Author Topic: Henning's Headquarters  (Read 350257 times)

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Offline k a rl h e nn i ng

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    • Henningmusick
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Re: Henning's Headquarters
« Reply #6440 on: January 11, 2017, 04:37:16 AM »
. . . a bit

I may refine, reconsider, or reconsider those last eight measures.  (Or, what I compose immediately following will simply redeem them.  It happens.)
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline k a rl h e nn i ng

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Re: Henning's Headquarters
« Reply #6441 on: January 11, 2017, 08:01:11 AM »
Who knew?—Mellophonia
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline k a rl h e nn i ng

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Re: Henning's Headquarters
« Reply #6442 on: January 11, 2017, 10:25:11 AM »
Blame it on Stan Kenton if you like—but there will be lip trills.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline k a rl h e nn i ng

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Re: Henning's Headquarters
« Reply #6443 on: January 11, 2017, 03:59:57 PM »
I may refine, reconsider, or reconsider those last eight measures.  (Or, what I compose immediately following will simply redeem them.  It happens.)

Well, I did not refine, reconsider, or reconsider . . . though whether the continuation is redemption, remains to be mulled  8)

Edit :: old version deleted
« Last Edit: January 14, 2017, 11:21:29 AM by k a rl h e nn i ng »
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline k a rl h e nn i ng

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    Shostakovich, Frescobaldi, Stravinsky, JS Bach, Liszt, Chopin, Haydn, Henning
Re: Henning's Headquarters
« Reply #6444 on: January 12, 2017, 04:22:09 AM »
My one nagging thought yesterday was that, in my outline (—and yes, “the outline be damned” is a not inconsiderable possibility—) I had the remark lyrical brass for this section;  and I have in mind a more lyrical idea, which I did not “get to” here, in comparison to which this homophonic chorale does not feel lyrical.

This morning, though:

(1) I think I like the chorale right there, just fine.
(2) The other idea can probably fit in, better still, later on.
(3) Belay that outline . . . .
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline k a rl h e nn i ng

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Re: Henning's Headquarters
« Reply #6445 on: January 12, 2017, 10:50:03 AM »
(Well, and if I had only paid heed to my outline . . .)

I planned on more for the brass . . . so, here we are going to find out if I can make the outline work, musically, or if I need to smack the outline around.

Choir rehearsal tonight, so the jury will not return a verdict until tomorrow night.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline k a rl h e nn i ng

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    Shostakovich, Frescobaldi, Stravinsky, JS Bach, Liszt, Chopin, Haydn, Henning
Re: Henning's Headquarters
« Reply #6446 on: January 12, 2017, 11:59:02 AM »
Re-post & refresh:

Variations on Wie lieblich est, S.10 (oboe & organ)

Time Was, Op.4 (pf solo)
№ 1: Prelude (Charlottesville)
№ 2: Dance (Barefoot Amid Dandelions)
№ 3: The Myth of Motion II:  Toccatina (on the Ekaterininsky Canal)


Pictures Only I Can See, Op.11 (pf solo)
№ 1: Spring in Her Step
№ 2: The Bronze Girl's Spilt Milk
№ 3: The Myth of Motion I:  Chorale
№ 4: The Sleep-Pavane at the Foot of Frozen Niagara
№ 5: Petersburg Nocturne
|| MIDI on YT

Little Towns, Low Countries, Op.18 (pf solo)
№ 1: Invention (Mt Hope Avenue, Rochester)
№ 2: Aubade (Lake Canandaigua)
№ 3: Gigue (Glasgow Street, Cornhill)


Night of the Weeping Crocodiles, Op.16 (cl/vn/pf)

Night of the Weeping Crocodiles, Op.16a (cl/pf/prc)

To Melt From a Distance, Op.21 (pf solo)

Gaze Transfixt, Op.23 (pf solo)

Lutosławski's Lullaby, Op.25a (organ solo)

Lutosławski's Lullaby, Op.25 (pf solo)

Fancy on Psalm 80 from the Scottish Psalter, Op.34 № 3, performed by Carson Cooman, on YouTube.

