Henning's Headquarters

[Karl Henning]

Re-post & refresh:

Variations on Wie lieblich est, S.10 (oboe & organ)

Night of the Weeping Crocodiles, Op.16 (cl/vn/pf)

Night of the Weeping Crocodiles, Op.16a (cl/pf/prc)

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

Sweetest Ancient Cradle Song, Op.67 for choir, brass quintet, organ & optional timpani ::  Choral Score 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

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

Scene 4 from White Nights, Op.75 № 7

Scene 5 from White Nights, Op.75 № 8

Before-&-after, Finale-VS.-Sibelius exhibits from the Op.75 № 8| A | B | C | D

Scene 7 from White Nights, Op.75 № 10

Canzona, Op.77a № 1 (org solo)

Gigue, Op.77a № 2 (org solo)

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

Mirage, Op.79a (alto fl, cl, pf)

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

http://www.youtube.com/v/7RhH161HhlA

just what everyone was expecting, Op.114 № 1 for clarinet & marimba

(very nearly) what everyone was expecting, Op.114 № 5 for bass 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 (vc/pf)

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

A Song of Remembrance, Op.123 (mixed chorus SAB & pf)

Tiny Wild Avocadoes, Op.125 № 1 "Children's Song" (2 vn/va)

Tiny Wild Avocadoes, Op.125 № 2 "Autumn Leaves (Wind Effect)" (2 vn/va)

Tiny Wild Avocadoes, Op.125 № 3 "Scampering Squirrels" (2 vn/va)

Tiny Wild Avocadoes, Op.125 № 4 "Pond at Twilight" (2 vn/va)

Tiny Wild Avocadoes, Op.125 № 5 "The Gnomes (Paul's Garden)" (2 vn/va)

In the shadow of the kindly Star, Op.126 № 1 (violin solo and handbell choir)

I Want Jesus to Walk With Me, Op.126 № 2 (choir SATB unaccompanied)

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]

Notebook for Elaina & Anna . . . maybe that's it . . . .

[Cato]

Notebook for Elaina & Anna . . . maybe that's it . . . .

Sounds like a fun little work, and I can hear the nieces already saying: "She's copying me!"

[Karl Henning]

Masha thinks it sounds like a Christmas song; I like that.

And here is the first of the vc/pf miniatures:

[Karl Henning]

And here is the first of the vc/pf miniatures:

This now exists also in a tenor sax & piano version.  Which in turn spawned (as a result of chatting with Peter H Bloom the other evening) a transposition for C Melody Saxophone.

I'm going to Wooster for my class's 30^th reunion, and I've been in touch with a classmate who is an excellent pianist . . . and she is game to play just what everyone was expecting (I've modified the marimba part to be a sort of piano part).  She is also a choir director at a community college, so I've sent her A Song for Remembrance.  We shall see!

[Karl Henning]

Changing the av for the season . . . since my choir sang a Christmas concert yesterday, I cannot very well call that horse back into the barn.

My choir did bravely and well.  It was an ambitious program for them, but their hearts remained strong, and they stayed with me.  Certainly there was the occasional mistake, but overall they carried the program;  and we had a large and thoroughly appreciative audience.

Put thus succinctly, it's going to give the impression that the concert was The Karl Henning Show, but in fact I was complimented by many for the balance and mix of the program . . . the Henningmusick on the concert was:

Le tombeau de W.A.G., Op.122 (original version for low brass trio, and a première)
The Allegro grazioso closing section of the Sinfonietta, Op.38 (brass quintet)
In the shadow of the kindly Star, Op.126 № 2 (violin solo and handbells, première)
Musette, Op.118 № 7 (handbells)
Sweetest Ancient Cradle Song, Op.67 (choir, brass quintet & organ, première of the piece in its entirety)
The Snow Lay on the Ground, Op.68b (children's choir, mixed choir, handbells, violin solo & organ, première of this version)

Anne Bennett (also an alto in my choir) is the director of the children's choir, and they did smashingly.  In fact, they stole the show (earlier in the program than my Op.68b, they had a set of three numbers they sang on their own).  The handbells were of course a hit, as well.  And the brass (although there was the odd clam or missed note – they've had a lot of music to blow this weekend) did splendidly;  and they all warmly complimented the composer.

Even with the imperfections of execution, I am elated to have brought the Op.67 to an audience (and to so large an audience!) at last.

[Karl Henning]

I haven't checked the audio, but I had a go at recording the entire concert.

Followers of The Henningmusick Chronicles know both, that my Micro Track recorder runs only about half an hour on a fully charged battery, and that the outlets at HTUMC are not grounded, so that it's worthless trying to use the Micro Track plugged into those outlets.

