Henning's Headquarters

[Karl Henning]

I improvised based on your own code.

It seems to work (by me . . . do you see the player?)  When I first create the post, and I am brought back to the thread, I see nothing.  But, if I go elsewhere, and return to the thread, there the player module is.

That's at home, though.  At the office, the module doesn't appear as it ought (there is a horizontal slide-bar, but no play button).

[Karl Henning]

. . .  At the office, the module doesn't appear as it ought (there is a horizontal slide-bar, but no play button).

Well, and now it appears, but does not function. Fascinating.

[Karl Henning]

This week is the American Guild of Organists national convention here in Boston.  The First Church Choir will sing Love is the Spirit, my Op. 85 № 3, at two services which are part of the convention events, tonight and tomorrow.

[Sergeant Rock]

I improvised based on your own code.

It seems to work (by me . . . do you see the player?)  When I first create the post, and I am brought back to the thread, I see nothing.  But, if I go elsewhere, and return to the thread, there the player module is.

That's at home, though.  At the office, the module doesn't appear as it ought (there is a horizontal slide-bar, but no play button).

If one sees the horizontal bar rather than the player, click on the on post title, the page reloads, and the player appears. But in this case the player isn't functioning for some other reason.

Sarge

[Karl Henning]

Thanks!

[Sergeant Rock]

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?)

The first time I listened, I thought the overture should end at 6:08 (with the "big tune" blasted out fortissimo  ) The transition into the "second part" was jarring. It suddenly seemed a different piece entirely. But on second listen it makes sense (of course) and I think it works well. And no, I don't think the tunes overstay their welcome. They are too attractive not be heard repeatedly. At least I want to hear them again and again.

This is the first work of yours, Karl, where I thought, This is a New England composer. I'm not sure why the music engenders that reaction but it really does!

Sarge

[Karl Henning]

I heartily thank you!

[Brahmsian]

Thank you for the link, Karl!  I will be listening as soon as I get home from work, mon ami! 

[Karl Henning]

Henningmusick wares are now in, to be peddled among the visiting organists / choir directors....

[Karl Henning]

First Church in Boston
New Music Premieres: "Embertides" for organ, Hilary Tann  and "Prayers of Hildegard", chorus and marimba, Edward Thompson 66 Marlborough Street, Boston
Unitarian Worship
Order of Worship
Choir of the First Church in BostonThese 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]

Hah!  I don't recall offhand when this photo was taken . . . but there I am, in the choir . . . .

[EigenUser]

Henningmusick wares are now in, to be peddled among the visiting organists / choir directors....

Nice! If I were you I would suddenly have the urge to get one of those t-shirt cannons and shoot rolled-up Henning organ sonatas as gifts for the audience .

[Brahmsian]

Just finished listening to (Very Nearly) What Everyone Was Expecting, Op. 114/5 for bass clarinet and marimba.

Excellent, Karl!  A very colourful, lively work that I enjoyed.  I am a big fan of the bass clarinet!    Well done, mon ami!

[Karl Henning]

Thanks!

Rehearsal went well. Have to be seated before the organ prelude, which beginneth at 7:20.

[Karl Henning]

Scene 3b, ho!

[Karl Henning]

I realize that as yet, I am the only one who knows anything about Scene 3b.  For the exhilaration that The Dreamer feels after his encounter with Nastenka, the tempo is rapid (although, I found this weekend that there was no reason not to relax the metronome marking for that closing scherzo . . . IIRC originally I set it at 132 for the dotted-quarter;  but 124 is plenty fast), I use almost all the orchestra, but for much of the section, only a wind or two at a time, and quietly.

I remembered Louis Andriessen remarking that Dukas's L'apprenti sorcier winds up, a little ironically, as a comic galumph.  So the challenge I set myself with this Scherzo of mine was, to use 9/8, but to keep it spritely, to stay on the balls of my feet, compositionally.

I'm now a little past the half-way point with the scene.  And although I am thrilled with how efficiently and smoothly the work is going in Sibelius (for it was a slog in Finale, I can tell you!) I'm not sure that I shall be able to have it ready for demo sooner than Independence Day.

But, I shall try!

[Karl Henning]

I have 9pp. yet of the "old" score to do:

[Karl Henning]

I'm now a little past the half-way point with the scene.  And although I am thrilled with how efficiently and smoothly the work is going in Sibelius (for it was a slog in Finale, I can tell you!) I'm not sure that I shall be able to have it ready for demo sooner than Independence Day.

But, I shall try!

Done with Scene 3b!  Plan now is to finish Intermezzo I sometime tomorrow, and be in production on Night the Second this weekend.

[Karl Henning]

Forget about finishing Intermezzo I tomorrow: it's done now!

[Karl Henning]

As I prepare to light into Night the Second (almost 30 minutes of which is already composed, if I can lay my hand on the scores . . .) this morning I have been listening (twice) to the MIDI of this year's accomplishment, the "refurbishment" of:

Op. 75 № 1: Overture [duration 11:00]
Op. 75 № 2: Scene 1. St Petersburg, City of the White Nights [duration 13:00]
Op. 75 № 3: Scene 2. A Walk in the Meadows [duration 6:30]
Op. 75 № 4: Scene 3a.  Nastenka at the Bridge [duration 6:00]
Op. 75 № 5: Scene 3b.  An Awkward Pas-de-trois; A Relieved Pas-de-deux; & The Dreamer's Elation After [duration 8:00]
Op. 75 № 6: Intermezzo I [duration 6:00]

What can I say?

It's work I am proud to stand by.