O Beauteous Heavenly Light, Op.34 № 2, performed by Carson Cooman, on YouTube.

The Allegro grazioso from the Sinfonietta, Op.38 for brass quintet (some shaky moments)

Journey to the Dayspring, Op.40 on YouTube

’Tis Winter Now (Danby), Op.45a (mezzo-soprano, flute & organ) at Amazon

Initiation of Barefoot on the Crowded Road, the former Op.41 (now the Discreet Erasures, Op.99, below)

Danse antique, Op.44

The Wind, the Sky, & the Wheeling Stars, Op.46 for orchestra

<a href="http://www.youtube.com/v/als-l2BI0xs" target="_blank" class="new_win">http://www.youtube.com/v/als-l2BI0xs</a>

O Gracious Light, Op.50c (two-part choir, piano & organ)

The original Born on Earth to Save Us, Op.52 for Bill Goodwin.

Born on Earth to Save Us, Op.52a for HTUMC.

Joseph and Mary, Op.53a for HTUMC.

Score of The Wind, the Sky, & the Wheeling Stars, Part I

Score of The Wind, the Sky, & the Wheeling Stars, Part II

Counting Sheep (or, The Dreamy Abacus of Don Quijote), Op.58a for Pierrot-plus ensemble [ score, part I ].

Counting Sheep (or, The Dreamy Abacus of Don Quijote), Op.58a for Pierrot-plus ensemble [ score, part II ].

I Look From Afar, Op.60 for choir, brass quintet, organ & optional timpani

Blue Shamrock, Op.63 for clarinet unaccompanied, at Amazon.

Three Things That Begin With “C”, Op.65, clarinet & horn :: Original | Revised

Sweetest Ancient Cradle Song, Op.67 for choir, brass quintet, organ & optional timpani 1st half | 2nd half

Sweetest Ancient Cradle Song, Op.67 for choir, brass quintet, organ & optional timpani ::  Choral Score 1st half | 2nd half

14 Dec 2014 performance of Sweetest Ancient Cradle Song, Op.67

14 Dec 2014 performance of The Snow Lay on the Ground, Op.68a

Timbrel and Dance, Op.73 [ St Paul's choir plus ].

21 Nov 2015 Triad performance of Nuhro, Op.74:  <a href="https://www.youtube.com/v/ftFJdcXz7lg" target="_blank" class="new_win">https://www.youtube.com/v/ftFJdcXz7lg</a>

23 Nov 2015 Triad performance of Nuhro, Op.74.

Scene 1 from White Nights, Op.75 № 2

Scene 2 from White Nights, Op.75 № 3

Scene 3a from White Nights, Op.75 № 4

Intermezzo I from White Nights, Op.75 № 6

Intermezzo I from White Nights, Op.75 № 6, arr. for saxophone choir

Scene 4 from White Nights, Op.75 № 7

Scene 5 from White Nights, Op.75 № 8

Before-&-after, Finale-VS.-Sibelius exhibits from the Op.75 № 8| A | B | C | D

Scene 7 from White Nights, Op.75 № 10

Canzona, Op.77a № 1 (org solo)

Gigue, Op.77a № 2 (org solo)

26 February De profundis, Op.78 [ Jaya Lakshminarayan & friends ]

Mirage, Op.79a (alto fl, cl, pf)

God Rest Ye Merry, Gentlemen, Op.80 carol for choir, brass quintet, organ & timpani

Moonrise, Op.84 for brass quintet. And MIDI

Moonrise, Op.84a for flute choir in six parts. And MIDI

15 March Passion rehearsal A [ Sine Nomine ]

15 March Passion rehearsal B [ Sine Nomine ]

15 March Passion rehearsal C [ Sine Nomine ]

Conclusion of the 19 Mar 2010 performance by Sine Nomine of the St John Passion, Op.92:

<a href="http://www.youtube.com/v/8netMuAHFkI" target="_blank" class="new_win">http://www.youtube.com/v/8netMuAHFkI</a>

