Henning's Headquarters

[Karl Henning]

Huzzah! I think I may just be about done with this 'un. (Now if only I can find my MS. for № 4 . . . .)

[Karl Henning]

Next up: adapting Marginalia for garden-variety string quartet . . . .

[Karl Henning]

Oof! I had it, but I had goofed in not saving the original cello ensemble file before the string quartet alterations. I had completed those latter! But I had to undo back to the Ur-text to save the original. Done. But then, in trying to re-do, I managed to crash Sibelius.

Bad news: must do over.

Two bits of good news: original is clear, and the do-over will take me 10 mins, tops.

[Karl Henning]

Didn't time myself, but I'm done.

[Karl Henning]

I may just possibly 're-open' № 5. There is an idea which was buzzing around as I was working on the piece, for which I never quite found an insertion point; but as I mull over the last page, either I shall decide to leave it as is, or I shall find where the 'forgotten' material has a home.

[Karl Henning]

Next up: adapting Marginalia for garden-variety string quartet . . . .

Oh, here:

[Karl Henning]

Re-post, and a re-fresh:

26 February De profundis [ Jaya Lakshminarayan & friends ]

15 March Passion rehearsal A [ Sine Nomine ]

15 March Passion rehearsal B [ Sine Nomine ]

15 March Passion rehearsal C [ Sine Nomine ]

12 May recital [ k a rl h e nn i ng Ensemble (Bloom/Henning/Cienniwa) ]

18 May recital [ Bloom/Henning ]

23 May pre-concert rehearsal [ Sine Nomine ]

22 June recital [ N. Chamberlain/B. Chamberlain/Henning ]

Score of The Wind, the Sky, & the Wheeling Stars, Part I

Score of The Wind, the Sky, & the Wheeling Stars, Part II

Score of Fair Warning [Viola Sonata, mvt 1]

MIDI of Fair Warning [Viola Sonata, mvt 1]

Score of Suspension Bridge (In Dave’s Shed) [Viola Sonata, mvt 2]

MIDI of Suspension Bridge (In Dave’s Shed) [Viola Sonata, mvt 2]

Score of Tango in Boston (Dances with Shades) [Viola Sonata, mvt 3]

MIDI of Tango in Boston (Dances with Shades) [Viola Sonata, mvt 3]

Kyrie, Op.106 № 1

Cello Sonatina, Op.105

These Unlikely Events, Op.104 № 5

Marginalia, Op.96a № 2 (string quartet)

[ibanezmonster]

Part of what I was a-scribbling on the train was the inverted canon in what is now mm. 55-71. I mean, so what, a canon, you can't throw a brick without hitting a composer who's writ a canon. But: it sounds mighty cool. That's what I'm talkin'.

Ever written a crab canon? Those are just way too fun to write. 

[Karl Henning]

I have not. (Not sure where I'd put one . . . .)

What's shakin' at the Gazebo, dude?

[Karl Henning]

The Quest for the MS. of № 4 is on-going . . . .

[Karl Henning]

New & Improved № 5!

[Cato]

New & Improved № 5!

Trust me: they are new and improved!  As good as version one was, this has about 40 new bars of great stuff!

[Karl Henning]

Thanks, Cato! I started writing those 40-odd bars on the train in the morning, continued on my lunch hour, and finished (pen-&-paper MS.) on the evening commute. The 'hemiola game' of mm. 139-140, which can then be used as a hinge to recall the 6/8-VS.-alla-breve of the first page, was exactly what I had in mind, as the "stuff" I meant to include which somehow I ran past on my first plunge to the final double-bar.  In the back of my mind, I really did not want to lose that . . . and in all events, in that first attempt towards the end, I was finding myself compromising the 13-measure repetition which was another of the end-game ideas.  Now, by gum, I've got it all ; )

[Karl Henning]

And I've found № 4!

[Karl Henning]

Word just in from my ol' clarinet teacher.  No direct musical response to № 5, but she may be able to use them with her students.

[Karl Henning]

Man, I just slung a pronoun out there with no proper antecedent. I am in utter disgrace.

[Karl Henning]

I found the work-around!  I mean, I started a fresh file, wherein the tempo marking were behaving as they ought, and I copied-&-pasted the work from the now-old file.

Word is that young Helen will bring the Sonatina in for her lesson to-morrow.

And Our Man in Nashville (who is a woman) is fixin' to read it with a pianist . . . may have non-MIDI sound by and by.

[Karl Henning]

Well, and shucks:  here is the new string quartet version of Lutosławski's Lullaby . . . which was originally a piano piece, which I then took as the springboard for the three-movement suite for cello ensemble in four parts, It's all in your head (not that that's a bad place for everything to be).  That suite has sort of sat on the shelf all this time (the cellist, for whose students the piece was invited, has been divorced, and has since returned to France);  so for years now, I've kind of meant to see about adapting the suite for regular string quartet. (Am I boring you?)

[Karl Henning]

Also, I've sent Lutosławski’s Lullaby & Marginalia to Dana, the intrepid soul who called into existence, and gave the first bold performanmce of what one critic has called the worst viola sonata in the world.  Because, hey, you never know, he may play in a quartet.

I sent them, too, to a conductor friend in Michigan, as an odd chance, really; but he's going to see about the possibility of having the piece read as part of a festival there. Good gracious, that would mean . . . publicity!

What else to say?  For Way Down the Road (somewhere in Op.110 territory) I have schemes for a set of orchestral songs (light-ish scoring, really).  Before that distant task, though, there is White Nights to finish

[madaboutmahler]

Great news, Karl!