Henning's Headquarters

[Cato]

Last night's work on Misapprehension was a matter of re-working mm.109-124. As I 'lived with' that passage, I realized that the rhythmic pacing (which was a close recapitulation of an idea or two from the opening) felt entirely different after the extended quicker tempo of the Deciso. Basically had to broaden some of the time values, give that passage more weight of its own account, and now ready to move on with the "watchworks" section,

My good intentions to read the score with a good amount of concentration in the past days went nowhere!  Telephone calls with errands and projects - all designed to make sure that idleness is not tempted into the Devil's Workshop    - have sabotaged me, and I need to leave again in about 15 minutes!

Anyway, having heard the score's opening pages at least in a mental concert, let me say that the polyphonic Swiss-watch gearing is a delight, and I suspect the composer has a larger tour of the watch factory waiting for us near the conclusion.

I am not the first one to notice this, but in Schoenberg's "atonal" scores, as well as many of the dodecaphonic scores, the filling of musical space with polyphony seems to function the way a cadence would in a traditional tonal work.  One notices this technique throughout Misapprehension, especially starting with the Deciso section in bars 32-43, 44-55, 83-111.

[Karl Henning]

Just back from a good 97-minute walk . . . on which (almost predictably) I did some mental composing, and discovered both how Misapprehension should end (as it were), and the way to proceed with the 'watch-works' section, in order to set up the ending.

[Mirror Image]

Congratulations on all the well-deserved success, Karl.

[Karl Henning]

Per this, Paul wrote to me, I don't know the Hindemith sonatas at all, but I kept wondering if there was a relationship.

I should know the Hindemith organ sonatas, but don't. I heard the lovely Maxine Thevenot play one of them at Old South on Copley Square some years ago.  I do not remember which, don't really remember the piece, though I remember thinking it a good 'un.

[Karl Henning]

Eureka!

I should explain that, only I am keen to do the work first : )

[kishnevi]

Eureka!

I should explain that, only I am keen to do the work first : )

We'll be content.  Just make sure no one grabs a photo of you running down the street with only that bath towel on.  It's still rather cold up in Boston, after all.  At least wear a bathrobe.

[Karl Henning]

I found a solution to one passage whose execution was not so musical a result as I wished.  I may yet perform some trimming of the 'new, improved' passage . . . pressing on to the end.  The big double-bar at the end is truly the end, though I've not filled the score out yet for that last page.

[ibanezmonster]

Last night's work on Misapprehension was a matter of re-working mm.109-124. As I 'lived with' that passage, I realized that the rhythmic pacing (which was a close recapitulation of an idea or two from the opening) felt entirely different after the extended quicker tempo of the Deciso. Basically had to broaden some of the time values, give that passage more weight of its own account, and now ready to move on with the "watchworks" section,

I've experienced this so many times...

[Karl Henning]

To-day's arrow shot into the air: an e-mail about White Nights.

[Karl Henning]

I found a solution to one passage whose execution was not so musical a result as I wished.  I may yet perform some trimming of the 'new, improved' passage . . . pressing on to the end.  The big double-bar at the end is truly the end, though I've not filled the score out yet for that last page.

mm. 134-182 are a big improvement over my first go at that passage (which I don't think I posted), which was just too muddy. I am pleased that this draught has clear definition, but I cannot help feeling that it needs trimming, duration-wise.  Some pruning, and possibly an acceleration, should do the trick.

[Karl Henning]

In the ending, though (pp.27-28), I take unalloyed pride. I think it the most apt conclusion I might have devised.  All the more reason I want to get that extended passage before in good trim . . . .

[Karl Henning]

mm. 134-182 are a big improvement over my first go at that passage (which I don't think I posted), which was just too muddy. I am pleased that this draught has clear definition, but I cannot help feeling that it needs trimming, duration-wise.  Some pruning, and possibly an acceleration, should do the trick.

Or here's a trippy thought: might my quarrel with the passage (too long) be mitigated, if I move the whole section earlier in the piece?

Or, of course, both displacing it, and pruning it, may be the fix.

All in all, glad that I told the music director that I needed a few days more to lock the piece in just where I want it.

[Karl Henning]

Hah! The "cure" turned out to be easier than I was making room for, though I like the fact that I was prepared at need to pitch the whole thing out ; )

At any rate, I now pronounce Misapprehension done.

[TheGSMoeller]

Wow! Phenomanel, Karl. Can't wait to hear this performed.

[kishnevi]

Hah! The "cure" turned out to be easier than I was making room for, though I like the fact that I was prepared at need to pitch the whole thing out ; )

At any rate, I now pronounce Misapprehension done.

Rejoice greatly, I tell thee....

[Cato]

Rejoice greatly, I tell thee....

Amen!   0:)

The juggling of the assorted motifs throughout the work is most deft: check out also things like the effect of the 16ths creating a shimmering effect on pages 24-25, and how the 8th-note figures on page 26 act as a variation on that effect.

[Karl Henning]

Thanks, gents! Greg, Jeffrey, if an mp3 is of interest/service to you, PM me with an email address.

[Karl Henning]

No definite word on when the string pastoral (or other bits) from White Nights may at last be brought to Glens Falls, but the conductor tells me that it remains on his list.

The next King's Chapel date is Tuesday, 8 October, and the plan is to perform Mystic Trumpeter then. Thus, I shall want to finish its composition . . . but I have time to address the second and probably third movements of the Organ Sonata first.

[Cato]

No definite word on when the string pastoral (or other bits) from White Nights may at last be brought to Glens Falls, but the conductor tells me that it remains on his list.

Would a little baksheesh make things definite?      Maybe we can pass the hat!

[Karl Henning]

Well, the 12 May program looks mighty toothsome!