Henning's Headquarters

[Karl Henning]

Yesterday morning actually involved a posy of lesser Henningmusick.  For the Introit of our service in Danvers, the handbell choir rang my arrangement of "America the Beautiful."  At the end, we invited the congregation to sing along as we played it again . . . of course there is a brief introduction, but many of the congregation started singing right away, so I turned around while conducting and said, "Wait for it!" ; )

One of the choir's anthems was my arrangement of Star of the East from The Southern Harmony, though not with the characteristic Epiphany text (as you expect from the name of the tune), but retexted with the verses from the Russian Hymn ("God the Omnipotent") . . . a text with an arguably bitter historical resonance, since Chamberlain came back from Munich, with the delusional claim that he had secured "peace in our time," surely an allusion to this hymn.

Immediately upon the conclusion of our service, I made my way to the Back Bay for Paul Cienniwa's final service at First Church Boston, at the end of which the choir surprised Paul by singing my polyphonic setting of Love is the spirit, which I composed for them (at Paul's request) and which they have sort of adopted as "their song."  (They/we sang it very well, I think they were on good behavior with the composer present.)

[Karl Henning]

Not that there is any prospect as yet, but I am revisiting this today:

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

[Karl Henning]

http://www.youtube.com/v/qM_w5UTKwDE

[Karl Henning]

(I do need to list the various versions which have accumulated.)

[Karl Henning]

Not really sure why we haven't heard a proper performance of this 'un, yet.

http://www.youtube.com/v/k4VCNgu6HjY

[Karl Henning]

My choir really likes the new arrangement of I Want Jesus to Walk With Me which we first read together last night.

Now revisiting:

http://www.youtube.com/v/ZSMo90L5xJA

[Karl Henning]

Well, the duoKYaria call seems up in the air yet. So while it remains the case that my sand dance has as yet gone nowhere, it may, still.

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Per this post, I sent a message asking what the status of the call was (on 3 May).

A reply came yesterday, "We are still working on the duoKYaria call. Please be patient."

Just reporting.

[Karl Henning]

My choir really likes the new arrangement of I Want Jesus to Walk With Me which we first read together last night.

Now revisiting:

http://www.youtube.com/v/ZSMo90L5xJA

Hmmm, should I prepare an orchestral version of this?

[Karl Henning]

All right:  I believe I may now have finished the fourth movement of the Clarinet Sonata.

I am going grocery shopping, and when I return I shall try the question further.

[Karl Henning]

Diamonds From the Dust choral ensemble gave a cracking performance tonight of I Want Jesus to Walk With Me.  Three of the singers in the group told me, separately, that my piece was their favorite on the program.  And a few members of the audience responded so very warmly to my arrangement, that I was quite touched.

[Karl Henning]

All right:  I believe I may now have finished the fourth movement of the Clarinet Sonata.

I am going grocery shopping, and when I return I shall try the question further.

Well, I think I do pronounce the movement done:

[Karl Henning]

(Must have been re-charged by the vacation:  I had not touched, in any sense, the fourth movement since 17 May, and today I just wrapped it up.)

[Cato]

Check out this movement!  For those who can read music well, you will note the spirit of Charles Ives  0:) hovering over Karl's shoulder, not in the sense of a collage, but in that a certain buoyant jazzy happiness inhabits opening, and then a similar delight is heard in the dance-like Easy March.

For those who know Karl's work, they will recognize that this music is in the Henning style, and not an imitation of Mr. Ives by any means.

I read through the entire score this morning.  The above comments are valid for the conclusion of the movement!  The new sections (e.g. the 6/8 part) plug right into the merry atmosphere established in the opening, and the final bars with its development of the "easy march" are a perfect way to say: "So long, folks, see you soon!" 

[Karl Henning]

Many thanks!  The 3rd and 4th movements together are a sort of diptych, lighter in tone.  I am mulling the 5th ... perhaps homey bookends to an intense center, to recall some of the "unyielding" rhetoric of the 1st.

Today I worked on the orchestral adaptation of Ear Buds (which I think finishable tomorrow evening); and had a very nice meeting with Orlando Cela, who likes the Symphony very much, although it will be a world of manœuvering to bring it to pass. 2019-20 season at the soonest. But/and the orchestral Ear Buds may prove a good first step.

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[Karl Henning]

March on my man!

Request fulfilled, in the fourth movement!  And it bears the Cato Seal of Approval.

[Karl Henning]

I'm doubtful as to just what the links of the chain are (trying to figure out just what degree of 'cold' my cold call was) . . . possibly that a new acquaintance plays in the Charles River Wind Ensemble, and in poking around Facebook I learnt that he is the director.  But on 22 May I sent a message to Matthew Marsit asking if I might send him some scores.  Probably a matter of his privacy settings, but he did not see my message until 30 May, and wrote to say that he would like to see some PDFs.  Of course, I was down in The Sunblock State, and generally not within range of wifi . . . so it is only this morning that I sent him scores of Ear Buds, Misapprehension, and In the Artist's Studio (to his e-mail address, not via Messenger).

Of course, today is Monday, and the "second Monday of Summer" at that, so one should allow the chap ample time for a reply.

This morning I reviewed the MIDI extrusions of the first through fourth movements of the Op.136;  and I think I am very pleased.  The apparent equivocation may not be any hint of actual dissatisfaction (although, it may, let's be fair) but instead, I think, determination to end with a strong fifth movement, a movement to match the first in focus and power.  I have sent the presently completed movements to Thos. Stumpf (who so gamely accompanied me in just what everyone was expecting) . . . so we shall see if he writes back this side of the next Triad get-together.

Follow-up to Nun of the Above . . . one member of the trio has been hospitalized.  I am not sure just what his ailment is, and his wife has had only limited energies for reporting;  but she does write of a long recovery, yet with a tone of relief at the present state of affairs, so I am guardedly hopeful for Jim.

[Karl Henning]

The arrangement of Ear Buds for orchestra is done.  This fresh, substantial visit with the piece has been highly gratifying; and it even surprises me, a little, just how natural a fit it is for orchestra.

[Karl Henning]

The start of the fifth movement.

[Karl Henning]

[...]

v. After a reading of "The Mysterious Stranger" [ Andante — Vivace assai — Andante ]

[...]

The present state of the outline, then, is:

i. Allegro (9:45)
ii. Grave (9:45) [as in the original plan, the two movements of roughly the same duration]
iii. Grazioso (2:30) – attacca
iv. Vivo – Marziale ma amabile (3:45) – attacca
v. Andante — Vivace assai — Andante (6:45)

The breakdown of the 4th mvt will be 60 seconds of darned Vivo, and 2:45 of relaxed march.

The breakdown of the 5th, 1:30 + 2:30 + 2:45

Re-shuffling the breakdown of the 5th mvt: 3:00 [Larghetto — Andante] + 2:00 [Vivace assai] + 1:45 [Andante]

[Karl Henning]

Proceeding with the fifth movement. (Fresh file, filled out the accompaniment.)