Henning's Headquarters

[Karl Henning]

Last night's rehearsal was great fun.  I am pretty much in charge, not merely of the musical component, but of keeping the rehearsal to the purpose (without being a schoolmarm) and of maintaining energy.  The response from the group was good:  they were energized, and are eager to sing.

Of course, after a summer in which few of them did much singing, they tired before the rehearsal time was done;  but I anticipated that . . . one reason why I liked the idea of having two Thursday evening rehearsals before the first Sunday of Choir Duty.

[Florestan]

Last night's rehearsal was great fun.  I am pretty much in charge, not merely of the musical component, but of keeping the rehearsal to the purpose (without being a schoolmarm) and of maintaining energy.  The response from the group was good:  they were energized, and are eager to sing.

Of course, after a summer in which few of them did much singing, they tired before the rehearsal time was done;  but I anticipated that . . . one reason why I liked the idea of having two Thursday evening rehearsals before the first Sunday of Choir Duty.

Did you and they agree on your own tempo markings, or changed them a bit? 

[Karl Henning]

To take your query just a little seriously . . .



Background to the story (which will not surprise anyone here):  My own inclining is perhaps to longer-breathed contemplative choral works.  Not alone!  But as a rule, the more lively sort of choral setting which is quite my thing, would be much too challenging for my choir, dear people (and game to try new things) though they be.  They all responded positively (and often very musically) to my direction and repertory choices of last season;  but a number of members expressed a wish for "more lively" music.  And so, keen as I am to have everyone fully "on board" with the program, Almost all of the music which I placed in the choir's folders (and all of the music which we read last night) was on the energetic side . . . none of them pieces which I feel I could not live without--but, this is not about me.

So, on one hand, I am not personally invested in the matter of tempo for these pieces, and as long as the choir settle into a fairly suitable pace (and it's music they want to do), I have no quarrel.

Last night, there was only what I might call the "traditional" trouble of the accompanist sight-reading while we are trying to rehearse (as you know, it is enough that the choir are sight-reading--even though these are pieces they have sung before).  And of course, when the accompanist's eyes are "glued" to the page, the conductor has no real control over the tempo.

But since last night was a get-the-toes-wet affair, and we have another (proper) rehearsal before we have singing duty, no citations were issued 

[Karl Henning]

The Op.123 is close to done!

[Karl Henning]

I do think it done.  Any questions, comments, or concerns?

[kishnevi]

Hmm.  I shall have to digest it properly.  Two mechanical matters.
First, that opening clutch of keyboard chords seems to my untrained eye to require some wide reaches for the left hand.  Is it as difficult to play as it serms, or might a pianist have trouble simply getting his/her fingers spread apart to reach the notes?
Second, while this is less of a problem for performances in which you are directly involved, you might need to be liberal in the tutti/solo labeling department.  There seem to be places where one section or two are singing tutti while another section is confined to a soloist, but on paper it might also be all three sections are actually solos.

[Karl Henning]

Thanks for having a look, Jeffrey!

You're right, that those chords are too wide for one hand.  In the case of the first four measures, after striking (with pedal) the bass octaves, the left hand will assume duty for the notes on the treble clef staff with the downward stems.

In the case of (e.g.) the fifth measure, where all the notes are marked to sound on the same beat, the "cheat" is the rolled chord in the treble clef.

Would you like the mp3 of the MIDI?  No offense taken if you say no 

[Karl Henning]

Just got e-mail from Paul, and hey!  He likes it.

This looks really good.  I think that the solos will be of perfect length. [ * ]

I'll keep you posted on how it goes in rehearsal.  Thank you so much for writing this!

[ * ] He writes in response to my asking him if, in the G Major section (p.15 ff.) there might be"too many (or too extended) solo passages?"

[Cato]

I do think it done.  Any questions, comments, or concerns?

I have listened mentally to the score several times now, and must give a summa cum laude for the natural flow in the melodies, especially for the Whitman lines!!!  Just a marvelous wedding between words and tones!  Nothing awkward or stilted anywhere.

Most impressive, and I know that it will sound impressive even to the dullest ears!

Are you intending on marking the pedal for the piano, or is that to be done ad libitum?  There are obvious spots where the sustaining pedal should be used, but...

[Karl Henning]

I tend to be a minimalist with such markings;  will leave it to the pianist's discretion.

And thank you!  The word from an outside source is most welcome.  My inner ear has been haunted these past few days with the What is the grass? section.  Back when I first selected the texts, I did not yet have a "vision" of that passage;  but when I reached that point in the score, the music came to me quite intuitively.

Is the final Dona nobis pacem section all right, do you feel?  The material is from some of the earliest sketches which I drew up for the piece;  and since I actually worked it into the score, I've at times heard a nagging voice in the back of my mind.  (It's grown quieter, but I still half-wonder if I am genuinely free to dismiss it.)

[Cato]

I tend to be a minimalist with such markings;  will leave it to the pianist's discretion.

Is the final Dona nobis pacem section all right, do you feel? The material is from some of the earliest sketches which I drew up for the piece;  and since I actually worked it into the score, I've at times heard a nagging voice in the back of my mind.  (It's grown quieter, but I still half-wonder if I am genuinely free to dismiss it.)

Let me again focus on the score this afternoon away from the drooling and mewling of my students!    0:)

[Karl Henning]

Thank you!

[Karl Henning]

Yesterday, I renewed contact with a fellow I first knew back in the Rochester/Buffalo era.

My time in upstate New York was something of a mixed bag, but Boris was an early new acquaintance, and has always been probably the gentlest soul you might hope to meet.  He was one of the Linguistics group pursuing graduate study at the Univ of Rochester, but he also played cello in the Univ Orchestra;  as we refreshed our contact recently, I remembered that he was in the orchestra when they played the Dvořák Eighth.  Well, Boris is in the Boston area (doesn't live at all far from us, in fact) and – he is still playing his cello.

If, I said to him, I were to write a chamber piece including cello, and I asked if you would be game, what would your concerns be?  In brief, if the technical demands are too great, that would induce anxiety;  and a general concern that one needs to learn the entire piece, in order to "self-correct" and be certain one is playing one's own part aright.  Also, he shared that he has had mixed experiences with working with composers on New Music.  And, well, hasn't everyone?  (Everyone who has had occasion to work with composers on New Music, I mean.)

I answered in part with the story of my working with the choir at First Congo (whose Sixth Meeting House we could see across the street, out the restaurant window), how the music director made me welcome to write many pieces, but there was perforce the need to compose within the technical abilities of the choir – so I assured him that I would not write him a virtuosic cello part.  I told him I was thinking of a trio for flute, clarinet and cello, that we three could play at Peter's place which is no great distance from his own home, and that before we actually sat down the three of us together, I would get the piece to him to look over, for his comments.

It was a very nice get-together, and (meseems) the resumption of a beautiful friendship.

[Karl Henning]

Went to the choir room this evening to do some housekeeping ahead of tomorrow's rehearsal.

And . . . starting to think of the Op.124 . . . .

[Karl Henning]

And . . . starting to think of the Op.124 . . . .

Ah-ha!  A fresh text . . . .

[Karl Henning]

And I must ping the marimba player . . . Carola tells me that she likes to meet with (and demo for) a composer who will be writing a piece for her.

[Karl Henning]

Her site, BTW.

[Karl Henning]

Choir rehearsal last night went very well;  we're still in the stamina-rebuilding phase, and I've filled the choir folders with pieces which (as the pastor remarked) are "energetic but not too sentimental," so the group have had good energy.  Just for fun, really (and since they were in the filing cabinets, and I was asked to lead them in livelier music) there are two calypso arrangements (one of them for Christmas – yes, the classic A Calypso Christmas!) and one of the quicker tasks on my slate for this weekend is to create bass parts so that one of the young adults in the congregation can play along.

One delightful surprise was a call from Paul which I took as I was walking from my car to the church (I was plenty early for rehearsal, so we had a nice un-rushed chat).  They were not able to get to my Op.123 on their rehearsal this past Tuesday, but they will be sure to start work on it next week.  Paul also thinks it possible he might do the piece with his choir at FCB;  which is exactly the sort of "could be" which is an effective motivation to get a Lux Nova imprint prepared (something which will happen anyway, as my man at Lux Nova considers the piece readily marketable).

Further, at FCB they are starting to revive a handbell choir, so Paul asked for some of my pieces.  Exciting times!

The concert in Framingham for the concert première of the Op.123 (if Paul decides to bring it to First Church, they will sing it Sunday, 2 Nov) is probably Tuesday, 9 Dec.

[Karl Henning]

Mystic Trumpeter update:  the soprano (Evelyn) and I have our first rehearsal scheduled!  This piece is going to happen!

[Cato]

Mystic Trumpeter update:  the soprano (Evelyn) and I have our first rehearsal scheduled!  This piece is going to happen!

Another highly recommended musical experience: newer GMG members who do not know it should check for the score here:

http://www.good-music-guide.com/community/index.php/topic,92.msg734021.html#msg734021