Henning's Headquarters

[Karl Henning]

Forsooth!

[Karl Henning]

jo: I have forwarded you the score to Charles's piece.  But here it is for general study.  Will link to the performance, as soon as it is generally available.

[Karl Henning]

https://soundcloud.com/9th-ear/karl-henning-how-to-tell-chasing-the-tail-of-nothing-op-103-7-june-14

https://soundcloud.com/9th-ear/karl-henning-le-tombeau-de-wag-op122a

[Karl Henning]

All right!  Now that the concerts are done, and the audio is out and about . . . last night, I did the grocery shopping.

Oh, which then left me at liberty to resume the Great White Nights Project.  Got back to work on the re-do of Night the First, Scene 1.  Seven measures done.  More than just a symbolic return.

[Karl Henning]

More about Thoreau
Than the average Joe
Will need to kneau . . . .

[North Star]

More about Thoreau
Than the average Joe
Will need to kneau . . . .

Now there's an interesting pair of words to start with: 'Mind you' 

[Karl Henning]

Hah!

[Karl Henning]

More work last night, on the "re-do" of Night the First, Scene 1.  I am finding just how capricious my "urge to edit/emend" can be . . . The passage which I was bringing into Sibelius before the Christmas music hiatus, somehow I was dissatisfied with . . . not dissatisfied with that passage, but with the fact that it went on, and I was toying with the idea of re-scoring it.

But coming back to the same passage after a couple of weeks, I sense no dissatisfaction at all.  Am I being too "soft" now?  Was I being peculiarly unsympathetic (and to my own work!) then?

I think I must trust what I had written, and keep the additions to needed articulations and dynamics, and resist any urge to re-compose or re-score.

[EigenUser]

Karl, where can I hear the alleged "worst viola sonata ever"? I tried to find it on your YouTube page when you sent me the "Plotting" a couple of weeks a go, but I didn't see it there.

Did you hear the clip on my page? 0:)

[Karl Henning]

The first movement of the Sonata, Fair Warning, is on my SoundCloud here.

Score of Fair Warning [Viola Sonata, mvt 1]

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

Score of Tango in Boston (Dances with Shades) [Viola Sonata, mvt 3]

Cato's analysis of the Viola Sonata

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

[EigenUser]

The first movement of the Sonata, Fair Warning, is on my SoundCloud here.

Score of Fair Warning [Viola Sonata, mvt 1]

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

Score of Tango in Boston (Dances with Shades) [Viola Sonata, mvt 3]

Cato's analysis of the Viola Sonata

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

Nice! I'm listening to the first movement now. The piano part seems very difficult! I was working on a viola sonata for a while with an extremely difficult piano part. I'll post parts of it sometime.

Some parts of it (yours) remind me of Bartok's 3rd SQ (that's a good thing -- the one SQ of his that I really like).

[Karl Henning]

Thanks!  Coincidentally, the pianist from the première will be in the Boston area next week, and we shall probably get together for a spot of tea.

This morning, I've been chuffing along with Scene 1 . . . now at p.25 (of 42) from the old version of the score.

[North Star]

I've listened to Thoreau a few times (not on one sitting, though) and really like it.

[Karl Henning]

Thank you, indeed!

[Karl Henning]

Okay, it's done but I do not think it can be quite done . . . ready for proofing, and there is one section which has me asking myself rather hard questions.

I'm inclined to do the proofing before "releasing" audio, but I am also glad of additional editorial eyes and ears, so if you want the audio of the present state of the Scene, just let a chap know.


[Hm, file of the score is too large to attach. Perhaps I shall find a work-around later this evening.  Need tea RIGHT NOW.]

[Karl Henning]

Okay, here we try again.

[Karl Henning]

Okay, al que quiere . . . .

Between E. and G., the marimba/piano/harp flashes are a modification from the original.
Between CC. and EE., the Fl/Ob/Cor ang and Hn is all reassignment.
The flute doubling the bass clarinet in m.391 was a whimsical addition.

[Karl Henning]

Maybe it's just my ears "in the bubble," but as I listen to the MIDI proof, the passage (can you guess which one?) which for the space of two-three days had me wondering whether I shouldn't re-tool it somehow, just feels right (again) to me.

Separately, the "highlights" which I added between E. and G. were inspired by (similarly passing) qualms . . . there were a few days when I feared that the string counterpoint just went on forever, and maybe I should, well, do something else.  Artistically, I want to be open to the possibility that, when I go back to these earlier scenes, there may be some compositional tightening needed.

On the other hand, I am resisting any haste, because I am apt rather to trust myself, and want to give the work the benefit of the doubt.  I don't want, either, to bust in and break something which does not, in fact, need any alteration.

[Karl Henning]

Very cool, Karl.


This is really good. I love the Interlude III/Variation, such vigor leading into it too.  Would love to hear the combination of Choir, Organ and Brass in a nice hall. May I make a request for the next Christmas tune transcription? 

Tentative word is that God Rest Ye Merry, Gentlemen is an early favorite. Still, nothing definite to emerge until the July meeting.

[Karl Henning]

Okay, this may be done (and in the doing, I learnt many of the tasks which I need for the larger scores in Sibelius, and now I can set to the Overture).

Good thing I've gone back to the source. Forest is an error, I must change it to meadows.