We sat down with composer Carl Corcoran and conductor Ciaran Kelly to discuss their new collaboration A Child of the Universe, commissioned by New Music Dublin 2025 and featuring National Concert Hall youth choirs Cór Linn and Cór na nÓg, premiering at the NCH this April - watch a glimpse of rehearsals above.
Carl, coming from a rich background in pop music, you've described the world of new music as totally alien to you. Can you share what drew you into this uncharted territory and how the collaboration with Ciarán opened the door to creating A Child of the Universe?
Karl: My focus as a songwriter had always been in the 'mainstream’, whether that's in the pop genre or folk/traddish or indeed country. However, 17 years of broadcasting on RTÉ lyric fm opened my eyes and ears to a much wider musical landscape, particularly in the ten years of presenting and curating the late night spot The Blue of the Night. The eclectic nature of the programme provided me with access to a whole new world of wonderful music. Choral and contemporary were two of the genres that I was drawn to, and especially where the two collide. When Ciarán and I first met and began a collaboration, it was primarily focusing on some of my ‘mainstream’ catalogue involving Ciarán as the arranger. But it soon became apparent to me that Ciarán was far more than an arranger but a creative composer in his own right. The thought of co-composing excited me, and back in 2022 we started the discussion that has now reached fruition with this glorious work.
Ciarán, what was it about Max Ehrmann’s Desiderata that resonated with you and set the stage for this project? How did you envision translating its timeless themes of peace, acceptance, and the pursuit of happiness into a choral work?
Ciarán; As someone who has spent a career working with young people, Desiderata immediately struck me as a piece that would resonate with this demographic, given its messages of hope, ambition and courage. The opportunity to write for Cór Linn, who I work with on a weekly basis and who fill me with positive energy at all times, was very enticing, and I thought they would be a perfect match to premiere this work. We were careful to illuminate the more cautious aspects of the text through separate movements and moods throughout, and the addition of the string quartet allows the listener time to reflect on the wonderful text at various moments. Carl and I enjoy working together so much that this was a real passion project - in many ways, our own pursuit of happiness - which allowed the melodies and harmonies to flow (mostly!)
Carl and Ciarán, you’ve both come from very different musical backgrounds. How did your distinct artistic visions converge during the creation of A Child of the Universe, and what were some of the key moments where your collaboration truly clicked?
Ciarán: Carl has a real penchant for clever and memorable melody writing, which was a great asset in this work. Given its length, we could not rely on just one theme or structure, and allowing each other to present different ideas for various moments within the text meant for a greater scope of possibility, musically speaking. We have very different approaches to writing music, and I am always keen to learn from others and listen to their ideas and musical suggestions, especially if they - as Carl is - open to further exploration. We are able to communicate openly about what we like and don’t like - which was key in this collaboration. We ‘collaborated’ a lot on the third movement, where you will hear Carl’s distinctive writing come to the fore, alongside some contrasted choral and ensemble interpretation by me. I think we are both delighted with the outcome of this in particular - and I hope the audience feels the same.
Carl: To be honest, the key moment for me was the day Ciarán agreed to engage in the project, which by the way was right from the start. I am one Ciarán's greatest fan, so any opportunity to work with him is a joy and a privilege. Our visions for the work were pretty close even before a note was placed on paper. As we inspected the text, I think it became clear that we had similar but distinctly unique aspirations. It really felt like (and does still) we both had our individual voice to contribute, and that we respected the value of the other’s strengths. The text itself was the catalyst for inspiration, and the perfect match of young voices articulating the message seems so appropriate.
I believe that choral singing can be the most expressive and emotional form of music making, allowing for moments of glorious harmony and counterpoint, contrasted almost immediately by moments of solitary unison or solo lines - only choirs can do this.
The work unfolds in three movements, each carrying its own emotional weight. Could you walk us through how each movement contributes to the overall narrative and how you balanced vocal harmonies with evocative strings and harp to bring this vision to life?
Ciarán: Despite being in three movements, there is a distinct and clear overall journey within the piece. I sometimes think of music as a series of tableaus, woven together to tell a story. In this instance we were guided by Ehrmann’s text. Movement one encaptures a sense of serenity in simplicity and humility; principles which I myself try to adhere to. I felt very connected to the mood of the text and therefore feel that the music reflects my musical sensibilities and experience, with its chant-like choral moments, somewhat ominous quartet interludes and overall structure. The second movement is full or warning - Caution! It initially featured a series of body percussion effects which did not end up in the final composition, but I hope that it encourages the listener to feel slightly on edge, while the softer choral moments remind us that all will be well. The third movement is inspired and brought together by the title of the piece - A Child of The Universe. There is something light and uplifting about the music here, with a featured moment from the younger voices of Cór na nÓg bringing even more joy to the moment. It was important to me to allow the text to breathe here, and I hope that the audience takes the time to consider the words during the instrumental ‘interludes’. All of these moods and tableaus are of course woven together by the line which kept us focussed and which appears throughout - ‘You are a child of the universe, no less than the trees and stars.’
(his statue can be found in Dublin's Iveagh Gardens)
Both of you have deeply personal musical journeys. How have your individual experiences—your pop roots for Carl and your established work in choral composition for Ciarán—influenced the thematic and emotional layers of this work?
Ciarán: I have such a passion for choral music having lived it for the vast majority of my life. I have been lucky enough to have sung with some of the best conductors and composers, and more recently, to have conducted some wonderful choirs. I feel that in order to write for singers, it is important to know what singing is and how people sing together. At times this influences one’s musical approach - allowing singers to sing well can add indefinite amounts of emotion and feeling to a piece. Similarly, I believe that choral singing can be the most expressive and emotional form of music making, allowing for moments of glorious harmony and counterpoint, contrasted almost immediately by moments of solitary unison or solo lines - only choirs can do this. I have never written for string quartet or harp before, and this was an excellent opportunity to illuminate the text and music even further, coming in and out at various times when required.
Carl: My musical background and history has always centred around the voice. From an early age I was communicating through singing and found myself ‘under the spotlight’. My musical influences were rooted in the melodic creativity of the Beatles, James Taylor and others of that era. In my early twenties I got the opportunity and the affirmation to develop my own creative voice by virtue of a recording contract with EMI, enabling me to explore my songwriting on three original albums under the pseudonym Jamie Stone. My songwriting continued through the decades, varying in focus from pop to folk, and encompassing songs with a distinctive irish flavour. However it was later in my career that I discovered the choral works of composers such as Morten Lauridsen, John Rutter and Eric Whitacre, which in turn led to the discovery of works by Arvo Part, Ola Gjeilo and closer to home, Sean Doherty. My desire to contribute a choral work became a reality upon meeting Ciarán. Our collaboration has enabled my melodic motifs to be dressed in this glorious sound world - far beyond anything I could ever achieve myself. Ciarán’s vision for the work, and the realisation of that vision, has been a career defining experience.
With performances by Cór Linn, Cór na nÓg, The Leinster String Quartet, and harpist Andreja Malir, what unique energy do you anticipate for the live performance, and how do these collaborations enhance the transformative journey of A Child of the Universe?
Ciarán: I am so very grateful to all of the performers involved in this project, and excited to witness the music come to fruition, having spent twelve months living it in my head. It is especially exciting for me to conduct Cór Linn, a wonderful group of young people who I have a special affinity for, at this premiere. The piece is dedicated to a good friend of mine, Brian Conor, who inspired and encouraged me more than anyone throughout our friendship. Brian believed that if you bring good people together, you will make good music. This combination of choirs, soloists and ensembles is the best group of people I could have thought of - people who I have worked with over the years and who are the best at what they do - which excites me greatly for the performance. Overall, we hope that this piece will bring a wonderful text to life further through live performance, and we hope that more choirs will wish to perform it - especially with its centenary in 2027 approaching.
Carl: I agree with Ciarán. I too am thrilled and excited to have such enthusiastic and talented partners on board. Hearing Max Ehrmann’s words of wisdom articulated by the young voices of Cór Linn and Cór na nÓg is a perfect match. And Ciarán’s string quartet and harp accompaniment provides a setting of rare beauty.
New Music Dublin Festival has been instrumental in nurturing contemporary musical innovation in Ireland. What does it mean to premiere A Child of the Universe under its banner, and how do you see the festival shaping the future of new choral works in the country?
Ciarán: New Music Dublin has been and continues to be a pioneer for all contemporary music in Ireland, and it is a privilege to be included in its list of composers this year. Choral music in Ireland is in a healthy place, and continues to grow, but I am most interested in the development of commissioned work for youth choirs which is beginning to gain further traction - Dublin Youth Choir recently released an album of music by Seán Doherty and I hope to hear and see more in the future. Cór Linn are very lucky to be a part of the NMD programme and to work on new music - music that will certainly inspire others to write for this age group and music that will be performed further afield in the future.
Carl: In my former role as radio presenter, New Music Dublin was always on my radar and on my list of favourite festivals. I never envisaged being lucky enough to be part of the platform. So, to be involved at such a creative level with NMD is a hugely rewarding experience. The programme for the NCH on the day, is a testament to the supportive environment and ethos that NMD generates. I am one lucky and grateful man to be here!
Finally, as you both reflect on this groundbreaking collaboration, what future projects or new musical explorations are you excited about? How has this journey influenced your vision for your next creative steps?
Ciarán: Carl and I are always discussing new ideas, and indeed working independently on any number of projects. Carl has endless energy and passion for creating new music, which inspires me to continue looking for the next ‘musical exploration’. Our collaborations have evolved from arranging existing songs, to writing a brand new pop song, to this epic project which has taken us both far musically, so who knows what the next steps will be - I am sure it won't be long before Carl is on the phone with a new idea in any case!
Carl: Shhhh…can't give away any secrets! But, yes Ciarán expect that call!
The world premiere of A Child of the Universe takes place at the National Concert Hall during the New Music Dublin Festival on Sunday 6th April 2025 at 12.30pm - find out more here.
