Henning's Headquarters

[Kalevala]

Within reasonable expectation, both Dan and Greta severally feel rather worse, alas! and of course we have canceled today's rehearsal.

Sorry to hear that!

Trust that you are feeling o.k.?

K

[Karl Henning]

Sorry to hear that!

Trust that you are feeling o.k.?

K

I'm fine, thanks!

[Karl Henning]

The Opus 102

[Karl Henning]

I believe I have the first two and a half minutes of the Opus 200 shaped just I wish.

[Karl Henning]

With the Flow Shalt Thou Go

[Karl Henning]

Not long ago I revisited a piece I had pretty much forgotten:

At present I've been slowly sculpting the Opus 200 band piece (this morning I was only at the 150-second mark) and I've decided to protest the neglect into which my Opus 120 has fallen, by borrowing from it for the band piece. As the process is not (nor should it be) any simple copy-&-paste, I'm still working measure by measure. (I'm only pinching about 40-some measures.) Then, when I've laid down those additional 43 -some measures, I expect to massage a little. Tomorrow, I'm off to King's Chapel to hear Aaron play a concert. I'll leave it to him to raise the topic of my Opus 203.

[Karl Henning]

My friend and fellow composer Kevin Scott posts on Facebook from time to time to raise awareness of us living composers. He recently posted about First Symphonies, and he did me the honor of choosing my Opus 143 as the post's "marquee." I added the following comment:

Back when I was first engaged in the earnest study of composition, even as I knew perfectly well that I should need to learn how to walk before running, I had the vague notion that perhaps I would eventually compose 12 symphonies. Of course, it was practically a number pulled out of a hat. It was some time before I had occasion to compose anything for orchestra, and my first orchestral score, The Wind, the Sky & the Wheeling Stars was a modest concert opener commissioned by the director of a local orchestra. More time passed with no opportunity to compose a symphony. At some point, I wondered, "what if the chance at last arises to compose a symphony, but I am unprepared to take up the opportunity, because I have had no experience writing for orchestra in large forms?" That was the motivation for embarking on White Nights, my full evening's ballet after Dostoyevsky. I did some work on the ballet from time to time, but largely because there was no external demand for the ballet, and I would be apt to set the ballet aside to compose something with a nearer prospect of performance, White Nights was my long-term work-in-progress, only inching along towards completion, but never abandoned. Eventually, the COVID lockdown came to be the time when methought, "If this is not the Universe telling me it's time to wrap up the ballet, I cannot read the dang signs." Before that devoutly wished consummation, though, on my 56th birthday I reflected that no, I had not yet composed a symphony, and now, I simply felt both that it was time and that I was ready:
https://henningmusick.blogspot.com/2017/01/ready-for-roll-out.html

[Karl Henning]

Then, when I've laid down those additional 43 -some measures, I expect to massage a little.

Overall, pretty happy with the result. Needs a few tweaks, but the piece pretty much runs four minutes and a half now. I think I have worked enough on it for today, so now to relax.

[Rons_talking]

The Opus 102

What a moving work. Great!

[relm1]

My friend and fellow composer Kevin Scott posts on Facebook from time to time to raise awareness of us living composers. He recently posted about First Symphonies, and he did me the honor of choosing my Opus 143 as the post's "marquee." I added the following comment:

Back when I was first engaged in the earnest study of composition, even as I knew perfectly well that I should need to learn how to walk before running, I had the vague notion that perhaps I would eventually compose 12 symphonies. Of course, it was practically a number pulled out of a hat. It was some time before I had occasion to compose anything for orchestra, and my first orchestral score, The Wind, the Sky & the Wheeling Stars was a modest concert opener commissioned by the director of a local orchestra. More time passed with no opportunity to compose a symphony. At some point, I wondered, "what if the chance at last arises to compose a symphony, but I am unprepared to take up the opportunity, because I have had no experience writing for orchestra in large forms?" That was the motivation for embarking on White Nights, my full evening's ballet after Dostoyevsky. I did some work on the ballet from time to time, but largely because there was no external demand for the ballet, and I would be apt to set the ballet aside to compose something with a nearer prospect of performance, White Nights was my long-term work-in-progress, only inching along towards completion, but never abandoned. Eventually, the COVID lockdown came to be the time when methought, "If this is not the Universe telling me it's time to wrap up the ballet, I cannot read the dang signs." Before that devoutly wished consummation, though, on my 56th birthday I reflected that no, I had not yet composed a symphony, and now, I simply felt both that it was time and that I was ready:
https://henningmusick.blogspot.com/2017/01/ready-for-roll-out.html

Oh that's great, I'm friends with him on fb but missed the post.  Congrats!

[Karl Henning]

What a moving work. Great!

Many thanks!

[Karl Henning]

[Karl Henning]

Overall, pretty happy with the result. Needs a few tweaks, but the piece pretty much runs four minutes and a half now. I think I have worked enough on it for today, so now to relax.

Have scrawled in the desired modifications. Will post the state of the score when I'm back from Aaron's recital. 

[Karl Henning]

Have scrawled in the desired modifications. Will post the state of the score when I'm back from Aaron's recital.

Aaron played beautifully. I especially enjoyed his arrangement of "Lift Every Voice and Sing." With his input, I have the Solution to the bend problem, will modify the score once I'm back home. Just now in my homeward vehicle.

[Karl Henning]

Overall, pretty happy with the result. Needs a few tweaks, but the piece pretty much runs four minutes and a half now. I think I have worked enough on it for today, so now to relax.

The borrowing from Op. 120 begins around m.101.
https://audio.com/karl-henning-1/audio/op-200-like-tears-that-did-their-own-disgrace-bewail-w-i-p-30-sep

[Karl Henning]

Aaron played beautifully. I especially enjoyed his arrangement of "Lift Every Voice and Sing." With his input, I have the Solution to the bend problem, will modify the score once I'm back home. Just now in my homeward vehicle.

A little weird, as I very recently attached the PDF of the present Op. 200, but the forum is not recognizing the Op. 203 PDF

[Karl Henning]

The borrowing from Op. 120 begins around m.101.
https://audio.com/karl-henning-1/audio/op-200-like-tears-that-did-their-own-disgrace-bewail-w-i-p-30-sep

A little more work done.

[Kalevala]

A little more work done.

Karl,

You have been so (extra) industrious lately!  You go buddy!

K

[Karl Henning]

Today's Play and Work

[Karl Henning]

Always Fresh Notions