Henning's Headquarters

[Cato]

Just a tickler: day 1 of not hearing back

Is there a possible bias against a composer not currently attached to a university?

[Karl Henning]

He may just be busy;  the e-mail address I have is attached to the University, but that is certainly not his only gig.

Or . . . well, your suggestion is a possibility.

[Karl Henning]

A saxophone quartet has a call for scores, deadline of 1 March. The mischief-maker in me is considering arranging the Agnus Dei for the call . . . .

It arranges quite well . . . and (barring some adjusted slurs, and perhaps striking some repeated notes which were a textual exigencey for the Ur-text) the work is done, and I think I shall send it in tomorrow for the call.  I don't want to call it Agnus Dei for this purpose, and I haven't been happy with such substitutions as Motet for sax quartet . . . just to slap a title on it for the call, I may use the title Brothers, If They Only Knew It.  Or (an alternative which just occurred to me as I was typing) Brass Voices.

[Karl Henning]

Here is the saxophone quartet;  submitted it just a minute or so ago.


While I'm at it . . . going to make this into a flute quartet for Nicole down Georgia way . . . .

[Karl Henning]

Sure enough, an octave higher it lies perfectly well for piccolo, two flutes in C and alto flute.

[Cato]

Sure enough, an octave higher it lies perfectly well for piccolo, two flutes in C and alto flute.

Music as flexible as that of Herr J.S. Bach!

[jochanaan]

Sure enough, an octave higher it lies perfectly well for piccolo, two flutes in C and alto flute.

Would that be called "flauting" convention?

[Karl Henning]

A few weeks ago, when a snow storm interfered with choir rehearsal, Charles wrote a piece (bass voice & clarinet) for the two of us to perform at the following service in the choir's stead.  The day of the service, he suggested we should write pieces for the two of us in this wise;  so I have started a setting of the 130th Psalm . . . .

[Karl Henning]

Okay, here's such news as I've got . . . Paul has been practicing Plotting, and he "testifies to the awesomeness of the harpsichord part."  He and EmmaLee start rehearsing together Friday.

Furthermore, Paul will be the choirmaster preparing the ladies choir for a performance of The Planets by the New Bedford Symphony in May . . .

One of my team/ensemble-building strategies with the Planets ladies will be to have them learn a short a cappella piece for fun. If--and only if--it's up to standard, would you allow this short piece to be sung in the context of the pre-concert lecture? This would serve as a warmup for the ladies; give them more to do; give them on-stage presence in an off-stage performance; and build more audience for the lecture and, in turn, the concert.

My plan would be to not let them know this is in the works and that we're only learning the piece for team/ensemble-building purposes. That way, if it sucks, we don't have to let them down by not doing it. But if it's good, we can make a decision and announcement during performance week.

The piece under advisement is the SSA version of the Alleluia in D.

[Karl Henning]

Some nearly news . . . Although nothing yet has emerged from Alabama viz. just what everyone was expecting, I have struck up an acquaintance with a clarinet/marimba duo right here in Boston (!), Transient Canvas.  They are playing in nearby Somerville, Mass. in a couple of weeks, so I shall go to meet Amy & Matt in person.  I've sent the score not only of just what everyone was expecting, but also of Angular Whimsies . . . just in case Matt will consider a piece for vibraphone and bongos in lieu of the marimba.

We shall see . . . .

[Karl Henning]

Re-post & refresh:

Fancy on Psalm 80 from the Scottish Psalter, Op.34 № 3, performed by Carson Cooman, on YouTube.

Journey to the Dayspring, Op.40 on YouTube

Counting Sheep (or, The Dreamy Abacus of Don Quijote), Op.58a for Pierrot-plus ensemble [ score, part I ].

Counting Sheep (or, The Dreamy Abacus of Don Quijote), Op.58a for Pierrot-plus ensemble [ score, part II ].

Blue Shamrock, Op.63 for clarinet unaccompanied, at Amazon.

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

Intermezzo I from White Nights, Op.75 № 6, arr. for saxophone choir

26 February De profundis, Op.78 [ Jaya Lakshminarayan & friends ]

Moonrise, Op.84 for brass quintet. And MIDI

Moonrise, Op.84a for flute choir in six parts. And MIDI

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

Angular Whimsies, Op.100a (bass clarinet, percussion [two players] & piano)

Whimsy brevis, Op.100b (bass flute & piano)

These Unlikely Events, Op.104 № 4

These Unlikely Events, Op.104 № 5

Kyrie, Op.106 № 1

Credo, Op.106 № 3

Brothers, If They Only Knew It, saxophone quartet (after Op.106 № 5)

Agnus Dei, Op.106 № 5

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

just what everyone was expecting, Op.114a for clarinet, mandocello & double bass

My Island Home, Op.115 for percussion ensemble

Plotting (y is the new x), Op.116 for violin & harpsichord

Jazz for Nostalgic Squirrels, Op.117 (fl, cl in A, gtr & cb) [ and at Soundcloud ]

When the morning stars sang together, and the sons of God shouted for joy, Op.118 № 1 (shakuhachi, drum & handbell choir)

Divinum mysterium, Op.118 № 2 (choir unison & handbells)

Psalm 130, Op.118 № 3 (clarinet & bass voice) [work-in-progress]

The Crystalline Ship, Op.119 № 1 (mezzo-soprano & baritone sxophone)

I Saw People Walking Around Like Trees, Op.120 (flute, clarinet, double-bass & frame drum) [work-in-progress]

8 Oct 2013 recital at King's Chapel

Henningmusick at ReverbNation.

Henningmusick at Instant Encore.

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

The 9^th Ear at SoundCloud.

[Karl Henning]

Not sure if it is truly done, or if I am just a bit tired at this point.

Will let my brain sleep on't.

[Karl Henning]

It's about done . . . I think that, if my mild dissatisfaction is found to linger this morning, the remedy is not any radical matter.

Of course, there are practical typographical concerns . . . particularly Dan's notations for the frame-drum sounds (maybe I should just try to reduce the font . . . wonder if I can do that particularly, rather than redifing the font size globally for those "Technique" text objects).

[Karl Henning]

Or I could simply reduce that staff . . . that might be the easy fix.

[Cato]

A quasi "pizzicato" for the flute! 

I have never seen that in a score! 

[Karl Henning]

It's a technique I saw in Nicole's video.

[Karl Henning]

. . . which is to say, I heard Nicole use that technique (among others) when she was up here in Massachusetts and we played a few recitals together . . . I hadn't quite taken stock of it at the time 

[Karl Henning]

Okay, I've found an octave I don't like (cl and db, m. 132) . . . that will not be an onerous repair.

Largely, though, I think I am content.  I am wavering between leaving it be (modifying that octave), and the insertion of perhaps a single measure.

[jochanaan]

Or I could simply reduce that staff . . . that might be the easy fix.

You'd make a great CEO, Karl, with your staff reductions.

[Cato]

You'd make a great CEO, Karl, with your staff reductions.

Wocka Wocka!

B sharp or C your unemployment office!