12 May recital [ k a rl h e nn i ng Ensemble (Bloom/Henning/Cienniwa) ]

18 May recital [ Bloom/Henning ]

23 May pre-concert rehearsal [ Sine Nomine ]

22 June recital [ N. Chamberlain/B. Chamberlain/Henning ]

Love is the spirit of this church, Op.85 № 3

Nicodemus brings myrrh and aloes for the burial of the Christ, Op.85 № 4 for cello & piano | Recording on SoundCloud

For God so loved the world, after Op.87 № 9 {Would you like the Doxology with that?} Yes | No | Recording on SoundCloud

The Passion According to St John, Op.92 (on MediaFire, courtesy of Johan)

Lutosawski’s Lullaby, Op.96a № 1 (string quartet)

Marginalia, Op.96a № 2 (string quartet)

Après-lullaby, Op.96a № 3 (string quartet)

Score of Fair Warning [Viola Sonata, mvt 1]

MIDI of Fair Warning [Viola Sonata, mvt 1]

Score of Suspension Bridge (In Dave’s Shed) [Viola Sonata, mvt 2]

MIDI of Suspension Bridge (In Dave’s Shed) [Viola Sonata, mvt 2]

Score of Tango in Boston (Dances with Shades) [Viola Sonata, mvt 3]

MIDI of Tango in Boston (Dances with Shades) [Viola Sonata, mvt 3]

Cato's analysis of the Viola Sonata

Johan's MediaFire folder, including the whole of Dana's première performance of the Viola Sonata

Discreet Erasures, Op.99 for orchestra

Angular Whimsies, Op.100a (bass clarinet, percussion [two players] & piano)

Whimsy brevis, Op.100b (bass flute & piano)

<a href="http://www.youtube.com/v/OAp3w15ISl4" target="_blank" class="new_win">http://www.youtube.com/v/OAp3w15ISl4</a>

How to Tell (Chasing the Tail of Nothing), Op.103 (alto flute, clarinet & frame drum); 7 June 2014 performance

These Unlikely Events, Op.104 № 4

These Unlikely Events, Op.104 № 5

Kyrie, Op.106 № 1

Gloria, Op.106 № 2

Credo, Op.106 № 3

Sanctus, Op.106 № 4

(The Sanctus, arranged for tuba quartet)

Agnus Dei, Op.106 № 5 || Première by Triad

Brothers, If They Only Knew It, saxophone quartet (after Op.106 № 5)

In the Artist's Studio, Op.107, for 17 winds & harp

<a href="http://www.youtube.com/v/hwMLLajT_jw" target="_blank" class="new_win">http://www.youtube.com/v/hwMLLajT_jw</a>

Organ Sonata, Op.108
Mvt 1: Eritis sicut Deus
Mvt 2: . . . scientes bonum . . .
Mvt 3: . . . et malum


Thoreau in Concord Jail, Op.109 for clarinet solo

<a href="http://www.youtube.com/v/OnLYQ748aEg" target="_blank" class="new_win">http://www.youtube.com/v/OnLYQ748aEg</a>

Airy Distillates, Op.110 for flute solo

Annabel Lee, Op.111 for vocal quartet

<a href="http://www.youtube.com/v/tN3aMOrzEb8" target="_blank" class="new_win">http://www.youtube.com/v/tN3aMOrzEb8</a>

Misapprehension, Op.112 for clarinet choir

Misapprehension, Op.112a for strings

The Mystic Trumpeter, Op.113 № 1 for soprano & clarinet

Après-mystère, Op.113 № 2 for flute & clarinet And MIDI

<a href="http://www.youtube.com/v/7RhH161HhlA" target="_blank" class="new_win">http://www.youtube.com/v/7RhH161HhlA</a>

just what everyone was expecting, Op.114 № 1 for clarinet & marimba

(very nearly) what everyone was expecting, Op.114 № 5 for bass clarinet & marimba

just what everyone was expecting, Op.114a for clarinet, mandocello & double bass

My Island Home, Op.115 for percussion ensemble

<a href="http://www.youtube.com/v/hlh61D6COvU" target="_blank" class="new_win">http://www.youtube.com/v/hlh61D6COvU</a>

