagogue

Rhona Clarke, Irish composer and pedagogue, is born into a musical family in Dublin on January 21, 1958.

Clarke sings in a women’s choir from age 14 and is an outstanding piano pupil at the College of Music (now the DIT Conservatory of Music and Drama), Dublin. She studies music at University College Dublin (UCD), earning a Teacher’s Diploma in 1978 and a BMus in 1980. She teaches at a number of schools in the Dublin area. When she participates in the Ennis Composition Summer School in 1985, she is introduced to the music of continental composers such as Luciano Berio and Witold Lutoslawski, which leaves a lasting impression.

Some of Clarke’s early works receive awards, such as the Six Short Piano Pieces (1982), which wins the composition prize of the Feis Ceoil, and the choral work Suantraí Ghráinne (1983), which wins the Seán Ó Riada Memorial Trophy at the 1984 Cork International Choral Festival. For Sisyphus (1985) for flute, clarinet and string trio she receives the Varming Prize, which is awarded only every four years to an Irish composer under the age of thirty. She completes her first orchestral score in 1991 (A Great Rooted Tree). In 1992, she receives a Ph.D. from Queen’s University Belfast (QUB). She is a lecturer in music at St. Patrick’s College, Dublin City University (DCU).

Clarke receives commissions from RTÉ, the Cork International Choral Festival, Concorde, Music Network and the National Concert Hall, among others. Her work is performed and broadcast throughout Ireland and worldwide. In January 2014, she is the featured composer in the Horizon Series of contemporary music by the Irish national broadcaster RTÉ. For this event, the RTÉ National Symphony Orchestra commissions her orchestral composition SHIFT (2013). Since 2009 she has been collaborating with visual artist Marie Hanlon, including short experimental films with music, live music with visual projections and joint exhibitions, one example being the joint exhibition DIC TAT at the Gallery Draíocht, Blanchardstown, Dublin, July-September 2014.

Clarke is a member of Aosdána, Ireland’s state-sponsored academy of creative artists.

Clarke’s output includes choral, chamber, orchestral and electronic works. Her calm and evocative music in the early Suantraí Ghráinne creates some curiosity at its 1984 performance. Early chamber works such as Sisyphus (1985) and Purple Dust are characterised by wide-spaced harmonic settings of a rather sparse tonal material. Some aleatoric passages alternate with more strictly notated pitches and a rather limited degree of dissonance. In Gloria Deo (1988) for soprano, mixed chorus and orchestra she combines modal influences from Renaissance music with free atonality. Since the early 1990s she has been exploring the possibilities of electroacoustic music, winning an award at the 1992 Dublin Film Festival for her electronic score Whaling Afloat and Ashore. Her recent orchestral score SHIFT reflects her experiences in electroacoustic processes: “Extended techniques, deliberately avoided in previous work, are embraced here using harmonics and noise elements in strings, and bowed, timbral effects on percussion. In a single, fifteen-minute movement, transformations in colour and texture vary from slow and intense in the opening section, to sudden and harsh later in the piece.”


by Leave a comment

Birth of Composer Siobhán Cleary

Siobhán Cleary, composer, is born in Dublin on May 10, 1970. Her most successful compositions are her orchestral works Alchemy and Cokaygne and her choral piece Theophilus Thistle and the Myth of Miss Muffett. Her opera Vampirella is first performed in Dublin in March 2017. She is a member of Aosdána.

Cleary starts to compose from an early age, often writing pieces while she is supposed to be practising at the piano. When she begins to study music at Maynooth University, she is initially inspired by Luciano Berio‘s Sinfonia, and soon afterwards by the works of the Irish composer Gerald Barry, the Frenchman Olivier Messiaen and the Hungarian György Ligeti. She continues her studies at Queen’s University Belfast and Trinity College, Dublin. In addition, she follows courses in composition with the Italian composer Franco Donatoni and the Dutchman Louis Andriessen and receives private tuition from the American Tom Johnson and the South African Kevin Volans. She also studies film scoring with the Italian composer Ennio Morricone and the American Don Brandon Ray.

Inspired by the alchemists’ Opus Alchymicum which describes how cheaper metals are transmuted into gold, Cleary’s orchestral work Alchemy (2001) is, like the stages in the Opus, presented in four parts: it evolves from the slow nigrendo, the moderate albedo, the strong citronatus, and the burning rubedo. The work is performed by the RTÉ National Symphony Orchestra in January 2002.

Cleary’s tone poem Cokaygne (2009), which, like Alchemy, is commissioned by RTÉ for the National Symphony Orchestra, is based on a poem and old sources which evoke a land of extreme luxury and contentment. The elaborately orchestrated piece is performed by the RTÉ National Symphony Orchestra in November 2009, Vladimir Altschuler conducting. It is performed by the RTÉ National Symphony Orchestra once again in June 2016, this time under the baton of Alan Buribayev.

Cleary’s choral work Theophilus Thistle and the Myth of Miss Muffett (2010), commissioned by the Cork International Choral Festival, is first performed in April 2011 by Chamber Choir Ireland directed by Paul Hillier. The work is based on a series of tongue twisters and other strange combinations of words popular in various European languages and dialects, moving from Italy, through Germany and Spain, finishing in Ireland. In 2013, it is performed twice by Chamber Choir Ireland in Dublin and Cork in connection with Ireland’s presidency of the European Union. The journalist and music critic Terry Blain comments on the choir’s “dazzingly virtuosic performance” in Belfast in 2013, qualifying the piece as “a tour de force of 21st century vocal chicanery, a clever and richly entertaining composition.” Theophilus Thistle is also performed the same year in the United States as part of the “Imagine Ireland” festival.

The chamber opera Vampirella with a libretto by Katy Hayes is first performed by students from the Royal Irish Academy of Music and the Lir National Academy of Dramatic Art at Dublin’s Smock Alley Theatre in March 2017. Based on a short story by Angela Carter telling how a young English soldier is seduced by a vampire countess, it is directed by Conor Hanratty and conducted by Andrew Synnott. Michael Dervan of The Irish Times finds the electronic sounds in the score particularly effective, commenting, “Perhaps this is a case of a genuinely electronic opera trying to break out of a more conventional mold.”

In 1996, Cleary receives a young artists award from Pépinières européennes pour jeunes artistes, followed in 1997 by the first prize in the Arklow Music Festival Composers’ Competition. In 2008, she is invited to become a member of Aosdána, an Irish association of creative artists.