Henning's Headquarters

[Karl Henning]

At work getting my sketches from today for just what everyone was expecting plugged into Sibelius . . . .

This is how it looks today:

[ older file removed ]

[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

Nicodemus brings myrrh and aloes for the burial of the Christ, Op.85 № 4 for cello & piano

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

http://www.youtube.com/v/iDY7Dc41vL0

Airy Distillates, Op.110 for flute solo

Annabel Lee, Op.111 for vocal quartet

http://www.youtube.com/v/tN3aMOrzEb8

Misapprehension, Op.112 for clarinet choir

The Mystic Trumpeter, Op.113 № 1 for soprano & clarinet

Après-mystère, Op.113 № 2 for flute & clarinet And MIDI

just what everyone was expecting, Op.114 for clarinet & marimba [work-in-progress]

Henningmusick at ReverbNation.

Henningmusick at Instant Encore.

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

[Karl Henning]

I've got the ear of a cellist in the NYC area who is game to take a look at Nicodemus . . . .

And Sara writes that even her accompanist is excited about reading the piece this coming Monday.

[Karl Henning]

This is how [just what everyone was expecting] looks today:

From time to time today, I cue up the MIDI.  It is suitably rollicksome, I dig it.  The present state of the piece ends with clarinet alone;  there will be a corresponding marimba alone passage later, which I was not necessarily planning as a specific musical response to the clarinet alone bit . . . but now I am thinking, I just might.

Now it can be revealed, too, that these two solo passages are basically a practical consideration, so that the other player has a clean page-turn . . . .

[Karl Henning]

As with the long-delayed dots I recently connected, so that I finally showed the Cello Sonatina to Kirstin Peltz, another delayed (happy to say, not missed) opportunity suddenly shines upon my heretofore darkened mind.


Even so, the path was not a straight line.


Earlier this year, I wrote the clarinet choir piece in 15 parts, Misapprehension;  and am presently writing for the clarinet choir's director, Timothy Phillips, the clarinet-&-marimba duet, just what everyone was expecting.


On Facebook, a trumpeter I know has recently "Liked" the page of a brass quintet.  With the latent thought that perhaps a conversation will someday ensue, I have now "Liked" their page, too.  My thoughts turned to Moonrise, the brass quintet (with flugelhorns substituting for trumpets) which I wrote in fruitless hopes that the Synergy Brass Ensemble would perform it, even own it.


Well, Moonrise is a piece of which I am particularly proud.  I think it is beautiful, evocative music, and that it gives a quintet ample room both to demonstrate their collective skill as an ensemble, and to ring out with delicious chords and chilling unisons. Over the years, I have written several pieces "on spec" which wound up unperformed (and which lie on my shelf unperformed still — this never happens to John Williams), and of course I wish that they had.  But that sense that a piece which fellow musicians and listeners would hold in high regard, if only the piece might be created in public, is probably sharpest in the case of Moonrise.


Thus (and call this one of the many reasons why I am glad of the daily, albeit generally incidental, musical newsfeed on Facebook) the "Liking" of the Facebook page, the view of Bobby Thorpe's familiar head-shot, and the memory of hearing the Synergy quintet reading Moonrise in a parlor in Needham (they had a recorder to hand, why, oh why, did they not have tape running?  I tell you, this is a piece you'll like) — This fair morning, my heart welled with a longing that Moonrise should no longer languish unlistened-to.


The thought of the Troy University clarinet choir so fresh in mind, the idea of creating a clarinet quintet arrangement actually occurred to me first (and I think it a good idea).  But then (Dawn Breaks Over Marblehead) methought:  Charles!  The NEC wind ensemble department!


No good reason why it never occurred to me, all these long years, to mention the piece to Charles.


Guess what I have in mind as a Thing to Do today?

[Karl Henning]

I've been invited back to conduct the choir more extensively at next week's rehearsal.  The music which I am expected to rehearse should arrive tomorrow.

[Karl Henning]

Going to send The Mousetrap to prospective players this evening.

[Karl Henning]

The Mousetrap is sent, and rests on the knees of the gods.

[Karl Henning]

The Mousetrap is sent, and rests on the knees of the gods.

The colleague who called for scores thinks it may be too lengthy for this occasion, but is passing it on to the clarinetist.  Hopes are not high in this case, but (a) there is still a possibility, and (b) I am pleased to get that clarinetist's eye on a score of mine, anyway.

[Karl Henning]

The current state of just what everyone was expecting (although not reflecting sketches I drew up this morning).

[ older file removed ]

[springrite]

Since sites like u-tube and various upload/download sites are blocked in China, I am missing a lot here and on other threads.


Talk about Henning's headquarters, when are we opening a branch outside of Boston?

[Karl Henning]

So many things I ought to have done today . . . at least, I made more headway with just what everyone was expecting.

[ older file removed ]

[Karl Henning]

Studied the scores, this morning on the train, in which I shall need to rehearse the choir on Thursday.

[Cato]

So many things I ought to have done today . . . at least, I made more headway with just what everyone was expecting.

There is some funky hin und her in the dialogue between the instruments!   0:)

[Karl Henning]

I hope Tim doesn't mind counting . . . .

[Karl Henning]

Henningmusick at the AGO Boston convention 2014

You need to scroll down near the bottom of the page, FIRST CHURCH IN BOSTON, Wednesday/Thursday, June 25/26, 7:30pm.
66 Marlborough Street, Boston MA 02116:

These services are being presented in the context of First Church's Sunday Unitarian Universalist worship broadcast each week by Emerson College Radio (88.9 FM). Featured works include the premieres of Hilary Tann's Embertides for organ and a commissioned work for choir and marimba by Ed Thompson. The professional First Church Choir conducted by Director of Music Paul Cienniwa sings Karl Henning's motet Love is the Spirit of this Church and former Director of Music Leo Collins' in mutuall love..., a setting of First Church's founding covenant.

[Karl Henning]

There is some funky hin und her in the dialogue between the instruments!   0:)

I may toss out those last three mm. of the clarinet.

Or, I may not.

[Karl Henning]

On the whole, at press time, inclined to toss.  But very pleased at how mm. 1-160 seem to me to hold up.

[Karl Henning]

And now, keeping in mind that crucial distinction between baby and bathwater . . . I think, of those last three measures, I may be dissatisfied only with the rapidity of the last semiquavers.  My plan is to adjust the rhythm, and this (meseems) will drive the next section.

[Karl Henning]

Okay, finally did some practicing last night.  Need to practice some more (obviously), and I do need to spend some time with the two passages I knew I must . . . but they will come to me.