Henning's Headquarters

[Cato]

. .. So I took O Traurigkeit... so that there are fewer accidentals for our organist—don't get me started, just don't—  The easiest organ writing in the world—don't get me started, just don't.

The arrangement of O Traurigkeit was quite well received last night.  Start out with good source material, of course, and if you avoid mistakes you won't go far wrong  0:)

SO...did organist Miss Donna Prima take a bow for your arrangement?

[Karl Henning]

She was all right.  It was the calmest rehearsal we've had in four weeks 

[Karl Henning]

Good Triad rehearsal last night (our dress rehearsal, actually . . . concerts are coming up this Saturday & Sunday).  And the only full rehearsal with the string quartet—two of our Triad composers, Julian Bryson and Thomas Stumpf, have pieces for choir and string quartet on the program.  And it was, I suppose, quite probably the first time I every conducted a string quartet.


Tomorrow, I again serve as a "guest rehearsal conductor," as the choir of First Parish in Brookline continues learning their anthem for Easter.  It will be fun, and energetic . . . so I'll probably be rather a bump on a log tonight.

[Karl Henning]

To a few conductors to whom I have sent the Symphony, who have not yet gotten back to me, but who really ought (at some point), I have sent gentle reminders that . . . I am here.

Triad concerts tomorrow and Sunday evenings.

[Karl Henning]

Yesterday morning was an unusually heavy Henningmusick day at the Holy Trinity service:  both the choral anthem (Kingsfold) and the handbell choir piece (with young flutist Marissa Bell) were complimented by a number of parishioners after the service.  The flute-&-bell piece (The Woman at the Well – a "re-purposed" arrangement of When the morning stars sang together, and the sons of God shouted for joy) was more of a 'hit' than I had dared hope for:  the members of the congregation accepted it for the meditation-among-the-wind-chimes soundworld which it is.

The impression I have carried away from the two Triad concerts this weekend is that they are the best performance we have given yet.  It may possibly be, in part, a post-concert the freshest in memory seems the best effect.  But as I reflect on the four pieces which I have conducted (Sarah Riskind's Hariyu, Andrea Clearield's Shar-Ki-Ri, Saunder Choi's Paper Boats) I do feel that, the challenges notwithstanding, the group have sung Thomas Stumpf's Dear Uncle Stranger the best.  The composer was warmly appreciative of both performances, so I can feel that I have repaid him the great favor of his excellent conducting of Nuhro a couple of concerts back.

[Karl Henning]

Meanwhile, Ensemble Aubade have been taking my Oxygen Footprint out west:

6 Apr 2017 in Terre Haute, IN
7 Apr 2017 in Jacksonville, IL
8 Apr 2017 in Des Moines, IA
10 Apr 2017 in Atchison, KS
11 Apr 2017 in Warrensburg, MO

[Karl Henning]

Yesterday before the Triad concert, Charles talked a bit about The 9th Ear. If he organizes a concert for the summer, I shall take part.

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[Karl Henning]

Yesterday before the Triad concert, Charles talked a bit about The 9^th Ear. If he organizes a concert for the summer, I shall take part.

Here's the extended dish.

On Facebook, every now and again there will be an alert that someone has looked at the page for The 9^th Ear.  Over this last "Triad weekend," Charles indicated that he has noticed, as well, and it has surprised him.  (There has not actually been a 9^th Ear event for almost three years – without getting into the matter, there are reasons.)

Parenthetically, a chap here at the office is part of a sort-of-jazz-ensemble which has had an online presence (YouTube, e.g.) for some years, and the cumulative hits have by now resulted in a kind of demand for them, and they are getting gigs.  So there is no reason to suppose, just because The 9^th Ear have been dormant all this while, that they're dead.

Still, if there are going to be any new 9^th Ear event(s), it's going to be Charles's doing.

He did (this past weekend, that is) speak of doing something in the summer.  On the whole, I'll believe it when I see it.  (As to the other members: Charles's wife Nancy has, so far as I can tell, been practically inactive as a composer;  and Jim is the busiest of us all, between teaching at Berklee, a long and generally unreliable commute from Salem, and his impressively full dance card as a freelance guitarist/mandolinist.)  Charles spoke of arranging something this summer;  I've told him, You pin Jim down for a date (or dates), and let me know, my summer is fairly open.

On the chance, I have started a new piece for Jim, Charles and myself (incorporating what Peter Bloom wrily terms "contextual orchestration"), Nun of the Above.  Musically, it will just be a fun bagatelle.  I'll also take the occasion to refresh Studies in Impermanence, of which it is high time that I made a passable recording.  So there is minimally distractive effort for a concert which may not actually get off the ground.

[Karl Henning]

And here is the start of Nun of the Above.

[Karl Henning]

'Tis but a bagatelle, but it's exactly the thing for getting gently back into the swing of composing. With Easter imminent, and my gallivanting off to Tennessee to help my mum move, I need a small-scale project to chip away at, a little each day.

So, yes, did some more writing on the bus this morning.

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[Karl Henning]

Just had a very nice chat on the phone with Peter H. Bloom, who only yesterday returned from a rigorous tour of the Midwest with Ensemble Aubade.  He reports (what we both rather expected) that with the repeat performances, the trio 'seasoned' into Oxygen Footprint perfectly, and that they love the piece. He also reports (what I had not dared to presume) that audiences responded most gratifyingly to the piece.  So, a fresh conquest for Hennigmusick.

[Cato]

Just had a very nice chat on the phone with Peter H. Bloom, who only yesterday returned from a rigorous tour of the Midwest with Ensemble Aubade.  He reports (what we both rather expected) that with the repeat performances, the trio 'seasoned' into Oxygen Footprint perfectly, and that they love the piece. He also reports (what I had not dared to presume) that audiences responded most gratifyingly to the piece.  So, a fresh conquest for Hennigmusick.

Yay Team HenningMusick! 0:)

Most pleasing to know of this, and hope that the atmosphere of open ears continues to dispel the closed ones!

[Karl Henning]

More Nun (as it were)

[kishnevi]

Yay Team HenningMusick! 0:)

Most pleasing to know of this, and hope that the atmosphere of open ears continues to dispel the closed ones!

+1

[Karl Henning]

Thanks!

And the Nun is . . . flying along:

[Karl Henning]

Actually, she may be done . . . .

[Karl Henning]

I do think she is (done):

[Karl Henning]

Song of the Empty Tomb (id est, Liv Plays Scrabble, repurposed/rearranged) was very nicely received this morning.  All in all, a musically successful Easter service. Now, to pack myself to head South . . . .

[Karl Henning]

Present state of the 2nd mvt [ of the Cl Sonata]

This exchange has been very helpful, thanks, Jeffrey, Ben & Leo.  Resolved:

   
• First, that the present mm. 58-61 may in fact be the close of the movement (or, in very nearly the form of the cl. of the m.)
• Second, that an attempt, in good faith, to add two-and-a-half-minutes' 'orth of music to the second movement, is an endeavor both worthwhile and (probably) artistic.
• Third, that THEREFORE, the musical expansion must be From Within.
• Fourth, must it be, though?

I can see what my musical work will be, this weekend.

Thanks, again!

Almost three months later, I am at last tinkering with the expansion-from-within of the 2^nd movement.  May or may not finish this afternoon.  Will report 

[Karl Henning]

The new Boulez is dead!