Henning's Headquarters

[Karl Henning]

This is the event for which the Libellas called for scores. So, it may or may not be the occasion of the première of the Henning Op.111 ; )

[Cato]

If you have the score, see if you agree with what I wrote to Karl yesterday:

"Very striking were e.g. bars 21, 26, 49-57, 67-69.  The pianissimo section in 69 ff.  and the ritardando/decrescendo in bars 81-83 are exquisite!  And Yes to that Ninth Chord in the final bar!"

[Karl Henning]

I have to go sing with Paul, or I'd reply! : )

[Cato]

I have to go sing with Paul, or I'd reply! : )

"Make a joyful sound unto the Lord!"   0:)

[Karl Henning]

Well, it's not an especially glorious work we're singing this morning.

Our tenor, Nick, is singing "Danny Boy," though....

[Karl Henning]

Incidentally, the Organ Sonata (of which, yes, only the first movement is as yet complete, though I do have sketches for each of the remaining two movements) is starting to make the rounds . . . I've sent the PDF to organists in New York & Sweden.  Paul himself is game to take a look, but only when he shall have returned from Jamaica, the slacker.

[Karl Henning]

. . . The pianissimo section in 69 ff.  and the ritardando/decrescendo in bars 81-83 are exquisite!  And Yes to that Ninth Chord in the final bar!"

Ought to have made the connection right away, but when my head is so immersed in a new score, sometimes I don't even understand my own landmarks. Very pleased that the "improved" chilling and killing came in for mention!

And I am very proud of that cadence in mm.81-83 . . . in my first quick-&-dirty sketch, that ended on the open fifth, but as I was making progress in Sibelius, I knew that was all wrong, that the last thing wanted at that point was a full stop.  The deceptive cadence there was one of those obvious, easy, and just plain right moments.

It has all of its obviously mechanical failings, but if anyone wants the mp3, let the composer know.

[Karl Henning]

Well . . . to-day I have revisited two incomplete scores, neither of which had I looked at in a long time (and the current state of both scores is about four and a half minutes finished): Discreet Erasures, and (more recently) In the Artist's Studio (There's a wide world in there).  As a result, really jazzed about both of them.

Of course, I'm still finishing the clarinet choir piece first.  Feeling good . . . .

[Cato]

.

It has all of its obviously mechanical failings, but if anyone wants the mp3, let the composer know.

It is quite worth it, especially if you don't have an acquaintance with the vox humana capability of synthesizers these days.  I remarked earlier to Karl that the eeriness of the vocalic performance is very intriguing, given the poem's atmosphere.

As a result, really jazzed about both of them.

Wocka Wocka!   0:)

[Florestan]

Karl, you have e-mail message.  0:)

[Karl Henning]

Oh! Perhaps the work address?  I'll get the msg to-morrow. Congratulations, brother! Many years!  God give you all joy!

[Florestan]

Oh! Perhaps the work address? I'll get the msg to-morrow.

It's the only one working right now, if I'm not mistaken.

Congratulations, brother! Many years!  God give you all joy![/font]

Thank you, dear friend!

[Karl Henning]

Okay, a bit more of Misapprehension . . . .

[Karl Henning]

. . . And now: I've less than a week to wrap up Annabel Lee, have to send her in to the Libellas this Saturday coming. Onward!

Word in late last night:

Thank you so much for your submission!  It looks wonderful.  We will be in touch soon.

"My man" in the quartet (who was not the author here) was preoccupied with a Cantata Singers concert yesterday afternoon, so she hadn't any chance to look at Annabel yet.

[Karl Henning]

One reason I really mustn't give up: there's so much music-making in the Boston area alone, and not only do I not know of all of it, some of it is quite close.

I'll never know why it didn't occur to me until to-day . . . but I've sent e-mail ('cold,' but hey . . .) to the music minister at an Episcopal parish quite nearby.  And they seem to have a concert series, so that is another door I want to see if my foot will stay a while.

Pinged my friend in Nashville . . . not expecting much at this point viz. the Cello Sonatina or the quartet version of It's all in your head.... But still, one must try.

[Karl Henning]

Okay, a bit more of Misapprehension . . . .

The outbreak of strict counterpoint must owe everthing to hearing the K.551 at Symphony Hall this Saturday night past (Christoph Eschenbach was the guest conductor, and I believe this is not the first time we've heard the BSO under his leadership; I like him, a lot).  I like it, but am still pondering which direction to pursue from that point.

[Karl Henning]

Just had an amusing e-mail exchange with Heinrich, booking a spring 2014 date at King's Chapel. 15 April is a Tuesday next year, and if I write a piece titled Form EZ, you will know why . . . .

[kishnevi]

Just had an amusing e-mail exchange with Heinrich, booking a spring 2014 date at King's Chapel. 15 April is a Tuesday next year, and if I write a piece titled Form EZ, you will know why . . . .

Or, as truly subtle,  something taking off from the "Instrumentalsatz in F-dur"  for violin and orchestra, to which BWV number 1040 is allocated.

[Cato]

Or, as truly subtle,  something taking off from the "Instrumentalsatz in F-dur"  for violin and orchestra, to which BWV number 1040 is allocated.

That should be HWV !   

[Karl Henning]

(* chortle *)

Sin is dew to selfishness.

(* double chortle *)