Teaching

Darragh is currently Professor of Violin at The Royal Welsh College of Music and Drama and The Guildhall School of Music and Drama, where he also contributes to their chamber music and String Ensemble programmes as conductor and director. He is the newly appointed Director of Violin Courses for Pro Corda Plus Series.

Darragh has been invited to give masterclasses at The Hong Kong Academy for Performing Arts, Stellenbosch Konservatorium and Buskaid (both in South Africa), Pavarotti Centre Mostar, State University of New York (SUNY New Paltz), Trinity Laban Conservatoire of Music and Dance, Irish World Academy, Cork School of Music and Seoul University.

Darragh teaches regularly at The Royal Academy of Music, Royal College of Music, Birmingham Conservatoire, Royal Northern College of Music and Royal Conservatoire of Scotland in the fields of chamber music and contemporary performance. He has taught at Apple Hill Centre for Chamber Music New Hamphire USA, Dartington International Summer School and Britten-Pears Young Artist Programme.

Darragh was invited by LSO to give a lecture/recital on new music as part of Midori's LSO residency. He has also given lecture/recitals at Queens University Belfast, Trinity College Dublin, Goldsmiths College and Royal Holloway University of London, University of Illinois at Urbana-Champaign, Durham and Newcastle Universities. Darragh has directed courses for COMA Summer School, Benslow Music Trust and Allcomers Music, Greece.

Darragh studied at The Guildhall School of Music and Drama with Detlef Hahn, a student of Zino Francescatti. He then went on to study with Michael Ma in Hong Kong, himself a student of Ivan Galamian, and became Ma's teaching assistant. Darragh has participated in masterclasses with Pinchas Zukerman, Yehudi Menuhin, Paul Zukofsky, Pierre Amoyal, Yfrah Neaman and Sidney Griller. He studied chamber music with The Amadeus and Takacs String Quartets.

And yet, as time in the Purcell Room was suspended, Morgan seemed to reveal a trajectory, too, by gently unfolding the piece's written-in tempo shifts...this was no quirky curiosity, but a serious reconsideration of a challenging aesthetic preoccupation.
The Strad
January 2013