Henning's Headquarters

[Karl Henning]

Inconceivably, I have not refreshed this since December of 2015:

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

Time Was, Op.4 (pf solo)
№ 1: Prelude (Charlottesville)
№ 2: Dance (Barefoot Amid Dandelions)
№ 3: The Myth of Motion II:  Toccatina (on the Ekaterininsky Canal)

Pictures Only I Can See, Op.11 (pf solo)
№ 1: Spring in Her Step
№ 2: The Bronze Girl's Spilt Milk
№ 3: The Myth of Motion I:  Chorale
№ 4: The Sleep-Pavane at the Foot of Frozen Niagara
№ 5: Petersburg Nocturne || MIDI on YT

Little Towns, Low Countries, Op.18 (pf solo)
№ 1: Invention (Mt Hope Avenue, Rochester)
№ 2: Aubade (Lake Canandaigua)
№ 3: Gigue (Glasgow Street, Cornhill)

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

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

To Melt From a Distance, Op.21 (pf solo)

Gaze Transfixt, Op.23 (pf solo)

Lutosławski's Lullaby, Op.25a (organ solo)

Lutosławski's Lullaby, Op.25 (pf solo)

Fancy on Psalm 80 from the Scottish Psalter, Op.34 № 3, performed by Carson Cooman, on YouTube.

O Beauteous Heavenly Light, Op.34 № 2, performed by Carson Cooman, on YouTube.

The Allegro grazioso from the Sinfonietta, Op.38 for brass quintet (some shaky moments)

Journey to the Dayspring, Op.40 on YouTube

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

Initiation of Barefoot on the Crowded Road, the former Op.41 (now the Discreet Erasures, Op.99, below)

Danse antique, Op.44

O Gracious Light, Op.50c (two-part choir, piano & organ)

The original Born on Earth to Save Us, Op.52 for Bill Goodwin.

Born on Earth to Save Us, Op.52a for HTUMC.

Joseph and Mary, Op.53a for HTUMC.

Score of The Wind, the Sky, & the Wheeling Stars, Part I

Score of The Wind, the Sky, & the Wheeling Stars, Part II

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.

Three Things That Begin With "C", Op.65, clarinet & horn :: Original | Revised

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

14 Dec 2014 performance of Sweetest Ancient Cradle Song, Op.67

14 Dec 2014 performance of The Snow Lay on the Ground, Op.68a

Timbrel and Dance, Op.73 [ St Paul's choir plus ].

21 Nov 2015 Triad performance of Nuhro, Op.74:  https://www.youtube.com/v/ftFJdcXz7lg

23 Nov 2015 Triad performance of Nuhro, Op.74.

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 ]

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

Discreet Erasures, Op.99 for orchestra

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

Gloria, Op.106 № 2

Credo, Op.106 № 3

Sanctus, Op.106 № 4

(The Sanctus, arranged for tuba quartet)

Agnus Dei, Op.106 № 5 || Première by Triad

Brothers, If They Only Knew It, saxophone quartet (after Op.106 № 5)

In the Artist's Studio, Op.107, for 17 winds & harp

Organ Sonata, Op.108
Mvt 1: Eritis sicut Deus
Mvt 2: . . . scientes bonum . . .
Mvt 3: . . . et malum

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

Misapprehension, Op.112a for strings

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)

14 Dec 2014 performance of Le tombeau de W.A.G., Op.122

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

The Mysterious Fruit, Op.124 (mezzo-soprano & marimba)

The Mysterious Fruit, Op.124a (mezzo-soprano & pf)

Tiny Wild Avocadoes, Op.125 (2 vn/va)
№ 1 "Children's Song"
№ 2 "Autumn Leaves (Wind Effect)"
№ 3 "Scampering Squirrels"
№ 4 "Pond at Twilight"
№ 5 "The Gnomes (Paul's Garden)"
№ 6 "Cheerful Song on the Wing"
№ 7 "The Avocado in Winter"

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) NEW & IMPROVED !! [ Version for brass quintet ]

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

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

Beach Balls (Red) , Op.126 № 5 (org solo)

Pat-A-Pan, Op.126 № 6 (handbell choir)

Gabriel's Message (Basque Carol), Op.126 № 7

Little Suite, Op.127 (vc & pf)
№ 1 "Summer Song"
№ 2 "Valentine"
№ 3 "Sparrows Hopping on the Wet Sidewalk" || MIDI on YT