Plotting (y is the new x), Op.116 for violin & harpsichord

<a href="http://www.youtube.com/v/2vKGfppo0o8" target="_blank" class="new_win">http://www.youtube.com/v/2vKGfppo0o8</a>

Jazz for Nostalgic Squirrels, Op.117 (fl, cl in A, gtr & cb) [ and at Soundcloud ]

When the morning stars sang together, and the sons of God shouted for joy, Op.118 № 1 (shakuhachi, drum & handbell choir)

<a href="http://www.youtube.com/v/79tPHWpH3UI" target="_blank" class="new_win">http://www.youtube.com/v/79tPHWpH3UI</a>

Divinum mysterium, Op.118 № 2 (choir unison & handbells)

<a href="http://www.youtube.com/v/MPr7NhE2-Bs" target="_blank" class="new_win">http://www.youtube.com/v/MPr7NhE2-Bs</a>

Easter Stikheron, Op.118 № 3 (choir SATB & handbells)

Welcome, Happy Morning!, Op.118 № 4 (handbells)

My Lord, What a Morning, Op.118 № 5 (choir & handbells)

<a href="http://www.youtube.com/v/AJzV-RxXiIk" target="_blank" class="new_win">http://www.youtube.com/v/AJzV-RxXiIk</a>

Hymtunes Moscow & Te Deum, Op.118 № 6 (handbells)

Musette, Op.118 № 7 (handbells)

Psalm 130, Op.118 № 8 [ I think ] (clarinet & bass voice) [work-in-progress]

The Crystalline Ship, Op.119 № 1 (mezzo-soprano & baritone saxophone)

I Saw People Walking Around Like Trees, Op.120 (flute, clarinet, double-bass & frame drum)

<a href="http://www.youtube.com/v/E0_-CTvtSS8" target="_blank" class="new_win">http://www.youtube.com/v/E0_-CTvtSS8</a>

... illa existimans quia hortulanus esset ...., Op.121 (vc/pf)

14 Dec 2014 performance of Le tombeau de W.A.G., Op.122

Le tombeau de W.A.G., Op.122a (flute, clarinet, double-bass & frame drum) Audio

A Song of Remembrance, Op.123 (mixed chorus SAB & pf)

<a href="http://www.youtube.com/v/kU682jFNG4w" target="_blank" class="new_win">http://www.youtube.com/v/kU682jFNG4w</a>

The Mysterious Fruit, Op.124 (mezzo-soprano & marimba)

The Mysterious Fruit, Op.124a (mezzo-soprano & pf)

Tiny Wild Avocadoes, Op.125 (2 vn/va)
№ 1 “Children’s Song”
№ 2 “Autumn Leaves (Wind Effect)”
№ 3 “Scampering Squirrels”
№ 4 “Pond at Twilight”
№ 5 “The Gnomes (Paul’s Garden)”
№ 6 “Cheerful Song on the Wing”
№ 7 “The Avocado in Winter”


In the shadow of the kindly Star, Op.126 № 1 (violin solo and handbell choir)

I Want Jesus to Walk With Me, Op.126 № 2 (choir SATB unaccompanied) NEW & IMPROVED !! [ Version for brass quintet ]

Variations on a Basque Carol, Op.126 № 3 (clarinet unaccompanied)

Variations on a Basque Carol, Op.126 № 3 (flute unaccompanied)

Beach Balls (Red) , Op.126 № 5 (org solo)

Pat-A-Pan, Op.126 № 6 (handbell choir)

Gabriel’s Message (Basque Carol), Op.126 № 7

Little Suite, Op.127 (vc & pf)
№ 1 “Summer Song”
№ 2 “Valentine”
№ 3 “Sparrows Hopping on the Wet Sidewalk” || MIDI on YT

Notebook for Elaina & Anna, Op.128 № 1 “Out for a Walk” (fl/a sx)

From the Pit of a Cave in the Cloud, Op.129, soprano & chamber group

<a href="http://www.youtube.com/v/H1GX6gAmom8" target="_blank" class="new_win">http://www.youtube.com/v/H1GX6gAmom8</a>

