Henning's Headquarters

[Mirror Image]

No scoffing, you're quite right.

Very cool. What was the inspiration for this particular work, Karl?

[Brian]

Very cool. What was the inspiration for this particular work, Karl?

A comment like this makes me want to remind you about Vagn Holmboe's book. There is an illuminating talk about the word "inspiration," and also fascinating examples of music he composed 'subconsciously' or entirely accidentally, as it were, among many other fascinating compositorial tidbits.

[Sergeant Rock]

I'll delete my post, John  Let's just forget about it.

Sarge

[Mirror Image]

I'll delete my post, John  Let's just forget about it.

Sarge

All is forgotten, my friend. By the way, you weren't wrong in your post. You're absolutely right, I should have been more receptive and appreciative of Brian's post.

[Mirror Image]

My apologies to Brian and most of all Karl. Now back to some Henningsmusick.

[Brian]

I don't really care what Holmboe's thoughts on inspiration are, this is Mr. Henning's thread, not Holmboe's.

I missed the post that got Sarge angry, thankfully, and I appreciate that this is very much Karl's headquarters, but you should care what Holmboe thinks about inspiration, cuz it's interesting. The grand total of Holmboe works I'd heard before reading his book was 1; he barely talks about his music at all.

In any case, I too am interested to hear any insights Karl might have about his creative process, as I'd be interested to hear from any composer. But one of Holmboe's thoughts, which had come to my mind reading this thread, is that often music sort of happens to its composer, unbidden.

Cheers all around 

[Karl Henning]

A comment like this makes me want to remind you about Vagn Holmboe's book. There is an illuminating talk about the word "inspiration," and also fascinating examples of music he composed 'subconsciously' or entirely accidentally, as it were, among many other fascinating compositorial tidbits.

This is, in fact, more germane to the origin of Out in the Sun than is the question about inspiration. For a goodish while before, most of the pieces I had been writing were small-scale sacred pieces for musicians of modest ability. And I came to feel that what I needed, in order to "clear the cobwebs," was to write an energetic, large-scale piece for instrumental ensemble, relying on a certain level of musical excellence.

[Mirror Image]

But one of Holmboe's thoughts, which had come to my mind reading this thread, is that often music sort of happens to its composer, unbidden.

This reminds of me of an Elgar quote: "Music is the air, music is all around us, the world is full of it, and you simply take as much as you require."

[Mirror Image]

This is, in fact, more germane to the origin of Out in the Sun than is the question about inspiration. For a goodish while before, most of the pieces I had been writing were small-scale sacred pieces for musicians of modest ability. And I came to feel that what I needed, in order to "clear the cobwebs," was to write an energetic, large-scale piece for instrumental ensemble, relying on a certain level of musical excellence.

I see. You had to shed some excess skin and dip your mind into something completely different.

[Karl Henning]

As with many of my works, my first priority was on the lines of, "If I were a member of the ensemble, would I have fun playing this piece?"

[Karl Henning]

Originally, I scored the piece for six saxophones (and the four brasswinds). That is, the original 5' "trunk" of the piece.

When, a couple of years later, I saw a call for scores with certain specs, I thought this 5' "trunk" would suit the call--but I needed to swap clarinets for two of the saxes.

Then when the conductor who was associated with the call invited me to finish the piece, the new scoring certainly inspired specific places for the piece to go.

[mahler10th]

Originally, I scored the piece for six saxophones (and the four brasswinds). That is, the original 5' "trunk" of the piece.

When, a couple of years later, I saw a call for scores with certain specs, I thought this 5' "trunk" would suit the call--but I needed to swap clarinets for two of the saxes.

Then when the conductor who was associated with the call invited me to finish the piece, the new scoring certainly inspired specific places for the piece to go.

How fascinating the insights and and cycles of the musicians mind.

[Florestan]

As with many of my works, my first priority was on the lines of, "If I were a member of the ensemble, would I have fun playing this piece?"

What, no deep thought, no personal utterances, just entertainment? You're a lackey of the aristocracy, like that old, liveried, wigged guy... can't remember his name... ! 

[Karl Henning]

Oh, no! You're about to send me up to my unheated garret for time-out, aren't you?!

[Karl Henning]

And... to-morrow is Classical Revolution Detroit. I wonder if the Op.96a will go on?...

Fingers still crossed!

Well, it will go on, at another Classical Revolution Detroit event on Sunday the 17^th. Part of the idea of the event is, relaxed atmosphere, public outreach in unconventional venues . . . so John thinks that the rhythmic quirks and pitfalls of № 1 (Lutosławski's Lullaby) might be dicey, but the other two pieces will definitely fly.

He is also kindly arranging a private reading of probably all three, and will furnish a recording, "warts and all."

[Florestan]

Oh, no! You're about to send me up to my unheated garret for time-out, aren't you?!

Out of which I expect, nay, order you to come tonight with a serenade and some keyboard variations for my mistress, Mlle Ulrika-Krimhilde von Hochenschweigenblützenstein.

[Cato]

Out of which I expect, nay, order you to come tonight with a serenade and some keyboard variations for my mistress, Mlle Ulrika-Krimhilde von Hochenschweigenblützenstein.

For a small fee, your wife will remain ignorant about this mistress, Mr. Florestan! 

On the other hand, I understand it: for some reason I have always had a weakness for babes named Krimhilde.   

[Karl Henning]

(* swoon *)

[Karl Henning]

Work-in-progress

[Karl Henning]

Obviously (and even though probably I will keep things fairly quiet throughout) I need to add the occasional dynamic indication . . . mostly, this draught was about bringing the MS. on board in Sibelius.

In a way, this is the piece I thought I meant to write with the Studies in Impermanence . . . a piece where I try to apply the Feldman method.  The Studies quickly went elsewhere, and became their own being (even if the initial Feldmanic impulse was still an important germ). For a couple of weeks, I've been living with Triadic Memories.  Of course, one thinks, I have a better idea, now, of how to enter this chamber . . . and (knowing how I was a bit mistaken on that point in the past, or perhaps at some level I really wanted to write something otherwise with the Studies, at the outset) I've had something of an auditor's eye/ear out, to stress-test the result.  But this does feel settled into The Zone.

Of course, Triadic Memories is an 80-minute piece, and I am only responsible for (say) 25 minutes. (Nor do I know quite how I, or anyone, should play an 80-minute unaccompanied clarinet work.)

Got more work done on the train. I am finding the piece (probably not surprisingly) a sort of compositorial meditation.