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

From the Pit of a Cave in the Cloud, Op.129, soprano & chamber group

http://www.youtube.com/v/H1GX6gAmom8

The Young Lady Holding a Phone in Her Teeth, Op.130 (double wind quintet)

Visions fugitives de nouveau, Op.131 (pf solo)
№ 1: One Leaf
№ 2: Versuch eines Milonga
№ 3: Beneath the Clear Sky
№ 4: That Tickles!
№ 5: Stephen Goes to California
№ 6: Kay's Blue Crabs
№ 7: Questionable Insistence
№ 8: Morning Prayer

https://www.youtube.com/v/FfL_20Sksc8

№ 9: Bunny Keeping Still
№ 10: Gamboling Squirrels
№ 11: The Street Musician
№ 12: The Shade of an Oak
№ 13: "Could you change one more thing?"
№ 14: Waiting
№ 15: Bicycling in Boston Common
№ 16: Mist on the Harbor
№ 17: Peter Moves to Montréal
№ 18: Seeing a Long-Since-Cancelled Stamp
№ 19: ... but his mind is elsewhere
№ 20: Starless Summer Night || MIDI on YT

Neither do I condemn thee, Op.132 for flute duet

A whimsical Canon:

http://www.youtube.com/v/B6xeqrcavUQ

Saltmarsh Stomp, Op.134 for clarinet choir in 15 parts

http://www.youtube.com/v/7DCc2sD2KAk

Ear Buds (The dream of a young man in the woods, listening), Op.135 for symphonic band

http://www.youtube.com/v/ZSMo90L5xJA

Darkest Doings {work-in-progress} ... or not

Clarinet Sonata, Op.136, movement 1: Another Think Coming

Clarinet Sonata, Op.136, movement 2: « Boulez est mort » (Wounding Silence) | work-in-progress

Op.137: A Sheaf of Bliss

Things Like Bliss, version 1, Op.137 № 1a

Things Like Bliss, version 2, Op.137 № 1b

Considering My Bliss Options, Op.137 № 2 (clarinet & horn in F) work-in-progress

Liv Plays Scrabble, Op.137 № 3 (shakuhachi & toy piano)

Out From the Unattended Baggage, Op.137 № 4 (flute, clarinet & bassoon)

sand dance, Op.137 № 5 (flute  & harp)

Oxygen Footprint, Op.138 (flute, viola & harp) | work-in-progress

Brightest and Best, Op.139 № 1 (mixed choir)

Precious Lord, Op.139 № 4 (mixed choir and organ)

Paschal Carillon, Op.139 № 5 (handbell choir)

What Wondrous Love, Op.139 № 6 (mixed choir and handbells)

http://www.youtube.com/v/dXMra6BvZew

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.

Maria's harpsichord

[Karl Henning]

Work from this morning's bus ride, and . . . honestly (I've got to be honest) I rather felt that m. 82 needed repair.

[Cato]

Work from this morning's bus ride, and . . . honestly (I've got to be honest) I rather felt that m. 82 needed repair.

Dude!  Bars 84 ff. might be your solution for that transition to Letter B !

[Karl Henning]

Oh, but I thought I had already fixed the approach to [ B ] 

[Karl Henning]

Needed to mend some of the harp pitches from the first section.

[Karl Henning]

Dadfrazzanabbit, I am having a Who needs it, really? moment, and that is not what I require on a Saturday morning.

[Karl Henning]

No matter. Moving forward.

[Karl Henning]

Well, I have met my Oxygen "quota" for today.  May come back to it after puttering with some coding . . . .

[Karl Henning]

Today's Footprint:

[Karl Henning]

http://www.karlhenning.com/ is live, although not entirely finished.

[Karl Henning]

exactly HOW Russian was [Schnittke]?

Exactly how American am I, I wonder?

[Karl Henning]

Just noticed today — because I did not make any suggestions specific to the website design — that as both conductor and composer, I am a component of http://www.triadchoir.org/listen.html

[Karl Henning]

We had Triad auditions yesterday, and it was a day's work.  (I arrived at 2:15 for prior organizational chat and spot rehearsal;  and it was 7:30 by the time I left.)  There were a couple of cancellations, but we still had seven auditionees.  Here is how it worked:

Each auditionee had been provided with Tallis's If ye love me, and our Julian Bryson's Lacrimas (which we performed on our first concert).

One of us led the auditionee in vocalise warm-ups, both for that purpose, and to give us a sense of the voice's character throughout the range.