The Young Lady Holding a Phone in Her Teeth, Op.130 (double wind quintet)

Visions fugitives de nouveau, Op.131 (pf solo)
№ 1: One Leaf
№ 2: Versuch eines Milonga
№ 3: Beneath the Clear Sky
№ 4: That Tickles!
№ 5: Stephen Goes to California
№ 6: Kay's Blue Crabs
№ 7: Questionable Insistence
№ 8: Morning Prayer

<a href="https://www.youtube.com/v/FfL_20Sksc8" target="_blank" class="new_win">https://www.youtube.com/v/FfL_20Sksc8</a>

№ 9: Bunny Keeping Still
№ 10: Gamboling Squirrels
№ 11: The Street Musician
№ 12: The Shade of an Oak
№ 13: “Could you change one more thing?”
№ 14: Waiting
№ 15: Bicycling in Boston Common
№ 16: Mist on the Harbor
№ 17: Peter Moves to Montréal
№ 18: Seeing a Long-Since-Cancelled Stamp
№ 19: ... but his mind is elsewhere
№ 20: Starless Summer Night || MIDI on YT

Neither do I condemn thee, Op.132 for flute duet

A whimsical Canon:

<a href="http://www.youtube.com/v/B6xeqrcavUQ" target="_blank" class="new_win">http://www.youtube.com/v/B6xeqrcavUQ</a>

Saltmarsh Stomp, Op.134 for clarinet choir in 15 parts

<a href="http://www.youtube.com/v/7DCc2sD2KAk" target="_blank" class="new_win">http://www.youtube.com/v/7DCc2sD2KAk</a>

Ear Buds (The dream of a young man in the woods, listening), Op.135 for symphonic band

<a href="http://www.youtube.com/v/ZSMo90L5xJA" target="_blank" class="new_win">http://www.youtube.com/v/ZSMo90L5xJA</a>

Darkest Doings {work-in-progress} ... or not 8)

Clarinet Sonata, Op.136, movement 1: Another Think Coming

Clarinet Sonata, Op.136, movement 2: « Boulez est mort » (Wounding Silence) | work-in-progress

Op.137: A Sheaf of Bliss

Things Like Bliss, version 1, Op.137 № 1a

Things Like Bliss, version 2, Op.137 № 1b

Considering My Bliss Options, Op.137 № 2 (clarinet & horn in F) work-in-progress

Liv Plays Scrabble, Op.137 № 3 (shakuhachi & toy piano)

Out From the Unattended Baggage, Op.137 № 4 (flute, clarinet & bassoon)

sand dance, Op.137 № 5 (flute  & harp)

Oxygen Footprint, Op.138 (flute, viola & harp)

Brightest and Best, Op.139 № 1 (mixed choir)

Precious Lord, Op.139 № 4 (mixed choir and organ)

Paschal Carillon, Op.139 № 5 (handbell choir)

What Wondrous Love, Op.139 № 6 (mixed choir and handbells)

<a href="http://www.youtube.com/v/dXMra6BvZew" target="_blank" class="new_win">http://www.youtube.com/v/dXMra6BvZew</a>

Mistaken for the Sacred, Op.141 (percussion solo & fixed media)

<a href="http://www.youtube.com/v/dcofMh91_7M" target="_blank" class="new_win">http://www.youtube.com/v/dcofMh91_7M</a>

In dulci jubilo, Op.142 № 1 (fl, hn, handbell choir, youth and adult choirs, organ)

In dulci jubilo, Op.142 № 1a (2 fl, ob, cl, hn, ta, handbells, glock, strings, youth and adult choirs)

New Year’s Carol, Op.142 № 2 (unison choir & organ)

Symphony № 1 (mercy!), Op.143

i. Allegro molto

<a href="http://www.youtube.com/v/-WCZ77mt2aE" target="_blank" class="new_win">http://www.youtube.com/v/-WCZ77mt2aE</a>

ii. Larghetto

<a href="http://www.youtube.com/v/JpI9Zr8rqW4" target="_blank" class="new_win">http://www.youtube.com/v/JpI9Zr8rqW4</a>

ii. Vivo assai (work-in-progress)

8 Oct 2013 recital at King's Chapel

Henningmusick at ReverbNation.

Henningmusick at Instant Encore.

About an hour's worth of Henningmusick, too, at SoundCloud

The 9th Ear at SoundCloud.


And: Maria appears on the evening news in DC.

Maria's harpsichord
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline k a rl h e nn i ng

  • Veteran member
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  • Posts: 38309
  • Et quid amabo nisi quod ænigma est?
    • Henningmusick
  • Location: Boston, Mass.
  • Currently Listening to:
    Shostakovich, Frescobaldi, Stravinsky, JS Bach, Liszt, Chopin, Haydn, Henning
Re: Henning's Headquarters
« Reply #6447 on: January 14, 2017, 11:24:19 AM »
Well, for good or ill, I have (a) written out the brass chorale to the extent that my outline indicated and (b) pursued the more properly lyrical (I believe) material which I had in mind.  I do think I like it, and I am probably taking a short break before picking up where this leaves off.

Edit :: old version deleted
« Last Edit: January 15, 2017, 02:58:40 PM by k a rl h e nn i ng »
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline k a rl h e nn i ng

  • Veteran member
  • *
  • *
  • Posts: 38309
  • Et quid amabo nisi quod ænigma est?
    • Henningmusick
  • Location: Boston, Mass.
  • Currently Listening to:
    Shostakovich, Frescobaldi, Stravinsky, JS Bach, Liszt, Chopin, Haydn, Henning
Re: Henning's Headquarters
« Reply #6448 on: January 15, 2017, 04:30:21 AM »
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline k a rl h e nn i ng

  • Veteran member
  • *
  • *
  • Posts: 38309
  • Et quid amabo nisi quod ænigma est?
    • Henningmusick
  • Location: Boston, Mass.
  • Currently Listening to:
    Shostakovich, Frescobaldi, Stravinsky, JS Bach, Liszt, Chopin, Haydn, Henning
Re: Henning's Headquarters
« Reply #6449 on: January 15, 2017, 06:16:40 AM »
The Young Lady Holding a Phone in Her Teeth, in Bedford, Mass.


https://soundcloud.com/karl-henning-756715731/the-young-lady-holding-a-phone-in-her-teeth-op130

I've sent The Young Lady in to an ACF call: https://composersforum.org/program/acf-connect-0

Hey, you never know. They specifically say "MIDI recordings strongly discouraged," so having a recording of Real Musicians may be an especial asset.

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Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline k a rl h e nn i ng

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Re: Henning's Headquarters
« Reply #6450 on: January 15, 2017, 09:21:40 AM »
Well, for good or ill, I have (a) written out the brass chorale to the extent that my outline indicated and (b) pursued the more properly lyrical (I believe) material which I had in mind.  I do think I like it, and I am probably taking a short break before picking up where this leaves off.

I did make further progress yesterday, but some of that work needs some cleaning up.  More after lunch . . . .
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

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Re: Henning's Headquarters
« Reply #6451 on: January 15, 2017, 03:03:17 PM »
Okay, this looks like enormous progress, but some of it was work from yesterday afternoon which I need to "repair" today (the original version of the string accompaniment (fifth m. of [ I ]) was too abrupt at first, and the wind stuff at [ J ] didn't work where I first placed it . . . I like it where it is, though, so I'm glad I did not just toss it out.

So I may putter more tonight, or I may rest and just plunge back in first thing in the morning.

Edit :: old version deleted
« Last Edit: January 16, 2017, 06:06:32 AM by k a rl h e nn i ng »
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline k a rl h e nn i ng

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Henning's Headquarters
« Reply #6452 on: January 15, 2017, 07:08:27 PM »
I did, I did putter more, and the next maybe 20 measures are very close to what they need to be. Which practically brings the movement to 3:30 plus, roughly 70% done.