Although this possibility was not in my mind when I initially ordered the Jackery® portable charger (I was simply thinking about maintaining the charge for the cell phone), I had the happy thought (or, I hope the result affirms the happiness of the thought) that I might try running the Micro Track, with the power cord plugged into the J.® p. ch.

In all events, Charles also recorded the entire concert.  So with luck, we shall have two documents of the concert.

[Cato]

I haven't checked the audio, but I had a go at recording the entire concert.

Followers of The Henningmusick Chronicles know both, that my Micro Track recorder runs only about half an hour on a fully charged battery, and that the outlets at HTUMC are not grounded, so that it's worthless trying to use the Micro Track plugged into those outlets.

Although this possibility was not in my mind when I initially ordered the Jackery® portable charger (I was simply thinking about maintaining the charge for the cell phone), I had the happy thought (or, I hope the result affirms the happiness of the thought) that I might try running the Micro Track, with the power cord plugged into the J.® p. ch.

In all events, Charles also recorded the entire concert.  So with luck, we shall have two documents of the concert.

Great news about the concert!  Yay Team!

And it looks like a new recorder should be on Santa's list!   

[Karl Henning]

Well, but I think mine may be a better instrument than Charles's.  Maybe we'll use audio from this concert for side-by-side comparison . . . .

[Karl Henning]

Yesterday's program:

[kishnevi]

Well, but I think mine may be a better instrument than Charles's.  Maybe we'll use audio from this concert for side-by-side comparison . . . .

Preferably, in the best GMG tradition, a blind comparison....

[Karl Henning]

Preferably, in the best GMG tradition, a blind comparison....

Yes!

[Karl Henning]

I shan't lead the witnesses, m'lud.

[Karl Henning]

Last night I attended a most interesting meeting.  Three of those present were familiar with (or had indeed participated in) a New York group, C4 (no, I didn't understand it the first three times they used it last night, either: The Choral Composer-Conductor Collective).  The idea, you will have guessed, is to organize a Boston equivalent.  They had their first meeting in November, and my colleague Charles Turner mentioned the lot to me a week or so before our Christmas concert, and invited me to this next meeting.  I am not a big fan of meetings/admin (though I understand the need for them);  that said, last night's meeting was as good as such an event might be, and all the people I met were smart, affable, and on point.  Are they musical?  I hope so;  demonstrating our musical abilities was not part of the agenda.  Anyway, I went, because I satisfy the tripartite criterion of being a composer, singer & conductor;  and in hopes that this may be another avenue for Henningmusick.

I think there are real possibilities here.  The plan (still quite fungible) is to put on an inaugural concert in June (or two concerts, the same program, late May and June);  the idea is definitely, too, that we get paid.  The next meeting is in January, and if the arc of the organization prove true to the chat last night, rehearsals would be apt to start in February.

Watch This Space.

[Karl Henning]

Oh, the name of the Boston group, you ask?  That's still quite the question.  The first line of attack is for the former member to chat with C4, and see if we can "tag on" with that name.  Uncertain whether the upshot will be refusal (the wish to keep the name proprietary), or slightly surprised acquiescence (better branding through "franchising").

If not, no clear sense yet of what our name might be.

Hey, I feel an idea for a thread coming . . . .

[North Star]

Changing the av for the season . . . since my choir sang a Christmas concert yesterday, I cannot very well call that horse back into the barn.

My choir did bravely and well.  It was an ambitious program for them, but their hearts remained strong, and they stayed with me.  Certainly there was the occasional mistake, but overall they carried the program;  and we had a large and thoroughly appreciative audience.

Put thus succinctly, it's going to give the impression that the concert was The Karl Henning Show, but in fact I was complimented by many for the balance and mix of the program . . . the Henningmusick on the concert was:

Anne Bennett (also an alto in my choir) is the director of the children's choir, and they did smashingly.  In fact, they stole the show (earlier in the program than my Op.68b, they had a set of three numbers they sang on their own).  The handbells were of course a hit, as well.  And the brass (although there was the odd clam or missed note – they've had a lot of music to blow this weekend) did splendidly;  and they all warmly complimented the composer.

Even with the imperfections of execution, I am elated to have brought the Op.67 to an audience (and to so large an audience!) at last.

Splendid, Karl! Although I do wish they had 'blown' some other music

[Karl Henning]

Thanks, Karlo!

And in all events, I expect we have many serviceable extracts for demo purposes.  My publisher was very enthusiastic about the news, too.  Honestly, I've always felt this is a piece which could have legs, if we can just get the word out (i.e., get a good performance/recording out).

[Karl Henning]

Present state of the Basque carol variations (which, yes, I really ought to finish tomorrow  )

Already planning on a flute version of this (paging jochanaan . . . .)

[Karl Henning]

Done! And I like it.

[Karl Henning]

Now available via Amazon.