Henning's Headquarters

[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 ].

I Look From Afar, Op.60 for choir, brass quintet, organ & optional timpani

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

Sweetest Ancient Cradle Song, Op.67 for choir, brass quintet, organ & optional timpani 1^st half | 2^nd half

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

Scene 1 from White Nights, Op.75 № 2

Scene 2 from White Nights, Op.75 № 3

Scene 3a from White Nights, Op.75 № 4

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

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

God Rest Ye Merry, Gentlemen, Op.80 carol for choir, brass quintet, organ & timpani

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 ]

Conclusion of the 19 Mar 2010 performance by Sine Nomine of the St John Passion, Op.92:

http://www.youtube.com/v/8netMuAHFkI

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 | Recording on SoundCloud

For God so loved the world, after Op.87 № 9 {Would you like the Doxology with that?} Yes | No | Recording on SoundCloud

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]

Cato's analysis of the Viola Sonata

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)

http://www.youtube.com/v/OAp3w15ISl4

How to Tell (Chasing the Tail of Nothing), Op.103 (alto flute, clarinet & frame drum); 7 June 2014 performance

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/OnLYQ748aEg

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

http://www.youtube.com/v/2vKGfppo0o8

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)

http://www.youtube.com/v/79tPHWpH3UI

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

http://www.youtube.com/v/MPr7NhE2-Bs

Easter Stikheron, Op.118 № 3 (choir SATB & handbells)

Welcome, Happy Morning!, Op.118 № 4 (handbells)

My Lord, What a Morning, Op.118 № 5 (choir & handbells)

http://www.youtube.com/v/AJzV-RxXiIk

Hymtunes Moscow & Te Deum, Op.118 № 6 (handbells)

Musette, Op.118 № 7 (handbells)

Psalm 130, Op.118 № 8 [ I think ] (clarinet & bass voice) [work-in-progress]

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

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

http://www.youtube.com/v/E0_-CTvtSS8

... illa existimans quia hortulanus esset ...., Op.121 (cello & piano) [work-in-progress]

Le tombeau de W.A.G., Op.122a (flute, clarinet, double-bass & frame drum) Audio

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.

And: Maria appears on the evening news in DC.

[Karl Henning]

Good work done on the new "edition" of the Overture;  got to p. 7 (of 44), and I do think it's good.

[Karl Henning]

Okay, here's a tease: the start of the Overture.

[Karl Henning]

Hm, had to "dial down" the sampling rate in order to get a file small enough to attach, and we wonder if that result was worth the exercise 

[Karl Henning]

Reached p. 12 of the Overture, so:  gradual progress.  I think if my goal is to have the Overture done this weekend, I am on a sustainable path . . . .

[Karl Henning]

An organist in Denmark to whom I sent the Op.108 has been busy. But, we had a very nice email exchange today, and she will have a look.

[Karl Henning]

The AGO convention is in Boston next week, and we shall sing Love Is the Spirit at two services at FCB.  The idea, too, is to have new music by composers associated with FCB and/or this event available for perusal/purchase after the services . . . so Lux Nova imprints of both Love Is the Spirit and the Organ Sonata are in rapid production!

[Karl Henning]

The AGO convention is in Boston next week, and we shall sing Love Is the Spirit at two services at FCB.  The idea, too, is to have new music by composers associated with FCB and/or this event available for perusal/purchase after the services . . . so Lux Nova imprints of both Love Is the Spirit and the Organ Sonata are in rapid production!

I have just learnt that the performances will not be broadcast in 2,000 theaters in 67 countries.  I'm fine with that.

[Karl Henning]

Very close to having the Overture done (or, done again    )

[Ken B]

Very close to having the Overture done (or, done again    )

Done over, not I trust, over done.

[Karl Henning]

I shan't see it overdone in my lifetime.

Finished (again)!  Expect the score will be too large a file to attach here . . . aye, just so.

[Karl Henning]

Rehearsal from 1:30 to 4:00 this afternoon (with breaks).  Love is the Spirit went very nicely.

[Karl Henning]

Story to follow.  (Still have bass clarinet material to add near the end.)

[Karl Henning]

In one of those delightful ironies, the First Church Choir will be singing an AGO commission, a piece accompanied by marimba;  and the marimba player is a fellow I have come to know, one of the members of the duo Transient Canvas.

So at a brief lull in the rehearsal this Sunday past, I talked to Matt about just what everyone was expecting.  He likes the piece (or, there is the possibility, this may be diplomacy, and no fault to anyone if so), but it does not seem to be the clarinetist's cup of Assam.  He also mentioned that both of the players find it visually annoying when there is beaming across the bar.  (I heard this with a wry internal smile, thinking how I was so concerned that beams across the bar would vex organists in the last movement of the Sonata.)  Matt speculated, too, that, who knows? Amy may like the piece better next year.  So I told Matt that I would send a revised score with the beaming normalized.

Since I've now (largely) finished with the White Nights Overture, and have not yet begun on Scene 3b (and as I shall be seeing Matt at the services tomorrow night and Thursday), I thought it would be a good palate-cleanser to take a break from the ballet last night and address Matt's notational concerns, so that I can send, and make that ol' eye contact while we're both on the job tomorrow.  And I thought, Why wait on the odd chance that Amy will like the piece next year?

So I decided (a little whimsically, a little suddenly) that I would create an alternative text, (very nearly) what everyone was expecting, writing a largely new bass clarinet part, and see if I feel that it works as well as the original just what everyone was expecting (which I still like just fine, thank you very much).

So, there: this is the story behind the present score, which I plan to wrap up this evening.

[Karl Henning]

Melody-loving friends here at GMG . . . let me play advocatus diaboli against the White Nights Overture a while.

From a certain standpoint, the Overture is in great part made of up of one or the other of just two tunes.  Is it tiresome?  Are the tunes godawful?  (Or, all right the first time, but shoot me please before the recapitulation?)

Is it just too much of the same thing for ten minutes and a half?

[Karl Henning]

Okay!  It's done!

[EigenUser]

Okay!  It's done!

The first few bars remind me of the first piece in "Musica Ricercata" (except you have 'E's instead of 'A's).

[Karl Henning]

The first few bars remind me of the first piece in "Musica Ricercata" (except you have 'E's instead of 'A's).

I'm trying to figure out how you shared the audio!

[audio]https://www.dropbox.com/s/jv7ojb8lhjna1gr/Op114%20no5%20very%20nearly%20what%20everyone%20was%20expecting.mp3[/audio]

[Karl Henning]

Melody-loving friends here at GMG . . . let me play advocatus diaboli against the White Nights Overture a while.

From a certain standpoint, the Overture is in great part made of up of one or the other of just two tunes.  Is it tiresome?  Are the tunes godawful?  (Or, all right the first time, but shoot me please before the recapitulation?)

Is it just too much of the same thing for ten minutes and a half?

And, the audio for all who haven't yet heard it:

[audio]https://www.dropbox.com/s/70dvuqgnbahfu88/Op75%20no1%20White%20Nights%20Overture.mp3[/audio]

[EigenUser]

It isn't very clear how to do this, so I explained it (with DropBox) here (scroll down to end of thread):

http://www.good-music-guide.com/community/index.php/topic,23330.0.html

I don't get the simpler option suggested by amw -- maybe they are using the downloaded version.