I'll work more in the morning, then take most of tomorrow off. Not planning (realistically) to finish tomorrow--that would be an exhausting day, and then go in to the office Tuesday, oof. But I can get the movement to within sight of the end, so that I can chip away at it each day, and aim for completion next weekend. It all feels right & good.

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« Last Edit: January 16, 2017, 06:05:21 AM by k a rl h e nn i ng »
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline k a rl h e nn i ng

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Re: Henning's Headquarters
« Reply #6453 on: January 16, 2017, 06:08:22 AM »
This is basically my work from last night, polished this morning.  I approve it entirely.

Edit :: old version deleted
« Last Edit: January 16, 2017, 08:26:46 AM by k a rl h e nn i ng »
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

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Re: Henning's Headquarters
« Reply #6454 on: January 16, 2017, 08:33:13 AM »
I did, actually, rather more work this morning than I had anticipated.  (Part of the work was acting on a suggestion of Cato's—he wanted to have the rich brass chords sound a bit longer, for aural savoring . . . and while I did not want to alter the passage which had provoked the suggestion, it was certainly a good suggestion . . . and I felt that just the right place for it was ahead of the retransition

I can indeed just about see my path to the final double-bar, but I also feel that if I push myself to it, today, it will be rushed, and will just want repair, anyway;  where, if I let my musical mind rest, the natural and "perfect" solution will appear to mine ears over the course of tomorrow.

Edit :: old version deleted
« Last Edit: January 17, 2017, 05:20:04 PM by k a rl h e nn i ng »
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline k a rl h e nn i ng

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Re: Henning's Headquarters
« Reply #6455 on: January 16, 2017, 08:46:03 AM »
<a href="http://www.youtube.com/v/-ghyDro0fg8" target="_blank" class="new_win">http://www.youtube.com/v/-ghyDro0fg8</a>
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

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Re: Henning's Headquarters
« Reply #6456 on: January 17, 2017, 10:28:47 AM »
Holmboe
Symphony № 5, Op.35/M.145 (1944)
Aarhus Symphony
Owain Arwel Hughes




Thoughts, in approximate order of thinkage:

  • It is an age since I first listened to this.
  • I owe it to Jeffrey’s Fifth Symphonies thread for the occasion to revisit this
  • It is a bit of a shock (but only a bit) to consider that today may be only the second time I have listened to it.
  • Excellent, quasi-folksy music.
  • The folksy element should not have surprised me so much;  I think that was just an accident of (a) knowing how much I enjoy Holmboe’s music whenever I listen to it, and (b) my recent preoccupation with my own symphony.
  • I am delighted to find that, regarding content, my own piece is not much like the Holmboe.
  • I am tickled, though, at the surface similarities:
    • Both symphonies are 25 minutes in duration.
    • Both symphonies are in three movements.
    • The shortest movement for both symphonies is a lively finale.
« Last Edit: January 17, 2017, 11:16:17 AM by k a rl h e nn i ng »
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

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Re: Henning's Headquarters
« Reply #6457 on: January 17, 2017, 10:57:50 AM »
Marvelous handling of the orchestra: bars 137-158 and their cousins at bars 173-188 are delightfully mysterious, like playing hide-and-seek in a candy store inside a castle of unknown intent.
"Now who taught ye t' be playin' patty fingers in the holy water?"

- Barry Fitzgerald to John Wayne in  The Quiet Man.

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Re: Henning's Headquarters
« Reply #6458 on: January 17, 2017, 11:17:25 AM »
Thanks!

I've taken some mental stock of the final stretch of the movement today, will perhaps set to some work this evening.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Offline k a rl h e nn i ng

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Re: Henning's Headquarters
« Reply #6459 on: January 17, 2017, 03:44:25 PM »
And so, with (so to say) 45 seconds remaining of my outline to be composed through, I have become intrigued with the idea of sculpting the ending of the movement, 18 bars per day.  Allowing for my day off for HTUMC choir rehearsal on Thursday, that projects a finish to the movement (and the symphony) on Friday.  (Or, a kind of finish, subject to refinement, of course, of course.)  And this afternoon, I drew up both verbal plans, and some notes . . . so we shall see.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

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