Henning's Headquarters

[Karl Henning]

Cato, YHM!

[Karl Henning]

For a couple of days, I tried tinkering with John iii.16 in Latin . . . but I think I am going to go with the Douay-Rheims English translation (which is P.D.): For God so loved the world, as to give His only begotten Son; that whosoever believeth in Him, may not perish, but may have life everlasting.

[Karl Henning]

I must add a keyboard reduction for rehearsal, but she's done:

[Karl Henning]

Word just in from Heinrich: not too late!  After church, I shall see to the keyboard reduction.

The handbell pieces have been pushed to next week . . . and I think we shall be missing some ringers at rehearsal today, so che sarà, sarà . . . .

[Cato]

For a couple of days, I tried tinkering with John iii.16 in Latin . . . but I think I am going to go with the Douay-Rheims English translation (which is P.D.): For God so loved the world, as to give His only begotten Son; that whosoever believeth in Him, may not perish, but may have life everlasting.

Good choice!  That translation is the one I grew up with, and is a classic.

Ultimately the composer needs the text which will generate the music.  I have always been amazed by some texts, e.g. Schoenberg's Jakobsleiter, seemingly not very musical, yet it worked for the composer (he wrote it).

[Cato]

The curator of this concert series at Advent, Matt Samolis, recorded the concert, and his recording will be better.  But I did record The Crystalline Ship with mine own handheld device, and I'll make it available tomorrow.

Excellent performance of Karl's excellent composition!  The music for the baritone saxophone has a sea-chanty flavor, and the "ship's horn" quality of the instrument helps to create a proper atmosphere for the singer.

[North Star]

Excellent performance of Karl's excellent composition!  The music for the baritone saxophone has a sea-chanty flavor, and the "ship's horn" quality of the instrument helps to create a proper atmosphere for the singer.

+1
Beautiful work, Karl!

[Karl Henning]

Thank you, gents!

[Karl Henning]

So, Heinrich likes it . . . but (what I should have guessed) he cannot use the doxology at King's Chapel.  So some second-gen. re-texting is imminent . . . .

[Karl Henning]

Okay (a bit geeky of me, I suppose, but I really enjoyed the small-scale puzzle of re-texting that final section) . . . For God so loved the world, hold the Doxology, Smokey:

[Karl Henning]

And an adaptation of just what everyone was expecting for The 9^th Ear

Word just in from Jim Dalton, and the writing for mandocello is fine.

[Brahmsian]

The Crystalline Ship, Op. 119 No. 1

First Listen:

A splendid piece, Karl! 

[Karl Henning]

Thanks, Ray!

[Karl Henning]

EmmaLee and Paul rehearsed Plotting together for the first time today. (They meant to rehearse Friday, but Em was feeling poorly.)  Paul tweets: "What a wonderful piece! Everything comes together really well."

The première is this Saturday evening, at the Norman Bird Sanctuary in Newport, Rhode Island.  They will also play it as Prelude to the Sunday morning service at First Church in Boston.  So I should have one (and possible two) recording(s).

[Karl Henning]

I can stop anytime . . .

(Actually, however they may go, this coming Sunday we're doing both bell pieces presently in the folders . . . so we need music for Easter . . . .)

[Karl Henning]

Re-post & refresh:

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

Journey to the Dayspring, Op.40 on YouTube

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 ].

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

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

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

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

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:

http://www.youtube.com/v/8netMuAHFkI

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 ]

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

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

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

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

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 Daves Shed) [Viola Sonata, mvt 2]

MIDI of Suspension Bridge (In Daves 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]

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

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

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

These Unlikely Events, Op.104 № 4

These Unlikely Events, Op.104 № 5

Kyrie, Op.106 № 1

Credo, Op.106 № 3

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

Agnus Dei, Op.106 № 5

Organ Sonata, Op.108 :: Mvt 1, Eritis sicut Deus

Organ Sonata, Op.108 :: Mvt 2, . . . scientes bonum . . .

Organ Sonata, Op.108 :: Mvt 3, . . . et malum

In the Artist's Studio, work-in-progress

Thoreau in Concord Jail, Op.109 for clarinet solo

http://www.youtube.com/v/iDY7Dc41vL0

Airy Distillates, Op.110 for flute solo

Annabel Lee, Op.111 for vocal quartet

http://www.youtube.com/v/tN3aMOrzEb8

Misapprehension, Op.112 for clarinet choir

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

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

just what everyone was expecting, Op.114 for clarinet & marimba

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

My Island Home, Op.115 for percussion ensemble

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

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)

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

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

Psalm 130, Op.118 № 4 (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)

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 9^th Ear at SoundCloud.

[Mirror Image]

Karl, I just finished the second movement of your Viola Sonata and enjoyed it very much. Very nice work my man! Was this work written with a particular violist in mind? I have a friend on FB, who's also a member here on GMG, although quite infrequent member, that studies at the Royal College of Music and is an amazing violist. His name is Elliot Corner. You may want to look him up. He's also a composer and has his own thread here on GMG. I think he would play this work beautifully for you.

[Karl Henning]

In fact, I wrote it for a GMG-er, Dana Huyge, and that is he a-playing.  I do know our Elliott, too . . . .

[Karl Henning]

Well, it's a beautiful day — and we have our initial rehearsal of the quartet (I see people walking about like trees) late this afternoon.  I am expecting to revisit How to Tell (Chasing the Tail of Nothing) as well, and perhaps Charles's two Angel pieces, in their bari saxofied version.

The other spot of potential news is, that one of my choristers in Danvers heard a choral concert directed by one Chad William Kidd, and she was so moved by the experience that she exhorted me to get in contact with him.  This have I done, and I've sent him the three movements presently ready of the Mass.  Who knows?

That exercise in networking reminded me that I have not heard aught from Julian Wachner, so I tried ringing . . . and left vx-mail.

[Mirror Image]

In fact, I wrote it for a GMG-er, Dana Huyge, and that is he a-playing.  I do know our Elliott, too . . . .

Nice, Karl. Beautiful work I finished the third movement earlier. I'd like to see this piece in a concert recital.