Henning's Headquarters

[Karl Henning]

Thank you!

[Karl Henning]

Not a ton of work, but I have created the Sibelius file for the Op. 169 № 8 organ prelude, Sorrow and Love flow mingled down, based on the tune Hamburg. I've sketched the first three measures. We shall see.

[aligreto]

Aligreto, I also really liked it.  I think it is the best thing that he has written.  Would be great to have it performed some time.

Yes indeed; here's hoping.

[krummholz]

Yes indeed; here's hoping.

Would love to hear even a midi rendering of this. Did I miss a posting?

[Karl Henning]

Would love to hear even a midi rendering of this. Did I miss a posting?

Will send offline momentarily.

[krummholz]

Thanks Karl. Answered offline (check email).

[Karl Henning]

Very good.

[krummholz]

Thanks for sharing this, Karl, I enjoyed it. Stark, uncompromising, elegiac. Reminded me of Stravinsky in places (between letters U and EE, mostly). I was unfamiliar with Andriessen and had to look him up, then I read that Stravinsky was an early influence of his, so perhaps this was not coincidental. So far listened only once, with score, must listen again without. But a keeper, for sure.

[Karl Henning]

Many thanks! I knew Louis when he was a visiting composer at Buffalo, where I kind of "wound up" for my doctorate after the Eastman School turned me down a second time. I hadn't heard of Louis before. Affable and self-effacing, good sense of humor. He had co-written a book about Stravinsky, The Apollonian Clockwork, which I should re-read at some point.

[krummholz]

Then I'm sorry for your loss, Karl. I noticed that he was almost exactly the same age as my former teacher William Bolcom, who is, fortunately, still alive, but definitely getting up there in years. Another wonderful man, very passionate about music and a good teacher.

[Karl Henning]

Thanks.

[aligreto]

Many thanks! I knew Louis when he was a visiting composer at Buffalo, where I kind of "wound up" for my doctorate after the Eastman School turned me down a second time. I hadn't heard of Louis before. Affable and self-effacing, good sense of humor. He had co-written a book about Stravinsky, The Apollonian Clockwork, which I should re-read at some point.

Ah, that background information makes eminent sense when interpreting your Op. 175. Karl.

[Scion7]

My patron will pay you 50 pengő for a sonata for kazoo and viola da gamba.

Work quickly, and tell no one what you do . . .

[Cato]

Concerning the Symphony #3...

Karl had been sending me the score-in-progress for perusal.  I wrote this to Karl, after he had completed the score.

" I have read and heard the Symphony #3!  While mentally creating the new section I became very enthused and found everything most intriguing!  At the AA-BB areas I thought: "This would be really great with some reference to the opening chorale in counterpoint!"   And you fulfilled my wishes with CC ff. !  A marvelous section, and you know that I loved the enigmatic ending!

Any conductor who does not accept this for performance should be whappity-slapped!

Alexander Tcherepnin's general advice to me in his letters was: "You must always listen to more music!"

My advice to you is parallel: "You must always create more music!" 😇  "

[Karl Henning]

Thanks!

[Karl Henning]

Yesterday I attended a concert by the Charles River Wind Ensemble. There's an odd chance that someone may recall that it was as a result of attending a concert of theirs in the spring of 2018 (after which I introduced myself to music director Matt Marsit) that I set to work on the Op. 148 (Symphony № 2, for Band) Apart from enjoying the concert, my two to-do's were: to confirm that Matt has received the scores for the Op. 148 (perhaps it's a "generational" thing, but he didn't acknowledge my e-mail msgs with any reply) and also to introduce myself to Sebastian Bonaiuto, principal trumpet in the band, and (as it turns out) director of the Boston College band program.

So, yes, Matt received the scores but understandably has had his hands full of late. August, says hem, is his month for sorting things out (also understandable) so we remain in the We Shall See posture.

And, yes, in principle, Sebastian is willing to receive scores of mine, but just as with the CRWE, he needs fully scored pieces, not my odd pieces for 15 or 17 winds. So, I am mulling.

Separately, Wm Kenlon, a fellow composer whose acquaintance I struck up back bwhen Triad sang a set of five pieces of his, is now a band director in (I think) Maine and we'll chat/catch up on the phone this afternoon. I have mentioned the Symphony for Band to him, although I owe Matt the courtesy of first refusal.

[Karl Henning]

Well, it seems that (in the first place) I mistook William's association with a wind ensemble, and (in the second) that he has had occasion to simplify his employmentscape. A very nice phone call, in all events. The immediate takeaway is that he has a new choral score for Triad's consideration.

[Karl Henning]

I've been revisiting [the MIDI of] Misapprehension for clarinet choir in 15 parts, Op. 112. Saltmarsh Stomp for 15 winds, Op. 134a (originally for clarinet choir in 15 parts) and In the Artist's Studio (there's a wide world in there) for 17 winds and harp, Op. 107.

Gotta say it: honestly, I think these are all solid pieces. What's the damned universe got against me, anyway?

[krummholz]

I've been revisiting [the MIDI of] Misapprehension for clarinet choir in 15 parts, Op. 112. Saltmarsh Stomp for 15 winds, Op. 134a (originally for clarinet choir in 15 parts) and In the Artist's Studio (there's a wide world in there) for 17 winds and harp, Op. 107.

Gotta say it: honestly, I think these are all solid pieces. What's the damned universe got against me, anyway?

Your time will come, Karl. Remember the decades of neglect Havergal Brian endured, only to finally achieve recognition in his Indian summer years.

[Karl Henning]

Thanks. I feel like it was bad form, whining like that, but I had to let it fly.