Henning's Headquarters

[Karl Henning]

I've still lost some low notes, but overall I completely enjoy the sax choir arrangement:

[TheGSMoeller]

Egg and bacon soufflé, a cup of black coffee, and Mr. Henning's Intermezzo for sax choir. That's a great way to start the day. Thanks for the morning soundtrack, Karl. Even without the bass sax its great.  . Going in for a second spin.

[Karl Henning]

Thanks!

[Karl Henning]

There's one note which (isn't this funny, really?) is either a Tallis-esque crunchy cross-relation, or it's a note I mistook while executing the by-sight transpositions in which the process of this arrangement was rich . . . will have to proof, and hey, if it had been a mistake, maybe I'll keep it . . . .

[Karl Henning]

It is a mistake, I start the tenor sax at the wrong pitch level . . . and I'll keep the original, which (honestly) sounds better.

So, soon a fresher MIDI, and I shall plug in a contrabassoon just to represent the bass sax pitches . . . .

[J.Z. Herrenberg]

Just listened to the Intermezzo - wonderful! Clean, lean and supple. I love it.

[Karl Henning]

Thank you!

[Cato]

Just listened to the Intermezzo - wonderful! Clean, lean and supple. I love it.

Yes, even with the limitations of a Midi "performance," one can hear a highly inventive mind at work with an emotional kaleidoscope.

[Karl Henning]

(* blush *)

At some point when I have the original scoring done up in Sibelius, I shall post that.

Fact is (as I think I have mentioned) I'm going to need to rebuild the scores for the numbers already composed, as Sibelius files.

Of course, Plotting, My Island Home, and the Squirrels want attention, first.  But enthusiasm for the ballet is rekindling.

[Karl Henning]

Okay, I can show you the way the toccata is shaping up . . . .

[ file of older version removed ]

[Karl Henning]

Are the demi-semi-quavers in the harpsichord in mm. 214-219 too much, do you think?

[Karl Henning]

Eureka!  The material is fine, I just needed to bring it down a couple of octaves, so that the register is not crowded.

Oh, this is smokin', now . . . .

[Karl Henning]

Are the demi-semi-quavers in the harpsichord in mm. 214-219 too much, do you think?

I think I should renotate it so that the two hands are clear . . . or, yet clearer . . . .

[Cato]

I think I should renotate it so that the two hands are clear . . . or, yet clearer . . . .

I just had a chance to look at the section quickly: yes, the player will not use one hand for those, so you might as well notate it for two hands.

[Karl Henning]

I've pressed on, and gotten the "middle third" of the toccata done last night.  I think I may power through to the end of the piece today.

[Karl Henning]

Okay, I've notated the hands (so to speak), and here is included what I composed last night.

[Cato]

Okay, I've notated the hands (so to speak), and here is included what I composed last night.

A quick run through the last section makes me want to say: "Release the hemidemisemiquavers!!!"   

[Karl Henning]

Oh, I think it may be done:

[Brahmsian]

Now playing Karl's gorgeous work for solo harp, Lost Waters, Op. 27

There is a particular reason I am playing it today.  I was thinking of something to play to commemorate my late Grandmother's 100th birthday today.  She passed on about 1.5 years ago.  This work by Karl immediately became the piece I thought of.   

Performed by:  Mary Jane Rupert, harp

Live recording, September 17, 2009

[Karl Henning]

My dear fellow, I am honored.