Henning's Headquarters

[Karl Henning]

Thanks, Karlo!

Separately . . . last night we had a repertory committee meeting for our as-yet-unnamed choral composers-&-conductors ensemble.  Most immediately notable (viz. this thread), is that Julian played through the keyboard reduction of my Agnus Dei, and it met with unanimous approval.  (I knew it ought to, but, you never know ....)  Our first concerts look to be at the end of May (we Doodled to determine when we were all available, and even this early in the year, the only time we are all clear looks like Memorial Day weekend ... so we should probably think about the next concerts soon ... our next general meeting is a week from last night.)  Does not look like we'll find funding for this first go, but that seems to have been what the de facto director was expecting;  maybe we need to break ice with the first concerts.  A cardinal principle of repertory is:  nothing written earlier than 25 years ago.  And for these inuagural concerts, there must be a Boston (or New England) connection.  (My impression is that this latter stricture will relax over time.)

There were four of us last night ("ought" to have been six, but there was one absence for illness, and one for out-of-townness), and the process was actually quite smooth and pleasant.  We want 45 minutes of music (so, counting on an hour's program);  so my Agnus Dei figures for roughly a ninth of the concert.  (There was loose talk earlier of doing both the Kyrie and A.D., but for both time reasons, and the fact that in the case of the latter it will be a première, it was most diplomatically suggested to "drop" the Kyrie from consideration at present, and I had no quarrel.)  The program is in large part settled, and we are waiting on (a) a certain member of the group either to write something new for this program, or to furnish an already-existing piece;  (b) the other two pieces in a set of three by Kevin Siegfried, the Three Horizons, in fact ... we read through the middle piece, Club Icarus, which has a bemusing-or-scary text (the consensus last night was that we might likely do the second and third, which form a nice pairing, but possibly not all three);  and (c) we shall reach out to John Harbison to see if there is a piece he would particularly wish a group such as our'n to put on.

In purely musical terms, I think this group is tenable.  But we also want it to work financially;  and as to that, we shall see.

[Karl Henning]

My most estimable colleague Peter H. Bloom has put me in touch with a student of his who (a) performs as part of a fl/cl/pf trio (hence my reaching out to her to purchase that version of the Fragments of « Morning Has Broken »), and (b) leads (and/or performs in)a double woodwind quintet, so I have offered to write something . . . .

[Karl Henning]

Carola wrote today, says that she & Sylvie are enjoying what is written thus far of The Mysterious Fruit . . . and wants to know how long the finished piece will be.  I want to know, too!  I guess I had better estimate . . . can always ask forgiveness later . . . .

[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

'Tis Winter Now (Danby), Op.45a (mezzo-soprano, flute & organ) at Amazon

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 Dave's Shed) [Viola Sonata, mvt 2]

MIDI of Suspension Bridge (In Dave's 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

http://www.youtube.com/v/hlh61D6COvU

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)

http://www.youtube.com/v/kYWAm11MX4s

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)

Variations on a Basque Carol, Op.126 № 3 (clarinet unaccompanied)

Suite, Op.127 № 1 "Summer Song" (vc/pf)

Notebook for Elaina & Anna, Op.128 № 1 "Out for a Walk" (fl/a sx)

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]

That Wasn't Quite Expected Dept.

Moonrise will be premièred tomorrow at a new music concert in Atlanta. Details to follow ....

[Cato]

That Wasn't Quite Expected Dept.

Moonrise will be premièred tomorrow at a new music concert in Atlanta. Details to follow ....

It seems that I left Atlanta 8 years too early!   

Tell  us more!

[Karl Henning]

The MidTown Brass Quintet

Norton Arts Center
781 N. Central Ave
Hapeville, Georgia 30354

Doors open at 7:30 - $7 at the door.

Paul Poovey Trumpet
Jonathan Swygert, Trumpet
Alan Brown, French Horn
Hollie Lawling, Trombone
Bill Pritchard, Tuba

"We will be playing some really cool stuff. 2 pieces written for us, a world premiere and a John Cage piece (and some fun stuff thrown in too). It should be a great show in a very cool atmosphere."

