Henning's Headquarters

[Karl Henning]

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

In the brief space before I headed off to the Arlington Phil rehearsal last night, I had time to fold my sketch for the triplet accompaniment (mm. 34-37) into the Sibelius file.  During the rehearsal, while the orchestra worked on a piece where my services were not required, I finished sketching out the triplet accompaniment for that phrase (mm. 38-42), and added that to the Sibelius file before retiring.  (I nearly always carry my 3-ring binder with me.)

I may tweak the elegance of this Andante passage, but my immediate feeling is, I am pleased with it.  My earlier sketch was only the tune, and I am happy with the recently conceived accompaniment

On my lunch break today, I may well settle on just what shape the Vivace assai heart of the movement will assume.  Should I "cheat," and incorporate a reference to the first movement?  A graft therefrom, and then take it in a different direction?

[Karl Henning]

Well, I think that mm. 24-33 need to be a shade more relaxed.  Thought perhaps the tempo with the triplets may be just right.

[Karl Henning]

A clarinetist in Boston (whose name is not Henning) has expressed interest in both The Mystic Trumpeter and the Clarinet Sonata.

Am I dreaming?  Pinch me.

[Cato]

A clarinetist in Boston (whose name is not Henning) has expressed interest in both The Mystic Trumpeter and the Clarinet Sonata.

Am I dreaming?  Pinch me.

Try this pinch! 

https://www.youtube.com/v/vHTUDwc1fd8

[Karl Henning]

Hah!

Tonight, I am The Güiro Man!

[Karl Henning]

The morning's work on the fifth movement.  Will the movement have a slightly longer running time, now that I have lingered over the sweet slow introduction?  I am just going to have to compose it, and find out . . . .

[Karl Henning]

Quite probably inspired by this morning's revisitation of Plotting, I decided to have my hand at a passacaglia for the turbulent heart of the fifth movement.  Maybe it's not really turbulent, then.  I guess that will be all right.

[Karl Henning]

I do believe that the fifth movement is done  And thus, the whole enchilada.

[Karl Henning]

I've sent the Sonata (all its several five PDFs) to three pianists here in Boston, and known to me.  So . . . let us see if we can arrange a reading this summer.

I need to prepare an informatively-cued clarinet part for the second movement;  otherwise, I think the clarinet part layout fairly straightforward . . . so that the Lux Nova edition should not languish.

What now, you ask?  In the way of taking a breather before (yes! at last!) plunging back into White Nights, I do have a few light items to see to:

1. We have one more Sunday (25 June) for the handbell choir to ring at church, so I need to see to a piece for rehearsal after the service this Sunday.

2. There is talk of working with a string quartet for the second Triad concert this coming season (that is, talk of keeping with that idea, even though we had an ad hoc quartet for two pieces this last concert).  So I will adapt O Gracious Light for accompaniment by piano and SQ.

3. And the handbell choir director of an Episcopal parish in Cambridge reached out yesterday with the possibility of commissioning me to write a piece for them.

[Karl Henning]

I need to prepare an informatively-cued clarinet part for the second movement [of the Clarinet Sonata];  otherwise, I think the clarinet part layout fairly straightforward . . . so that the Lux Nova edition should not languish.

Last night, I saw to this, and sent the Sibelius files to Lux Nova Press.

And, whatever my plans may have been, work on White Nights has been resumed.

[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.

The local clarinetist with whom I have lately become better acquainted via Facebook, works with Matthew, and will be seeing him later today.

So, hey:  there may be news!

[Karl Henning]

One more piece for my handbell choir for this season.

[Karl Henning]

Okay, I have just finished the "Triad version" of the Op.50 O Gracious Light.

[Karl Henning]

The local clarinetist with whom I have lately become better acquainted via Facebook, works with Matthew, and will be seeing him later today.

So, hey:  there may be news!

As yet, not much.  The scores which I sent are not the full band, and their programming policy is not to do subsets, as people feel left out.  I have countered with a request for the full scoring . . . we shall see.

Or, weeks will pass, and we shan't hear anything.  This is possible, instead . . . .

[Karl Henning]

More jawing about the Op.136

[Karl Henning]

Yesterday evening, I marked the handbell parts for the Pavane.  This morning I adapted the 3^rd & 4^th movements of the Cl Sonata for fl/pf, dubbing the diptych Denial of Symmetry.

[Crudblud]

Karl, I just wanted to say I appreciate the updates. I find your productivity encouraging when my composing powers are flagging.

[Karl Henning]

Thanks for the word!

[Karl Henning]

Yesterday evening, I marked the handbell parts for the Pavane.

Thus, this Sunday – the last Sunday my choir are on duty until the fall – has sort of become Henningmusick Sunday, with the choir singing my latest arrangement of I Want Jesus to Walk With Me, and two of my scores being rung by the handbell choir:  the Pavane and my arrangement of America the Beautiful.

[Karl Henning]

First fresh work-in-progress on the ballet in more than a decade.

There is no denying that the composer means business.

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