Henning's Headquarters

[Sergeant Rock]

Ashtabula sounds Latin-ish...sort of!   0:)

In fact we visited the town two years ago: we rather liked it, so it must have improved in the last c. 40 years since Sarge lived there!   0:)

There was nothing really wrong with Ashtabula (besides the brutal winters and the distance to major cities). But I wanted to be stationed closer to my family and hometown (in Wayne County). It was almost a two hour drive from Ashtabula to my hometown during those 55mph interstate days. Cuyahoga Falls was less than a half hour from home.

Sarge

[Cato]

There was nothing really wrong with Ashtabula (besides the brutal winters and the distance to major cities). But I wanted to be stationed closer to my family and hometown (in Wayne County). It was almost a two hour drive from Ashtabula to my hometown during those 55mph interstate days. Cuyahoga Falls was less than a half hour from home.

Sarge

Wayne County!  Truly God's country!  0:)   Karl should know that area well also!  0:)

[Karl Henning]

Of late I think of Orrville . . . .

[Cato]

Of late I think of Orrville . . . .

Home of Smucker's !!!

[Cato]

Allow me to recommend the Clarinet Sonata found back on page 287 here: a really fun work, with great dialogue so to speak, between the clarinet and piano, especially bars 66 and afterward. 

And if you have not yet clicked on the YouTube offering of Things Like Bliss, do that as well.

Contrasting the two will absolutely be of interest, especially to newer GMG members.  The latter proving Schoenberg's statement that one can still create great work in traditional forms, the former proving that non-traditional forms can bring great fun and tickle the ears as well as the ivories!

[Karl Henning]

After five days' unauthorized absence    I've written fresh measures for the Clarinet Sonata today.

[Karl Henning]

Incorporating yesterday's work.

[Sergeant Rock]

Home of Smucker's !!!

My mother tells the story of why her brother, who was taken on a school field trip to the Smucker's plant in the 40s, never ate jam or jelly again. Apparently the workers didn't bother to sort out the rotten fruit or the insect or worm infested fruit. Just dumped it all in the vats    Never bothered me though. Smucker's was a childhood delight. 

Sarge

[Karl Henning]

Actually Friday's work

[Karl Henning]

There was a meeting of three-fourths of 9^th Ear last night, basically to firm up the programs for 18 March at the Church of the Advent (at which we have, say, 20 minutes of a composite concert) and 19 March at the Nave Gallery (a/k/a Clarendon Hill Presbyterian Church, a full concert all our own).  Jim Dalton, Charles Turner, and yours truly attended last night.

18 March program to include (in part):

Dalton: new piece for clarinet and guitar
Turner: Suma Beach for soprano and shakuhachi
kh: just what everyone was expecting, as arranged for clarinet, mandocello & double-bass

19 March program to include (in part):

Dalton: new piece for clarinet and guitar
Dalton: songs for voice & guitar
Turner: Suma Beach for soprano and shakuhachi
Turner: KOAN, a miniature opera for two singers and chamber group

Henningmusick:
just what everyone was expecting, as arranged for clarinet, mandocello & double-bass
Things Like Bliss for clarinet, two guitars & double-bass
Three Things That Begin With 'C' for clarinet and horn

An idea that Charles has had, and which has been floated by Triad (but wants inking in), is having Triad sing some of our music on this Nave Gallery concert.  It would be Charles's O miei dolci animali and my own Agnus Dei, from the first Triad concert;  and Jim has two short pieces which would be easy for the group to learn.

There is a Triad Rep Committee meeting this Monday, so we may possibly have a firm answer then.

Oh!  Last year, I began writing Darkest Doings, the idea being (since Charles is engaging a violist and marimbist for his KOAN), it might be good to have two "operatic" pieces on the program, and give the hired hands more employment.  I left Darkest Doings in that just-begun state, pending (well) this meeting, because my piece would probably run to 20 minutes, I think, and I wondered if the consensus would be that such a piece would too much dominate the concert.  Last night Charles (obliquely, diplomatically) indicated that if I had a piece to use the hired instrumentalists, I could share the cost of hiring them.  Okay, I get that;  but on the other hand, on the last 9^th Ear concert, I made Peter Bloom and Dan Meyers available to Charles for a piece of his, at no cost to him.

There was no need for me formally to decline the invitation — we went on to sort out what pieces we have ready for the program, and I simply suggested a number of pieces of mine, and made no mention of Darkest Doings.  What I shall do with the Doings, I am not at present sure.  At some point, I may slightly rescore it so that it would suit a k a rl h e nn i ng Ensemble program;  I certainly still like the idea of setting that scene from "the Scottish play."

The 19 March program is being nixed, various reasons.

[Sergeant Rock]

The 19 March program is being nixed, various reasons.

Do you mean the program is being changed or the concert cancelled?

Sarge

[Karl Henning]

Concert cancelled;  Charles was hoping to fold Triad into the concert, and that will not be possible;  and since he would be hiring a number of musicians for his 7-minute mini-opera (and even though he believes the musicians should be paid), he finds it (quite reasonably, I think) too great an outlay for so brief a piece.

We'll still play our segment of the 18 March concert at the Church of the Advent.

[Karl Henning]

Quite a bit of progress this morning, actually.

[ Edit :: minor adjustments as yet ]

[Karl Henning]

Done for the day, pleased with the progress.

[Karl Henning]

Hmm . . . for mm. 152-159, should I take the right hand (say, mid-m.152) and move it to the right hand staff (bass clef), and then use an ottava bassa line for the left hand for mm.155-159? Luke?

I haven't had my first cup of tea yet, and now I half-fear I've written notes too low for the (standard) piano, although the Sibelius sounds library represents everything . . . .

[Luke]

Hmm . . . for mm. 152-159, should I take the right hand (say, mid-m.152) and move it to the right hand staff (bass clef), and then use an ottava bassa line for the left hand for mm.155-159? Luke?

I haven't had my first cup of tea yet, and now I half-fear I've written notes too low for the (standard) piano, although the Sibelius sounds library represents everything . . . .

Yes, I'd definitely do both of those things, but I'd start them at the beginning of that section (m148). It's a two part counterpoint played by the two hands, so why not? Also then it's consistent with m160 and following.

It's not too low, though, that bottom B.

[Karl Henning]

Thanks, excellent suggestion!

[Karl Henning]

And another reason to use the ottava bassa line, if all those ledger lines throw off a clarinetist's eye.

[Karl Henning]

And, pushing along . . .

[Karl Henning]

And for today: