Author Topic: Henning's Headquarters  (Read 827963 times)

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Offline k a rl h e nn i ng

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Re: Henning's Headquarters
« Reply #8200 on: July 26, 2020, 05:36:35 AM »
Thanks!
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 aligreto

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Re: Henning's Headquarters
« Reply #8201 on: July 26, 2020, 07:25:16 AM »
Thanks!

Cheers, Karl. I look forward to hearing the rest of the movements of the work.
It is better to remain silent and be thought a fool than to speak and leave no doubt.

Offline krummholz

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Re: Henning's Headquarters
« Reply #8202 on: July 27, 2020, 03:20:34 AM »
Very nice Karl! Neo-baroque seems to be in the air these days. Hmmm...

Offline k a rl h e nn i ng

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Re: Henning's Headquarters
« Reply #8203 on: July 27, 2020, 05:35:40 AM »
Very nice Karl! Neo-baroque seems to be in the air these days. Hmmm...

Never too late to learn from the Master.
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 #8204 on: July 28, 2020, 04:18:52 AM »
A Bell, Op. 170

A ‘guided collective improvisation’ harmonically simple (all gestures in e minor) After a solo soprano opens the piece,  each part is a sequence of two rounds, the four rounds overlapping (1st S-A-B-T, 2nd B-A-S-T); each part keeps its own time.  In a patched-together assemblage, there needn’t be an all-governing tactus to which all four parts hew. (In normal live performance that will be simpler, of course.) Should the four rounds conclude together in a collective final chord on “stirred” (desirable, but not absolutely essential) the chord should cut off together, and after a pause, a solo alto concludes the piece.
Text by Leo Schulte:
A bell-free Life,
Where the Harps of Time are never strung,
And the Chords of Gray are never strummed,
Where the ringing, snowing Crows
And the chiming, drowning Sounds
Of a lost Earth ascending
Are stilled.

Your languishing Faith, Aurelia,
Your increasing Doubt, Aurelius,
Flourishing and anguishing Arcadia,
Chanting Melismas lugubrious,
Music melting into dubious
Infinities.

A bell-filled Death,
Where the Verbs of Time are always heard,
And the Hues of Love are always blurred,
Where Colors blending, confounding, and transcending,
Time-rhymed Colors, Verb-blurred Colors,
All unnamed and unknown are stirred by the Hand
Of God.
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 Cato

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Re: Henning's Headquarters
« Reply #8205 on: July 28, 2020, 06:52:20 AM »
A Bell, Op. 170

A ‘guided collective improvisation’ harmonically simple (all gestures in e minor) After a solo soprano opens the piece,  each part is a sequence of two rounds, the four rounds overlapping (1st S-A-B-T, 2nd B-A-S-T); each part keeps its own time.  In a patched-together assemblage, there needn’t be an all-governing tactus to which all four parts hew. (In normal live performance that will be simpler, of course.) Should the four rounds conclude together in a collective final chord on “stirred” (desirable, but not absolutely essential) the chord should cut off together, and after a pause, a solo alto concludes the piece.

Text by Leo Schulte:
A bell-free Life,
Where the Harps of Time are never strung,
And the Chords of Gray are never strummed,
Where the ringing, snowing Crows
And the chiming, drowning Sounds
Of a lost Earth ascending
Are stilled.

Your languishing Faith, Aurelia,
Your increasing Doubt, Aurelius,
Flourishing and anguishing Arcadia,
Chanting Melismas lugubrious,
Music melting into dubious
Infinities.

A bell-filled Death,
Where the Verbs of Time are always heard,
And the Hues of Love are always blurred,
Where Colors blending, confounding, and transcending,
Time-rhymed Colors, Verb-blurred Colors,
All unnamed and unknown are stirred by the Hand
Of God.

A most excellent idea above for handling the conclusion! 

Many thanks to Karl for using my poem!
"Meet Miss Ruth Sherwood, from Columbus, Ohio, the Middle of the Universe!"

- Brian Aherne introducing Rosalind Russell in  My Sister Eileen (1942)

Offline k a rl h e nn i ng

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Re: Henning's Headquarters
« Reply #8206 on: July 29, 2020, 03:46:09 PM »
I've decided to designate it Op. 170 № 1, and to title it Verb-Blur.  I decided, too, that the tenor part could duplicate the soprano (at the octave, of course) and I" composed the alto part today.  Will see if I have steam enow to compose the bass part tonight.
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, D. Scarlattii, Stravinsky, JS Bach, Liszt, Martinů, Haydn, Henning
Re: Henning's Headquarters
« Reply #8207 on: July 30, 2020, 05:06:59 AM »
Well, I did.
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 #8208 on: August 01, 2020, 03:31:06 PM »
An old piece (prior century and all) but very pleasantly, a fresh recording:

<a href="https://www.youtube.com/v/fl_iD-AphlE" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">https://www.youtube.com/v/fl_iD-AphlE</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

Offline aligreto

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Re: Henning's Headquarters
« Reply #8209 on: August 02, 2020, 03:53:15 AM »
An old piece (prior century and all) but very pleasantly, a fresh recording:

<a href="https://www.youtube.com/v/fl_iD-AphlE" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">https://www.youtube.com/v/fl_iD-AphlE</a>

Certainly, therefore, requires an HIP performance  ;D
It is better to remain silent and be thought a fool than to speak and leave no doubt.

Offline k a rl h e nn i ng

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Re: Henning's Headquarters
« Reply #8210 on: August 02, 2020, 03:56:10 AM »
Hah!
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 krummholz

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Re: Henning's Headquarters
« Reply #8211 on: August 02, 2020, 04:13:10 AM »
An old piece (prior century and all) but very pleasantly, a fresh recording:

<a href="https://www.youtube.com/v/fl_iD-AphlE" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">https://www.youtube.com/v/fl_iD-AphlE</a>
Very nice, Karl!

Offline k a rl h e nn i ng

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Re: Henning's Headquarters
« Reply #8212 on: August 02, 2020, 08:22:32 AM »
Thanks!
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