There's a funny story to tell about how I "met" one of the trumpeters.  Tonight he wrote: "we enjoy it very much and it will be a great piece for the new music concert!"

[Karl Henning]

... just two posts before I resume work on the Henning Op.124.

#2 -- Not certain yet, but the MidTown Brass Quintet's performance last night of Moonrise may have been recorded.

[Karl Henning]

I can sneak in #3 -- Matt Sharrock has agreed to play just what everyone was expecting on 2 June.

[Karl Henning]

The late Bill Goodwin commissioned the Fragments of « Morning Has Broken » for use at the First Congregational Church in Woburn, Mass., for us to play together with violinist John Jelatis.  The music is a through-composed set of free variations;  I "broke up" the tune (Bunessan), and each successive section of my piece is a fantasy on musical ideas, in the order in which they occur, from the source melody.  The piece culminates in a grand passage with the two single-line instruments sharing between them the entire tune in a somewhat rhythmically altered guise, against a motoric ostinato in the piano.

About a year after the initial performance of the trio, I adapted it for flute, clarinet & piano, to play with Peter H. Bloom, the outstanding Boston flutist who has been a stalwart champion of my work.

Karl Henning holds a B.Mus. with double major in composition and clarinet performance from the College of Wooster (Ohio); a M.A. in composition from the University of Virginia (Charlottesville); and a Ph.D. in composition from the University of Buffalo, where he studied with Charles Wuorinen and Louis Andriessen.  His music has been played and sung on three continents (North America, Europe and Australia), and there is unconfirmed rumor that a Henning unaccompanied choral work is ultimately responsible for the recent blizzard in the Northeast.  In October of 2013, Karl was appointed Music Director at Holy Trinity United Methodist Church in Danvers, Massachusetts.  The MidTown Brass Quintet of Atlanta recently played the première of Moonrise.  Works recently completed include Tiny Wild Avocadoes, a set of short pieces for two violins and viola, and Variations on a Basque Carol for clarinet unaccompanied.  Current projects include a Gloria for choir unaccompanied, and The Mysterious Fruit, a setting of a poetic fable by Leo Schulte for mezzo-soprano and marimba.

[Karl Henning]

Steady daily progress on the Op.124;  Carola & Sylvie will rehearse the 15pp. version of the MS. today.

Good rehearsal with my choir last night (and while there was some post-blizzard tardiness, attendance was strong).  Starting to make a little more music with the Alleluia in D.

[Karl Henning]

Steady daily progress on the Op.124 [ ....]

I've reached a point in the text where a little "rest" for the voice is textually appropriate, and part of my work yesterday was the game, Can I write a fugue for marimba solo?  Not surprisingly, I shall have to tweak my sketch from yesterday . . . but far from being annoyed that it was not perfect right off, I am pleased at how nearly "on" it is, already.

[Cato]

I've reached a point in the text where a little "rest" for the voice is textually appropriate, and part of my work yesterday was the game, Can I write a fugue for marimba solo?  Not surprisingly, I shall have to tweak my sketch from yesterday . . . but far from being annoyed that it was not perfect right off, I am pleased at how nearly "on" it is, already.

There is something a "fugue state" in that poem!   

[Karl Henning]

Hah!

[Cato]

There is something a "fugue state" in that poem!   

Hah!

Actually, the last time I was in a fugue state, I was in Indiana!   

(Too easy!)

Karl: which motif will you be choosing for the fugue?  Bars 65-81 would be a good choice, but you have so many great possibilities!

[Karl Henning]

Well, the trick is that it has to fit in the marimbist's two hands, and should not entail a game of "Twister for one."  So I've devised a fresh subject, for which motif we can then find subsequent use, too.

[Karl Henning]

That said, let me consider your kind suggestion 

[Karl Henning]

Much work done on The Mysterious Fruit this weekend.  Also adapted two of These Unlikely Events for cl/vc (3 of the 5 now done in this wise).  I am not sure I shall finish the Fruit today, but wherever the piece stands this evening is what I shall send afresh to Carola & Sylvie for their Wednesday rehearsal.

[Karl Henning]

Zowie, I think the Fruit is actually quite close to done.

[Karl Henning]

There may be more tweaks at the request of the marimbist, but this is pretty much in the can: