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take place before 1990. Up to this time, Coghill had never heard an orchestra, but had a good knowledge of orchestral music from studying scores. The work is set for tenor solo, mixed chorus and orchestra, is in one continuous movement of about 23 to 25 minutes duration. The text is based on a poem of the same title by Walt
Whitman. The work is remarkable for its unconventional tenor line (resembling the irregular metre of the poetry), the use of whole-tone scales, and its overall serious expression and emotional drama. One of the reasons why she didn't write more orchestral music or why she didn't promote the score for so long may also lie in her modesty as a practising Quaker.
136:
Coghill stopped composing in the early 1940s, concentrating on her performing career, but began writing and translating poetry (three publications between 1948 and 1958). It has been suggested that a reason for this re-orientation may have been that in the poetry and literature-dominated perception
157:
is one of the most forward-looking Irish compositions in the first half of the twentieth century. Written during the Civil War in
Ireland in 1923, it was first performed in a small format, with a small orchestra and a vocal quartet replacing the chorus, in the 1950s; the first performance did not
169:
Renewed interest in music of neglected female Irish composers has led to some of
Coghill's songs being performed. "Mary Moriarty" (1925) was performed at "Ina Boyle and her World" as part of Music in Calary Summer Series in June 2024 by baritone David Scott and pianist Aileen Cahill and "Jenny
97:. Between 1913 and 1925 she won 21 prizes at the Feis Ceoil (Irish music competition), among them first prizes for piano solo, piano accompaniment and piano duet, after 1923 for composition. In that year she completed her largest score, the rhapsody
161:
Her songs show a sensitive and skilled hand in setting words, be it in folksong arrangements or in original compositions. Some are quite distinct, showing a somewhat introspective, atmospheric voice. Her only published piano composition, the
437:
Coghill's poetry "reflect a sensitivity to nature, a belief in simplicity and a deep
Christian faith. Although stylistically advanced, she made occasional use of various rhyme techniques." In the introduction to her first collection (1948),
125:, where she remained until 1969. In this capacity she has worked with major performers of her day, both Irish and international, and gave exemplary interpretations of contemporary Irish works. She was known for remarkable
166:(1939), plays with elements of Irish traditional music in an original manner. For the print with An GĂşm (Irish government publisher) she was forced to smooth out some chromatic harmonies that she had originally intended.
442:
wrote that
Coghill's expressiveness would "eventually give their author full title to a place amongst the poets of our time". She was represented in the first Field Day anthology of Irish women writers (2002).
140:
Coghill remained unmarried and spent her late years from 1982 at
Westfield House, Morehampton Road, Dublin, where she died aged 96. Her music manuscripts as well as some notebooks and diaries are located in
170:
Kissed Me," "Parting" (1940), "When" (1940) and "Among the
Heather" (1926) were performed by tenor Stephen Walker at a recital of "Irish Melodies" as part of the Blackwater Valley Opera Festival 2024.
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670:(1903) by Frederick Delius also sets (parts of) this poem, but Coghill was not aware of this when she wrote the piece; see Klein (1996), p. 179.
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https://www.inaboyle.org/ibsl-blog-posts/2024/6/27/ina-boyle-and-her-world-performance-in-county-wicklow
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466:. Translated by Rhoda Coghill from the German of Rainer Maria Rilke (Dublin: The Dolmen Press, 1958)
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of Irish culture it was easier to receive acknowledgements as a poet rather than as a composer.
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Laura Watson: "Epitaph for a
Musician: Rhoda Coghill as Pianist, Composer and Poet", in
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See list of personnel in a 1927 programme in Pine (2005), p. 37; see
Bibliography.
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Coghill in a 1994 interview with German musicologist Axel Klein, unpublished.
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81:(14 October 1903 – 9 February 2000) was an Irish pianist, composer and poet.
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187:(Walt Whitman), rhapsody for tenor solo, chorus and orchestra (1923)
193:. Arrangement of piano work (c.1935) for piano and orchestra (1972)
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https://journalofmusic.com/listing/13-02-24/irish-melodies-recital
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Society and Radio Éireann. She continued her piano studies with
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and studied from the age of eight with
Patricia Read at the
105:. Coghill also played double bass in the orchestras of the
376:, ed. by John Sheldon (London: Stainer & Bell, 1981),
300:(set to Irish traditional melodies) (1923–26). Contains:
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for tenor solo, mixed chorus and orchestra, to a text by
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Out of what began: a history of Irish poetry in English
428:: New Classics Records NC01 (CD & downloads, 2021).
648:
121:. In 1939 she took a position as the accompanist of
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516:Journal of the Society for Musicology in Ireland
732:(Cambridge: Cambridge University Press, 2008).
618:The Norton/Grove dictionary of women composers
728:Axel Klein: "Coghill, Rhoda (Sinclair)", in:
117:(1927-8) to whom she had been recommended by
614:
520:http://eprints.maynoothuniversity.ie/7652/
336:(Otto Siepmann, transl. by Coghill) (1931)
615:Sadie, Julie Anne; Samuel, Rhian (1994).
281:) (1926), Dublin: Pigott & Co., 1926.
261:) (1924), Dublin: Pigott & Co., 1925.
743:The Field Day Anthology of Irish Writing
450:(Dublin: Hodges, Figgis & Co., 1948)
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605:Klein (1996), p. 377; see Bibliography.
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781:20th-century Irish classical pianists
409:Saoirdhréacht Gaedhealach do’n Phiano
749:(Cork: Cork University Press, 2002).
747:Irish Women's Writing and Traditions
478:Die Musik Irlands im 20. Jahrhundert
185:Out of the Cradle, Endlessly Rocking
495:(Dublin: Four Courts Press, 2005),
155:Out of the Cradle Endlessly Rocking
99:Out of the Cradle Endlessly Rocking
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534:Contemporary Music Centre, Dublin
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493:Music and Broadcasting in Ireland
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456:(Dublin: The Dolmen Press, 1956)
816:Irish women classical composers
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395:Four Piano Pieces for Children
318:I'll Bring You These for Dowry
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730:Dictionary of Irish Biography
649:Schirmer, Gregory A. (1998).
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821:Musicians from Dublin (city)
796:20th-century women composers
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801:20th-century women pianists
211:I Love All Beauteous Things
207:(A. Neville Maugham) (1921)
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571:Pine (2005), p. 92, cites
314:The Old Woman of the Roads
306:Once I Loved a Maiden fair
89:Rhoda Coghill was born in
72:Pianist, composer and poet
806:Irish classical composers
679:Klein (1996), p. 178–185.
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370:We Live in Hope of Seeing
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255:A Little Cluster of Nuts
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95:Leinster School of Music
411:(Dublin: An GĂşm, 1942).
407:(c.1935), published as
302:In the Fore of the Year
16:Irish composer and poet
310:The Hawk-Questing Maid
277:. Old Irish Air arr. (
221:I Will not Let Thee Go
200:(for voice and piano)
79:Rhoda Sinclair Coghill
25:Rhoda Sinclair Coghill
688:Klein (1996), p. 185.
259:Patrick Joseph McCall
205:A Song of St. Francis
174:Selected compositions
145:, Dublin (MS 11111).
791:20th-century Quakers
346:) (1941). Contains:
285:Peasant Woman's Song
179:Works with orchestra
596:Pine (2005), p. 93.
562:Pine (2005), p. 92.
454:Time is a Squirrell
448:The Bright Hillside
399:When Childher Plays
129:capacities and her
107:Dublin Philharmonic
581:Wanda Wiłkomirska
577:Evelyn Barbirolli
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771:2000 deaths
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745:, vol. iv:
532:Profile at
464:Engellieder
460:Angel Songs
389:Piano music
119:Fritz Brase
61:Nationality
760:Categories
634:19 January
541:References
382:0852494815
328:John Keats
245:Leigh Hunt
668:Sea Drift
585:Josef Suk
416:Recording
401:) (1926).
85:Biography
55:, Ireland
40:, Ireland
360:Germinal
330:) (1927)
291:) (1926)
271:) (1925)
265:Messages
247:) (1925)
237:) (1925)
227:) (1924)
217:) (1924)
352:Parting
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583:, and
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433:Poetry
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348:Refuge
115:Berlin
91:Dublin
53:Dublin
38:Dublin
241:Jenny
198:Songs
149:Music
64:Irish
636:2011
623:ISBN
505:ISBN
497:ISBN
482:ISBN
378:ISBN
356:When
46:Died
31:Born
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