1.   The auditionee sang his/her part in the Tallis alone.
2.   The auditionee sang the Tallis with three of us of Triad, as a quartet.
3.   The auditionee sang his/her part in the Lacrimas alone.
4.   The auditionee sang the Lacrimas with three of us of Triad, as a quartet.
5.   Sight-singing, a designedly challenging excerpt (a couple of lines from Stravinsky's Threni).
6.   If the auditionee is also a conductor, he/she had some time to rehearse/conduct us in the Lacrimas.

We talked a bit about how Triad works, and invited any questions the auditionee might have for us.

So, we of the Audition committee did rather a spot of singing.  And the challenge for me was, I was there to impersonate a tenor, and I had never sung the tenor line of the Lacrimas.  Whether the composer (himself a tenor) meant to make things relatively easier for himself, I do not know;  but compared to the alto and bass lines, it was not bad.  It still took me a couple of sings to feel I quite had it (and we did some rehearsing before the auditions began).

We mostly need inner voices, and particularly tenors (we have a long list now of tenors who have either gotten too busy to take part, or who have moved out of Massachusetts:  Norm, Jason, Patrick, David . . . .)  All the singers were quite good;  two of them are voices which need more coaching/training (and since one of these is a tenor, we'll have a go with on-the-job coaching with him).  The baritone-or-alto chap posed a slight conundrum.  It was felt that it might be timbrally problematic, having a countertenor try to blend with a female alto section;  but we do not really need another bass at present – so we will invite him to come aboard as a tenor 2, and see if that sorts all right with him.

Overall, it should be fine, just that we will have almost a start-up tenor section (well, our veterans Corey and Julian are a good core section).  In terms of my own piece for this next concert, that is satisfactory, as my voicing is S/A/Bar & piano.

[Karl Henning]

It appears that I will be given a modest honorarium (whom am I kidding? any honorarium for this unknown composer is HUGE) for rehearsing and conducting Kammerwerke in The Young Lady Holding a Phone in Her Teeth.  Partly for that reason, and partly out of respect for my time, they are waiting until the first week of November to have me attend rehearsals.  I shall have two working rehearsals plus the dress rehearsal.  As I reported last month, we did make our way through the entire piece (under-tempo) at the initial reading, so as long as everyone has done individual practicing, that rehearsal schedule ought to be ample . . . we should really manage to make some music with the Young Lady.

The Cantina Singers have reached out to me, asking if I want to be available as a guest singer, or indeed inviting me to audition.  I do hope that David Hoose will take my St John Passion under serious consideration, and Henning visibility is probably indicated.  But – Wednesday evening rehearsals are not at present a desirable addition to the weekly routine as a steady thing.  I need to check their calendar . . . for instance, I know they are planning to sing the b minor Mass.  It's a great piece and all, but I am not certain I want to sacrifice my quiet Wednesday nights for rehearsals of the BWV 232 in Brookline.  So if there is some other program later in the season which strikes my musical fancy better – perhaps.

In social media news, a musicology professor whom I assisted at the University at Buffalo just friend-requested me.  At the time of crisis when dark forces in the Music Department sought to work me harm, this professor was one of the significant supporters by whose intercession my skin was saved.  This morning I shared the Agnus Dei with him, and he has said nice things of it.

[Karl Henning]

Footprint, ho!

This morning, not surprisingly, I had to start by making sure I knew how the harp strings were set . . . .

[Karl Henning]

The passage from [ J ] to [ K ] was (largely) done a while ago; but from [ K ] on is fresh from this morning.

[Karl Henning]

Pretty much realizing on paper, today, what I have been turning in my mind the past week.

[Karl Henning]

I still have some 30mm. of rhapsodic flute solo to write out, but all the notes here, are the right notes.  (Still a good-ish amount of dynamics &c. to add, but they will be added in due course.)

[Karl Henning]

With the occasional metrical change, adding a beat or a measure here or there, and composing out the rest of the flute solo, I've won my way through to the beginning of the next section.

And I have my outline for composing out to the end of the score.

[Karl Henning]

I've started the endgame by . . . composing the ending, itself a kind of recapitulation of the opening.

• I have in view where we are going (which does not absolutely preclude modification of the ending I just composed).
• I know now how much space the final section requires.
• Which in turn (since I am specifically asked for a seven-minute piece, one of the few "restraints" placed upon me for the project) clarifies how much space is to be apportioned to the three other sections yet to be composed.