Henning's Headquarters

[karlhenning]

No, the disc is fine, I haven't had any 'click issues'... Which piece(s)?

Sara? . . .

[karlhenning]

Started composing a new piece on the train out of Boston last night, and on the bus ride back into town this morning.  Trumpet solo.  Probably as a result of the new Assyrian exhibit about to open at the MFA, my working title is The Angel Who Bears a Flaming Sword.

[J.Z. Herrenberg]

Sara? . . .

To be more precise - I ripped the CD immediately and have listened only to the mp3s. Those haven't given me any trouble. The disc is now with Harry...

[karlhenning]

I do remember, mijn vriend.

[mn dave]

I'm writing a piece of fiction in which the building the town orchestra plays at is called "Henning Hall."

[karlhenning]

 

[Lethevich]

Sara? . . .

Oopsie haha, I keep forgetting this section Danke!

I don't think it's a digital audio glitch from the mp3ing process, it's just the ambient sounds in the passion - for example one is at 14:44. another at 21:51 - it is totally lame to even care, but my brain would not let it go

[karlhenning]

Oopsie haha, I keep forgetting this section Danke!

I don't think it's a digital audio glitch from the mp3ing process, it's just the ambient sounds in the passion - for example one is at 14:44. another at 21:51 - it is totally lame to even care, but my brain would not let it go

No, not lame to care . . . there's a lot of background noise especially from 13:30 to 14:30, lots of indeterminate clacking, page shuffling.  The composer cares, too;  would love for there to be another and a better performance and recording 

[mn dave]

Yes, we need fine studio versions. Digital recorders are pretty cheap.

Set it up.

[J.Z. Herrenberg]

Oopsie haha, I keep forgetting this section Danke!

I don't think it's a digital audio glitch from the mp3ing process, it's just the ambient sounds in the passion

That's a relief... more or less.

[mahler10th]

--------------------------------------------------------------------------------
mahler10 has likely tried a second time on the Passion;  it seems that his earlier download cut the file off before the end.

I wonder if anyone else had trouble?

And Sara seemed to have some click issues (did I send you a bad disc, Johan?)

I downloaded it again and to my fury it was cut even earlier...so balls, I'm downloading it again as soon as I finish this post and will get back to you, obvioulsy something to do with my connection!  I have the libretto from an earlier link in here, which is fabulous, will aid in the listening of the full thing (!), and in fact I'm VERY MUCH looking forward to appreciating it in it's entireity.  I'm away now to give the download another bash.

[mahler10th]

I got it in full!
Now to print the libretto and follow it through...

[J.Z. Herrenberg]

I got it in full!
Now to print the libretto and follow it through...

Excellent. I saw that you had downloaded it at 00:58:35 (CEST)...

[mahler10th]

The Passion according to St John
by Karl Henning, Ph.D
The text of this Anthem comprises of the verses John 18:1 – 19:42

