Henning's Headquarters

[Karl Henning]

Puttering anew with some non-retrogradeable rhythms.

[Karl Henning]

The passacaglia has entirely taken over . . . .

[Karl Henning]

Not quite the last of the passacaglia. . . .

[Karl Henning]

So, it has wound up at a nice round 40 variations on the theme, and I worked out variations XXXVIII, XXXIX & XL on this morning's train.

And there will be room for a brief toccata in the capacity of a coda . . . as the passacaglia just kept motoring on, I was starting to think that maybe that would be the piece, and that I should need to abandon my original idea of Introduction, Passacaglia & Toccata.  Now that I have shaped the whole passacaglia . . . well, I know where the matter rests.

(I think I mentioned ere now that when Paul & I talked about it, he wanted a piece between 7 and 12 minutes; and you know that means that I would write a 12-minute piece . . . .)

[TheGSMoeller]

So, it has wound up at a nice round 40 variations on the theme, and I worked out variations XXXVIII, XXXIX & XL on this morning's train.

And there will be room for a brief toccata in the capacity of a coda . . . as the passacaglia just kept motoring on, I was starting to think that maybe that would be the piece, and that I should need to abandon my original idea of Introduction, Passacaglia & Toccata.  Now that I have shaped the whole passacaglia . . . well, I know where the matter rests.

(I think I mentioned ere now that when Paul & I talked about it, he wanted a piece between 7 and 12 minutes; and you know that means that I would write a 12-minute piece . . . .)

Well done, Karl. Another fascinating score, can't wait to hear it.
Were you able to work on this piece on a harpsichord at all? Not that it's easy to borrow one or anything. 
Also, does your midi player (or sound card) easily switch between bowing and pizzicato?

[Karl Henning]

Well done, Karl. Another fascinating score, can't wait to hear it.

Thanks!  I want to forge on ahead to wrap up the piece's concluding toccata before offering a sound sample.

Were you able to work on this piece on a harpsichord at all? Not that it's easy to borrow one or anything. 

No, just the ol' ear (and the Sibelius play-back).

Also, does your midi player (or sound card) easily switch between bowing and pizzicato?

Yes, although not surprisingly in m.174, with the bowed F# and the left hand pizz., I'm missing the bowed note . . . I know a work-around for when we want a MIDI of the piece when done.

[Karl Henning]

I think, too, that I am going to make the vn notes in mm.28-33 artificial harmonics, so I need to add some notation there.

Wish Luke were here, just saying that would provoke him to a chuckle . . . .

[Karl Henning]

Okay, the last (I think) of the passacaglia:

[Karl Henning]

Some Toccata tinkering this morning.

[Karl Henning]

in memoriam

[Cato]

in memoriam

Greatest condolences to you, Karl!  An excellent eulogy for your friend on HenningMusick.

This has been a terrible last few months for deaths in my circle!  We are due for a respite!

[Karl Henning]

Thanks, Cato.

Separately . . . may send them the Angular Whimsies, or I may send them just what everyone was expecting . . . .

[Karl Henning]

Now that I read it . . . one submission, so I shall send Whimsies, as I do not see any hope of a recording from that work's initial outing.

And they are to be sent anonymous!  I think I like that, too.

[Karl Henning]

And there is plenty of time ... "ideally the full ensemble," so rather than send them the Whimsies "as is," I think I shall add a piano and second percussionist...sort of like the Schoenberg Phantasie.

[Karl Henning]

Looked at White Nights some today.

[Karl Henning]

Arranging Intermezzo I from White Nights for saxophone choir.

[ file of older version removed ]

[Karl Henning]

There are low notes in the original which I have not quite liked the idea of losing, and I asked the fellow if we might add a contrabassoon.  He doesn't have access to one, but we can have a bass saxophone, which will serve, I think.  I still haven't learnt if the bass is in addition to, or instead of, the third baritone.

[Cato]

There are low notes in the original which I have not quite liked the idea of losing, and I asked the fellow if we might add a contrabassoon.  He doesn't have access to one, but we can have a bass saxophone, which will serve, I think.  I still haven't learnt if the bass is in addition to, or instead of, the third baritone.

That arrangement should produce a very smooth sound!   

[Karl Henning]

I like all the color in the Ur-text . . . but I also like all the chorale-writing, and felt right away that the all-saxophone timbre would be a sweet arrangement.

[Karl Henning]

Separately:

The 1970s traditional jazz band The Memphis Nighthawks built their sound around diminutive bass saxophonist Dave Feinman.

That must be a nice adjective for Dave to read . . . .