Henning's Headquarters

[greg]

I listened to the Viola Sonata last night. Very well written- awesome piece! 

It has a really contemporary feel to it. The buildup in the middle movement reminds me of the buildup in the middle movement of Adams' Harmonielehre, although there are more Darmstadt-ish influences overall.

Do you have an opus number for it yet?

[karlhenning]

Opus 102

And thanks!  I am proud to have written something which some discomforted listener calls "the worst viola sonata ever" ; )

[DavidW]

Well that's an awesome reason to be lax with your ears, but his Viola Sonata is quite a work, when you do get to it. I was quite impressed with it. (Although, that just comes from my bias in regards to 'internet' composer.)

Well I think that Karl has transcended the internet composer label.  I mean I don't know it would stand up if played side by side with Shostakovich's viola sonata, but if you were to program say Wuorinen and Henning side by side they would fit well.  I hope that Karl, Dana and the pianist consider selling the performance on itunes.  It might have an audience.

[karlhenning]

Well I think that Karl has transcended the internet composer label.  I mean I don't know it would stand up if played side by side with Shostakovich's viola sonata, but if you were to program say Wuorinen and Henning side by side they would fit well.  I hope that Karl, Dana and the pianist consider selling the performance on itunes.  It might have an audience.

I am struck by your mentioning the Shostakovich, because Dana was talking about possibly programming the Shostakovich Opus 147 together with my own sonata on a concert.

I thought the flow of Dana's recital last month — Dvořák, Henning [intermission] Rakhmaninov, Rochberg — worked very nicely.

[Philoctetes]

Well I think that Karl has transcended the internet composer label.  I mean I don't know it would stand up if played side by side with Shostakovich's viola sonata, but if you were to program say Wuorinen and Henning side by side they would fit well.  I hope that Karl, Dana and the pianist consider selling the performance on itunes.  It might have an audience.

I totally agree with that, but I think you caught the gist of my post. Henning is legit. He's elite (Hacker reference for the nerds). 

[karlhenning]

I've got composition cred, baby.

[Père Malfait]

I've only had the opportunity to listen to "Fair Warning" so far, but I definitely like it! I especially appreciate the contrast between melodic and aleatoric moments within the whole. Very affecting. Looking forward to hearing the rest! Most impressive, Karl!

[karlhenning]

Many thanks, Lee!

Say, do you ever have occasion to play with a clarinetist?  Unusually, I have my cl/org pieces in convenient order, as I'll be playing them next week.

[karlhenning]

Heinrich made me smile . . . we hadn't talked yet about which of my pieces would be on next week's program, so he lists it as Favorite Works by Henning.

[Père Malfait]

Many thanks, Lee!

Say, do you ever have occasion to play with a clarinetist?  Unusually, I have my cl/org pieces in convenient order, as I'll be playing them next week.

You're very welcome! No, I'm not acquainted with any local clarinetists, although some surely exist.     I *do* however, know a very fine young cellist/gambist - have you ever considered writing a viola da gamba/harpsichord sonata?

[karlhenning]

You're very welcome! No, I'm not acquainted with any local clarinetists, although some surely exist.     I *do* however, know a very fine young cellist/gambist - have you ever considered writing a viola da gamba/harpsichord sonata?

Fabulous idea! How does the gamba differ to the modern cello, please?

[Luke]

Fabulous idea! How does the gamba differ to the modern cello, please?

Karl, what are you thinking, asking for information on the technical capabilities of an instrument? Haven't you learnt yet, that's simply not necessary....   

Sounds a lovely idea, btw, I must add! So many delicious instrumental combinations, so little time...

[karlhenning]

Karl, what are you thinking, asking for information on the technical capabilities of an instrument? Haven't you learnt yet, that's simply not necessary....   

Dang, you're right, Luke! I should just let the geeenius flow, and let the performers pick up the pieces where they may : )

[karlhenning]

Lee, if viole da gamba are all much the same, I can consult my friend Paul, whose ex-wife played gamba. (Or did she play gamba parts on a more-or-less modern cello? . . .)

[Père Malfait]

Fabulous idea! How does the gamba differ to the modern cello, please?

I'm certainly no expert, but off the top of my head, the viola da gamba has six strings, moveable frets, and the bow is held underhand. It's also totally supported by the player's legs (i.e. it doesn't have an endpin).  There are some differences in tessitura as well, I think. I'll follow up with my friend; he should be able to elucidate the practical differences, from a compositional point of view.

[karlhenning]

That would be wonderful, thanks! I shouldn't like to write anything impossible (or even impractically difficult). What is the range of your preferred harpsichord? Thanks!

[DavidW]

Karl I think you should simply dismiss negative un-constructive criticism and not dwell.  If your music is any good you will have as many enemies as you have fans.

[karlhenning]

Well, that is excellent advice, Davey; and I embrace it.

[MN Dave]

There are similar quotes about more famous composers, so yeah: idiots. 

[karlhenning]

Got some practicing in last night; not a lot, but as much as I could manage (yes, I haven't touched the clarinet since 22 June).  The good news is that there is time to rebuild stamina for a half hour concert in time for Tuesday. So, of course, more practice tonight.

The clarinet/organ music is much easier to play than (for but two examples) Lunar Glare or The Mousetrap. It is music which could have wider semi-pro use. Distribution and publicity are perennial problems.

No use complaining; it won't change any time soon.