After Jesus had spoken these words, he went out with his disciples across the Kidron valley to a place where there was a garden, which he and his disciples entered.
Now Judas, who betrayed him, also knew the place, because Jesus often met there with his disciples.
So Judas brought a detachment of soldiers together with police from the chief priests and the Pharisees, and they came there with lanterns and torches and weapons.
Then Jesus, knowing all that was to happen to him, came forward and asked them, "Whom are you looking for?"
They answered, "Jesus of Nazareth." Jesus replied, "I am he." Judas, who betrayed him, was standing with them.
When Jesus said to them, "I am he," they stepped back and fell to the ground.
Again he asked them, "Whom are you looking for?" And they said, "Jesus of Nazareth."
Jesus answered, "I told you that I am he. So if you are looking for me, let these men go."
This was to fulfill the word that he had spoken, "I did not lose a single one of those whom you gave me."
Then Simon Peter, who had a sword, drew it, struck the high priest's slave, and cut off his right ear. The slave's name was Malchus.
Jesus said to Peter, "Put your sword back into its sheath. Am I not to drink the cup that the Father has given me?"
So the soldiers, their officer, and the Jewish police arrested Jesus and bound him.
First they took him to Annas, who was the father-in-law of Caiaphas, the high priest that year.
Caiaphas was the one who had advised the Jews that it was better to have one person die for the people.
Simon Peter and another disciple followed Jesus. Since that disciple was known to the high priest, he went with Jesus into the courtyard of the high priest,  but Peter was standing outside at the gate. So the other disciple, who was known to the high priest, went out, spoke to the woman who guarded the gate, and brought Peter in.
The woman said to Peter, "You are not also one of this man's disciples, are you?" He said, "I am not."
Now the slaves and the police had made a charcoal fire because it was cold, and they were standing around it and warming themselves. Peter also was standing with them and warming himself.
Then the high priest questioned Jesus about his disciples and about his teaching.
Jesus answered, "I have spoken openly to the world; I have always taught in synagogues and in the temple, where all the Jews come together. I have said nothing in secret.
Why do you ask me? Ask those who heard what I said to them; they know what I said."
When he had said this, one of the police standing nearby struck Jesus on the face, saying, "Is that how you answer the high priest?"
Jesus answered, "If I have spoken wrongly, testify to the wrong. But if I have spoken rightly, why do you strike me?"
Then Annas sent him bound to Caiaphas the high priest.
Now Simon Peter was standing and warming himself. They asked him, "You are not also one of his disciples, are you?" He denied it and said, "I am not."
One of the slaves of the high priest, a relative of the man whose ear Peter had cut off, asked, "Did I not see you in the garden with him?"
Again Peter denied it, and at that moment the cock crowed.
Then they took Jesus from Caiaphas to Pilate's headquarters. It was early in the morning. They themselves did not enter the headquarters, so as to avoid ritual defilement and to be able to eat the Passover.
So Pilate went out to them and said, "What accusation do you bring against this man?"
They answered, "If this man were not a criminal, we would not have handed him over to you."
Pilate said to them, "Take him yourselves and judge him according to your law." The Jews replied, "We are not permitted to put anyone to death."
(This was to fulfill what Jesus had said when he indicated the kind of death he was to die.)
Then Pilate entered the headquarters again, summoned Jesus, and asked him, "Are you the King of the Jews?"
Jesus answered, "Do you ask this on your own, or did others tell you about me?"
Pilate replied, "I am not a Jew, am I? Your own nation and the chief priests have handed you over to me. What have you done?"
Jesus answered, "My kingdom is not from this world. If my kingdom were from this world, my followers would be fighting to keep me from being handed over to the Jews. But as it is, my kingdom is not from here."
Pilate asked him, "So you are a king?" Jesus answered, "You say that I am a king. For this I was born, and for this I came into the world, to testify to the truth. Everyone who belongs to the truth listens to my voice."
Pilate asked him, "What is truth?" After he had said this, he went out to the Jews again and told them, "I find no case against him.
But you have a custom that I release someone for you at the Passover. Do you want me to release for you the King of the Jews?"
They shouted in reply, "Not this man, but Barabbas!" Now Barabbas was a bandit.
Then Pilate took Jesus and had him flogged.
And the soldiers wove a crown of thorns and put it on his head, and they dressed him in a purple robe.
They kept coming up to him, saying, "Hail, King of the Jews!" and striking him on the face.
Pilate went out again and said to them, "Look, I am bringing him out to you to let you know that I find no case against him."
So Jesus came out, wearing the crown of thorns and the purple robe. Pilate said to them, "Here is the man!"
When the chief priests and the police saw him, they shouted, "Crucify him! Crucify him!" Pilate said to them, "Take him yourselves and crucify him; I find no case against him."
The Jews answered him, "We have a law, and according to that law he ought to die because he has claimed to be the Son of God."
Now when Pilate heard this, he was more afraid than ever.
He entered his headquarters again and asked Jesus, "Where are you from?" But Jesus gave him no answer.
Pilate therefore said to him, "Do you refuse to speak to me? Do you not know that I have power to release you, and power to crucify you?"
Jesus answered him, "You would have no power over me unless it had been given you from above; therefore the one who handed me over to you is guilty of a greater sin."
From then on Pilate tried to release him, but the Jews cried out, "If you release this man, you are no friend of the emperor. Everyone who claims to be a king sets himself against the emperor."
When Pilate heard these words, he brought Jesus outside and sat on the judge's bench at a place called The Stone Pavement, or in Hebrew Gabbatha.
Now it was the day of Preparation for the Passover; and it was about noon. He said to the Jews, "Here is your King!"
They cried out, "Away with him! Away with him! Crucify him!" Pilate asked them, "Shall I crucify your King?" The chief priests answered, "We have no king but the emperor."
Then he handed him over to them to be crucified. So they took Jesus; and carrying the cross by himself, he went out to what is called The Place of the Skull, which in Hebrew is called Golgotha.
There they crucified him, and with him two others, one on either side, with Jesus between them.
Pilate also had an inscription written and put on the cross. It read, "Jesus of Nazareth, the King of the Jews."
Many of the Jews read this inscription, because the place where Jesus was crucified was near the city; and it was written in Hebrew, in Latin, and in Greek.
Then the chief priests of the Jews said to Pilate, "Do not write, 'The King of the Jews,' but, 'This man said, I am King of the Jews.'"
Pilate answered, "What I have written I have written."
When the soldiers had crucified Jesus, they took his clothes and divided them into four parts, one for each soldier. They also took his tunic; now the tunic was seamless, woven in one piece from the top. 
So they said to one another, "Let us not tear it, but cast lots for it to see who will get it." This was to fulfill what the scripture says, "They divided my clothes among themselves, and for my clothing they cast lots."
And that is what the soldiers did. Meanwhile, standing near the cross of Jesus were his mother, and his mother's sister, Mary the wife of Clopas, and Mary Magdalene.
When Jesus saw his mother and the disciple whom he loved standing beside her, he said to his mother, "Woman, here is your son."
Then he said to the disciple, "Here is your mother." And from that hour the disciple took her into his own home.
After this, when Jesus knew that all was now finished, he said (in order to fulfill the scripture), "I am thirsty."
A jar full of sour wine was standing there. So they put a sponge full of the wine on a branch of hyssop and held it to his mouth.
When Jesus had received the wine, he said, "It is finished." Then he bowed his head and gave up his spirit.
Since it was the day of Preparation, the Jews did not want the bodies left on the cross during the sabbath, especially because that sabbath was a day of great solemnity. So they asked Pilate to have the legs of the crucified men broken and the bodies removed.
Then the soldiers came and broke the legs of the first and of the other who had been crucified with him.
But when they came to Jesus and saw that he was already dead, they did not break his legs.
Instead, one of the soldiers pierced his side with a spear, and at once blood and water came out.
(He who saw this has testified so that you also may believe. His testimony is true, and he knows that he tells the truth.)
These things occurred so that the scripture might be fulfilled, "None of his bones shall be broken."
And again another passage of scripture says, "They will look on the one whom they have pierced."
After these things, Joseph of Arimathea, who was a disciple of Jesus, though a secret one because of his fear of the Jews, asked Pilate to let him take away the body of Jesus. Pilate gave him permission; so he came and removed his body.
Nicodemus, who had at first come to Jesus by night, also came, bringing a mixture of myrrh and aloes, weighing about a hundred pounds.
They took the body of Jesus and wrapped it with the spices in linen cloths, according to the burial custom of the Jews.
Now there was a garden in the place where he was crucified, and in the garden there was a new tomb in which no one had ever been laid.
And so, because it was the Jewish day of Preparation, and the tomb was nearby, they laid Jesus there.

THE END

Johns Notes:  This is an outstanding piece of work, in itself a musical manifestation of Corpus Christi, being full and melodic in the Western Christian tradition and quoting directly from the gospel of St. John.  It can be heard in two parts.  The denial of Peter and Jesus's trial are contained in the first part of this sacred anthem which lasts for 20 minuites, and gives the listener a deep religious understanding of events through beautifully structured vocal harmonics.  The second part opens with deep and resonant male voices overlayed by a clear, lower register female voice announcing:  "There they crucified him, and with him two others, one on either side, with Jesus between them."  The harmonics throughout this part are considerably different from what went before, and we come to appreciate the gravity and horror of what is happening unto the end of St. Johns gospel.

To paraphrase a decree on Litany by The Council of Vaison in 529;  "Let that beautiful custom of all the provinces of the East and of Italy be kept up, viz., that of singing with great effect and compunction the 'Kyrie Eleison' Hennings St. Johns Passion at Mass, Matins, and Vespers, because so sweet and pleasing a chant, even though continued day and night without interruption, could never produce disgust or weariness". 

Christian music performers and publishers out there should do more than take note with this one.  It should be pressed to CD immediately and both released and performed in time for Lent so practicing Christians can listen and come to understand with every fibre of their being the holiness and reverence Paschal Time demands.

[karlhenning]

Thank you so very much for your kind reception of my work, John.

I do hope we may hear it sung better still.

[Lilas Pastia]

What I crave most about you Passion, Karl, its its closeness with Johns' unique writing style. He, alone among the Evangelists, wrote in a repetitive-accretive idiom. And that's where that Firste Parte really hits it : the increasingly hypnotic manner in which John brings us into the Passion narrative. And then that break of emotional/writing style for a more emotional, broken, "quavering" response to the Crucifixion and Entombment. And how the initial "archaic" musical style comes back in places in that last third of the work. Mixing the old with the new is particularly relevant here.

I've always preferred Bach's St-John Passion to his St-Matthew one - even though the latter has a more 'spiritual' bent. No wonder he was called St-John The Divine. Karl has grasped this essential - unique - character about John's writing. I'm not comparing Henning to Bach, but the artist's response to his subject. And it's fully worthy of It.

[karlhenning]

I have been editing, at long last, a piano piece I wrote long since in St Petersburg. An improbably easy piece, which probably means it will never be professionally performed . . . easy enough even for me to have the cheek to play it on my recital of 18 months ago.

I no longer have regular access to a piano; should even strike the adjective regular, there. I've really needed to add all sorts of local detail, so that the score should reflect a fair degree of the nuances I've always played into the piece. And so my work now has been all a matter of reading the pages, and memory.

And it is a strikingly vivid memory-engendering piece for me. Maria and I have been married now for fourteen years, a lot has happened (and a lot has not happened) over that time, and things are very different in some ways. Yet, concentrating on how I remember this piece 'feels' in my hands and arms (without actually playing it now, mind you), I am brought back, and I almost believe I am sitting at the upright piano in our apartment in Petersburg, and it is our first year of wedded life. It is fresher than looking at a snapshot, nor have I ever known such a sensation in my life ever before. It's very nearly like a youth elixir.

[karlhenning]

Here's something a bit odd. I've found the MS. of a (piano) Toccata which, somehow, I've thought for years that I still needed to finish.  I find, though, that it is an almost entirely fair draught, and I've clearly reached the final double-bar.

? ? ?

[karlhenning]

Further blastness-from-the-past . . . ran across the piano jury sheets for Luk Vaes, who played the premiere of a set of three pieces called Little Towns, Low Countries, and who later played the third of the pieces for the jury.

And, a pencil sketch Maria did of me way back then in Petersburg.

[zamyrabyrd]

Nice drawing but were you a teenager 14 years ago?

ZB