Henning's Headquarters

[Karl Henning]

Very fine work, Karl. I like the conciseness of the ideas and the unpredictable interplay of the instruments.

Thank you!

[krummholz]

https://soundcloud.com/karl-henning-756715731/karl-henning-oxygen-footprint

Merci!

I like it! In the textures and interplay between the instruments it reminds me a little of Stefan Wolpe's Trio (flute, piano, but cello rather than viola). Fine indeed.

[Karl Henning]

I like it! In the textures and interplay between the instruments it reminds me a little of Stefan Wolpe's Trio (flute, piano, but cello rather than viola). Fine indeed.

Many thanks!

[Karl Henning]

And a new arrangement for our April concert at King's Chapel.

[Karl Henning]

Chances are mighty high that our King's Chapel date will be canceled, of course.

With life on the outside quieting down, my course of action is clear: I have begun work on Scene 12a of White Nights.

[JBS]

Chances are mighty high that our King's Chapel date will be canceled, of course.

With life on the outside quieting down, my course of action is clear: I have begun work on Scene 12a of White Nights.

A definite silver lining to the COVID19 cloud.

[Mirror Image]

With life on the outside quieting down, my course of action is clear: I have begun work on Scene 12a of White Nights.

Very nice! How far along are you with this ballet, Karl?

[Karl Henning]

Very nice! How far along are you with this ballet, Karl?

The Home Stretch, John: 1 hour and 58 minutes composed already, and less than 20' remaining to be written through.

[Mirror Image]

The Home Stretch, John: 1 hour and 58 minutes composed already, and less than 20' remaining to be written through.

Very nice, indeed. When you're finished, will White Nights be the longest work you've ever composed?

[Karl Henning]

Very nice, indeed. When you're finished, will White Nights be the longest work you've ever composed?

Aye.

[Karl Henning]

In a mild quandary. Lots of ideas flowing, which of course is good. I'm weighing whether I really like the start I've made on 12a, or if I need to start from scratch. Will report.

[Karl Henning]

In a mild quandary. Lots of ideas flowing, which of course is good. I'm weighing whether I really like the start I've made on 12a, or if I need to start from scratch. Will report.

Having tinkered a bit more, I've formed the opinion that I should reboot the scene from scratch.

[Karl Henning]

I've made a new start on Scene 12a, the key having been, as Judith Shatin periodically exhorted me in Charlottesville, to write something specific.

[Karl Henning]

I think the marimba may prove part of the solution.

[Karl Henning]

I do think it a solid start. But I'm not convinced by the "final" (in this draught) open fifth

[Cato]

I do think it a solid start. But I'm not convinced by the "final" (in this draught) open fifth

I wrote the following to Karl this morning:

There is truly something Dostoyevskyan in the opening bars of Letter C!  Are you planning on a short pause and then their repetition, perhaps piano, for the next step?  That is what I imagined would happen next.

Excellent contrast between the percussion group's attempt at distraction with their fast steps and the insistent chorale of cloudiness around them!

I don't know of course about your rejected false start, but this is a most evocative and intriguing beginning!

[Karl Henning]

Cheers!

[Karl Henning]

I don't know of course about your rejected false start ...

At first, I was trying to borrow/adapt a passage from an earlier number, and while I like that music fine in its original context, it just did not have fresh expression for this scene, tweak I ne'er so wisely.

[Karl Henning]

Chipping away at the marble

[TheGSMoeller]

Chipping away at the marble

Looks great, Karl! Excited to see this continue, and eventually hear some of it.