Henning's Headquarters

[Cato]

I would have guessed Gb, since that is where you began, but, you clever fox, you ended on an F#!

Well, I was thinking the infamous Diabolus in Musica, an augmented fourth, e.g. F#-C, would have been the final sound, but Karl's compositional ears must be trusted!

[Karl Henning]

I would have guessed Gb, since that is where you began, but, you clever fox, you ended on an F#!

Why did I think F# rather than G^b?

Maybe just my ancient fondness for the Lydian mode (not especially reflected in the current piece), together with the fact that the mode on C has that tritone spelled with an F#.

And Cato, we've certainly embedded that diabolus in the penultimate chord!

The pedal notes in mm. 82-83, either I should add the staccato-plus-tenuto markings (I should really ask an organist if they make the least sense ; ) . . . or I might add a legato mark, for something different, in which case I should change the C-natural at the end of m.83 to an eighth-note plus eighth-rest, to reflect the need to "reset" the feet for the octave inm. 84ff.

[Karl Henning]

Whether I am actually content with the third movement as is, or whether my brain is just resting, and magnetically repelling any evaluative thought on the matter, I do not find myself thinking of any musical alteration at this point.

[Karl Henning]

Still no final word on the third movement. But then, I am in no hurry: Paul is officially on sabbatical, so he doesn't want to see the full Sonata until the fall;  and while two other organists (at least) have said they'll have a look, they're not getting back to me with any real dispatch. ; )

Per this, I have been angling towards work on The Mystic Trumpeter. Well, more than that, really: I confess that I scribbled a measure or ten while on this morning's train.  Feeling good about it all.

[Karl Henning]

And, lo!

http://www.youtube.com/v/OQHIDzVD2yY

Wow: 264 views.

Of course, Paul's "Lady Ga-Ga Fugue" vid has 18,995 views ; )

[Karl Henning]

Starting to scheme a 30-minute work for piano solo. Sounds crazy, but an old Buffalo mate of mine asked for a piece, and he doesn't want it to be a brief moment musical.

And since this Sunday past marked that rarest of occasions, a Unitarian minister reading from the Bible as part of his sermon, I feel inspired to commemorate the event by using a phrase from that reading for a title: When the morning stars sang together, and all the sons of God shouted for joy.

[Cato]

... I feel inspired to commemorate the event by using a phrase from that reading for a title:

When the morning stars sang together, and all the sons of God shouted for joy.

Now that would seem to call for a veritable Symphony for Piano!   0:)

[Karl Henning]

One must read charitably, as it is a student newspaper reviewing a peer event (and the students of the chorus truly gave of their best).  Still, a few things made this musician smile rather:

The music performed at the Spring Chorus Concert was composed by some of the best early 20th-century British composers.

Doesn't really suit, as with Britten we are certainly pushing forward from the early 20^th century

The concert, "Rule Britannia," began with a few pieces composed by Gustav Holst. The first, "I Vow to Thee, My Country," is a folk hymn. The next two songs were choral hymns from the Rig Veda. All three were originally written in Sanskrit, and later translated into English.

I think he just implied that "I Vow to Thee, My Country" was originally in Sanskrit. (There are three choral hymns in that opus number of the Rig Veda choruses, but only two of those three were on the program).

. . . the second, "To the Unknown God," has a slow beat and changes pitch often.

No comment.

. . . "Jerusalem," is a famous British hymn composed by Charles Hubert Hastings Parry. Unlike "Hymn to Saint Peter," it has a soft, pleasant melody.

Bad luck there, Ben.

The volume of the song changed several times, starting off loud, then getting softer, and then louder again.

No comment.

The first four songs, "Easter," "I Got Me Flowers," "Love Bade Me Welcome" and "The Call," included excellent solos by Evans. In each performance, Evans stood out, hitting and holding high notes.

No comment, either.

[Karl Henning]

Now that would seem to call for a veritable Symphony for Piano!   0:)

No progress, as yet . . . though lately I have been dipping frequently into Koechlin's Les heures persanes, which I can feel as a catalyzing influence.

[Karl Henning]

Oh! And an organist friend inquired after the Sonata via e-mail yesterday. We shall see . . . .

[Parsifal]

No progress, as yet . . . though lately I have been dipping frequently into Koechlin's Les heures persanes, which I can feel as a catalyzing influence.

[Sergeant Rock]

No progress, as yet . . . though lately I have been dipping frequently into Koechlin's Les heures persanes, which I can feel as a catalyzing influence.

Will the resulting composition be dedicated to MI? 

Sarge

[Karl Henning]

;^)

[Karl Henning]

No firm news. The Passion will pass under the glance of a choir conductor here in Boston for whom I have great respect.  Composing an email message to give her the background of the piece . . . and I found (though many here have already heard the entirety of this performance):  A sample of the Sine Nomine performance here.

[Karl Henning]

Had another go at reaching a couple of folks out England way; no luck yet, but I am not despairing!

[Karl Henning]

Re-post & refresh:

Timbrel and Dance, Op.73 [ St Paul's choir plus ].

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

Love is the spirit of this church, Op.85 № 3

The Passion According to St John, Op.92 (on MediaFire, courtesy of Johan)

Lutosawski's Lullaby, Op.96a № 1 (string quartet)

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

Après-lullaby, Op.96a № 3 (string quartet)

Score of Fair Warning [Viola Sonata, mvt 1]

MIDI of Fair Warning [Viola Sonata, mvt 1]

Score of Suspension Bridge (In Daves Shed) [Viola Sonata, mvt 2]

MIDI of Suspension Bridge (In Daves 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]

Johan's MediaFire folder, including the whole of Dana's première performance of the Viola Sonata

These Unlikely Events, Op.104 № 4

These Unlikely Events, Op.104 № 5

Kyrie, Op.106 № 1

Organ Sonata, Op.108 :: Mvt 1, Eritis sicut Deus

Organ Sonata, Op.108 :: Mvt 2, . . . scientes bonum . . .

Organ Sonata, Op.108 :: Mvt 3, . . . et malum

In the Artist's Studio, work-in-progress

Thoreau in Concord Jail, Op.109 for clarinet solo

Airy Distillates, Op.110 for flute solo

Annabel Lee, Op.111 for vocal quartet

Misapprehension, Op.112 for clarinet choir

Henningmusick at ReverbNation.

Henningmusick at Instant Encore.

And about an hour's worth of Henningmusick, too, at SoundCloud.

[TheGSMoeller]

Somehow I missed this one on Sound Cloud, How to Tell, op. 103 is a meditative pleasure. Small in scale, but takes the listener on a thoughtful journey. Bravo, Mr. Henning.

[Cato]

Somehow I missed this one on Sound Cloud, How to Tell, op. 103 is a meditative pleasure. Small in scale, but takes the listener on a thoughtful journey. Bravo, Mr. Henning.

Yes!  Everything is recommended!  But given the budgeting of time these days, people might want to sample Karl Henning's music by starting with Nuhro (on SoundCloud), Annabel Lee, and the Viola Sonata.

[Karl Henning]

Thank you, gents!

[Szykneij]

One must read charitably, as it is a student newspaper reviewing a peer event (and the students of the chorus truly gave of their best).  Still, a few things made this musician smile rather:

Doesn't really suit, as with Britten we are certainly pushing forward from the early 20^th century

I think he just implied that "I Vow to Thee, My Country" was originally in Sanskrit. (There are three choral hymns in that opus number of the Rig Veda choruses, but only two of those three were on the program).


No comment.

Bad luck there, Ben.
Y
No comment.

No comment, either.

Well, it's a liberal arts kind of place. Better musical knowledge at Lowell.