Henning's Headquarters

[Karl Henning]

Still thinking about the latest passage.  I have a nagging feeling it wants something;  but I am not yet certain that this is any musical problem here, or an unease from some external source.

What might it need?

1. A strategically placed additional event here or there?

2. Faster tempo (Tempo primo?) at m.204?

3. If (2.), some insertion or other at m.204?

4. Is it, in fact, all right?

[Cato]

Still thinking about the latest passage.  I have a nagging feeling it wants something;  but I am not yet certain that this is any musical problem here, or an unease from some external source.

What might it need?

1. A strategically placed additional event here or there?

2. Faster tempo (Tempo primo?) at m.204?

3. If (2.), some insertion or other at m.204?

4. Is it, in fact, all right?

One idea: rather than the half-notes for the 7ths in the right hand of the piano, use a 16th note and a dotted 8th tied to a quarter.  That would echo e.g. the clarinet's similar figure in bar 189.

[Karl Henning]

Thanks; I was thinking of "activating" those dyads somehow (thinking of Bunny Keeping Still from the Visions fugitives de nouveau).  Your suggestion encourages the thought that this may be the solution!

[Karl Henning]

Well, working on the bus this morning, I think I did something of almost everything.  I'll let it cure, and review this evening.  Among the possibilities:

• This morning's work is an "overengineered solution"
• This morning's work is just what was required
• There was nothing in fact wrong with the pre-modified passage

What did I do this morning?

• Added rhythmic activity to the sevenths in the pf RH, per our Cato
• Preserving the essential line of the imitation between cl & pf LH, I strategically changed an eighth-note here, an eighth-note there to repeated sixteenth-notes
• Added a two-voice quasi-imitative insertion at m.204

[Karl Henning]

Et voilà

[Karl Henning]

I expect I may modify further, but (a) I feel this passage is getting close to I like it, and (b) I am comfortable with pressing on.

[Karl Henning]

https://soundcloud.com/karlhenning-1/op102-ii-suspension-bridge-in-daves-shed

https://soundcloud.com/karlhenning-1/op102-iii-tango-in-boston

[Karl Henning]

I think I see my path to the conclusion of the first movement.

[Karl Henning]

I think I have made my way honestly to the final double-bar, which is not to say that I do not still have detail to add.

[Karl Henning]

When I called it a day last night, I felt only a slight nagging sensation about the last two bars, which represent a substantial improvement on the first version, which does not seem to survive even in a draught.  This morning, I feel much better about the ending, and am 92.4% inclined to leave it as is.  At lunchtime just now, I read through the whole score, and I have an idea for a slight change.  I'll work it up in Sibelius when I get home, and will put it to The People!

[Karl Henning]

Good news:  Carolyn (who accompanied Dana in the Va Sonata) likes it.

Emendation:  Really likes it.

[Karl Henning]

In the event, I did change the ending; very slightly, really, but I think it an enormous improvement.

A few other comparatively minor changes;  and added rehearsal letters.

[Karl Henning]

Tim writes from Alabama, and asked for a contra-alto part to substitute for the contrabass in Saltmarsh Stomp.  There are only two notes which are too low for the contra-alto clarinet, and it does no serious hurt to the texture to cast those two notes an octave higher.

[Cato]

In the event, I did change the ending; very slightly, really, but I think it an enormous improvement.

I'll work it up in Sibelius when I get home, and will put it to The People!

The People say Yay!     The little 16th-note flourish in the piano does accentuate that chord in the top octaves even more.

[Karl Henning]

Huzzah!

[Karl Henning]

Monday, I made a start on Boulez est mort. Yesterday, I took a sort of break;  musically all I did was prepare an E-flat contra-alto part for Tim, and start proofing the first movement. This morning, I found some more dynamics modifications for the last page or two of the score.

I think that today will see a continuation of earnest effort to map territory of the second movement.

[Karl Henning]

Well, I have done at least a little work every day on the second movement each day. In some ways, I have been very pleased; but little is "finished," or rather, there is too much, the focus is lost. Some excision and juggling is needed before I can even show anything. I think it may be another case of, only a little work is necessary, but it's got to be the right work.

In the balance is: I thought I wanted to start the second movement with three minutes of piano before the clarinet comes in. If that's going to work, I need to seriously clean up what I've got. I'll putter in the morning, and see how it goes. It's a puzzle: I've been at work, but seem to have nothing to show for it; yet when I set to in morning, the "footprint" will count for something, and possibly, for a great deal.

Another idea which either I'll find the means to execute, or I'll elide: I'm thinking of non-repetition in the piano. We shall see.

[Karl Henning]

And, there is the coincidence (but is it truly coincidence?) of listening today to the Messiaen Et exspecto resurrectionem mortuorum, at just a time when the "keeper" material in this week's work borders upon Messiaenville.

At bottom, I think I just need to trust the eraser. I've been a little spoilt, having relatively seldom needed recourse to the eraser of late.

[Cato]

... the "keeper" material in this week's work borders upon Messiaenville.

In what way?

[Karl Henning]

Clangor