Henning's Headquarters

[Pohjolas Daughter]

Thanks, PD. I remember seeing that Innova offer decades ago. I should check. Back then (my impression is) the composer was essentially responsible for bankrolling a project.
I guess I don't know.

So, you just go by the postings on ACF to find work?  And maybe by friends and/or local contacts?

PD

[Karl Henning]

So, you just go by the postings on ACF to find work?  And maybe by friends and/or local contacts?

PD

I do most of my writing locally, we might say. I haven't yet found work, per se, via ACF. It's been a resource (rarely as yet a useful one) for sending suitable scores (generally already in my portfolio) out in hopes of ... well, anything.

[Karl Henning]

I see a call for orchestral scores suitable for a university orchestra. Still thinking about that one. Perhaps a number from White Nights. And another call for an atypical reedy wind quintet for which I am thinking of adapting The Mask I Wore Before, one of a few pieces I wrote for competitions but which failed to enchant the judges.

in addition to Ear Buds (entrants are allowed to send two pieces) I was thinking of going ahead and writing a new ten-minute orchestral piece. The first 20-ish seconds which I composed today of The Cape of Good Nope I have set aside as too dense and too aimless, and I started practically afresh (although using some of the material of the bad sketch) and I've got 40-ish seconds of a decent start on the piece.

[Karl Henning]

in addition to Ear Buds (entrants are allowed to send two pieces) I was thinking of going ahead and writing a new ten-minute orchestral piece. The first 20-ish seconds which I composed today of The Cape of Good Nope I have set aside as too dense and too aimless, and I started practically afresh (although using some of the material of the bad sketch) and I've got 40-ish seconds of a decent start on the piece.

One thought which I have had for The Cape has been, to cannibalize another piece or two. Although, I do not propose abandoning/discarding the source pieces. I've thought of incorporating both one of the Intermezzi from White Nights, and a passage of The Young Lady Holding a Phone in Her Teeth. After my return from church today, I began by expanding yesterday's Nope by salvaging some material from the initial, abandoned Nope. And I've determined that the Intermezzo from the ballet which I had in the back of my mind for incorporation here is the first. I have some creative re-scoring/arrangement ahead of me (both in this, and in the passage from La jeune mademoiselle) but of course that additional creative work is part of how I "justify" to myself the "laziness" of the theft from myself. Interestingly/fortunately, even before my "research" into the White Nights Intermezzi, I managed to bring The Cape to just the right pitch center. Call it Destiny.

[Karl Henning]

Today's Cape. Not quite two minutes, as yet.

[Karl Henning]

Today's Cape. Not quite two minutes, as yet.

I'm tickled by the appearance of synchronicity with the recent discussion of arrangements. My plan for the Cape has been:

A. Opening (new, proprietary material)
B. Much of Intermezzo I from White Nights
C. Chorale from The Young Lady
D. Conclusion of Intermezzo I from White Nights

I am certainly keeping in mind further ad hoc use of the Nope material. Today I "concentrated" (expended energies on, at any rate) the relatively "mechanical" importations. I think the "quilting" is going well. Things are fitting together with what strikes me as surprising ease. Today's work is done, at any rate.

[Karl Henning]

B. Much of Intermezzo I from White Nights

The element of the original which disqualified it from consideration for the present Call was an accompaniment figure shared between marimba and harp (similar to what the clarinets play in m.42ff.) I realized this could easily be reassigned to the bassoons (and to their enjoyment.)

[Pohjolas Daughter]

The element of the original which disqualified it from consideration for the present Call was an accompaniment figure shared between marimba and harp (similar to what the clarinets play in m.42ff.) I realized this could easily be reassigned to the bassoons (and to their enjoyment.)

Were you able to resubmit it Karl..or, rereading your post, you changed it before sending it in?

PD

[Karl Henning]

Were you able to resubmit it Karl..or, rereading your post, you changed it before sending it in?

PD

The latter, PD.

[Karl Henning]

The deadline is 1 December, @Pohjolas Daughter ... so I am working to get the "rough block" done so that I have ample time to tweak and fine-tune.

[Karl Henning]

I believe The Cape of Good Nope is done. I do need to modify the score layout a bit (mostly in anticipation of preparing parts.

[Karl Henning]

For the new Mask I Wore Before, I think I've settled on the scoring:
Soprano Saxophone
B-flat Clarinet
English Horn 
Bass Clarinet
Bassoon

One challenge (not insurmountable) is that three of the instruments in the original are strings, and there are double-stops to reconsider. 

[Papy Oli]

The Cape of Good Nope

*Chuckle* (C) 

[Pohjolas Daughter]

I believe The Cape of Good Nope is done. I do need to modify the score layout a bit (mostly in anticipation of preparing parts.

Good Nope? lol

PD

[Karl Henning]

Well, I have sent both Ear Buds and The Cape of Good Nope to the Call. Now to chip away at the reed quintet adaptation of The Mask I Wore Before.

[Karl Henning]

Well and a local Call to which I can send Counting Sheep.

[Pohjolas Daughter]

Go for it Karl!

PD

[Karl Henning]

Go for it Karl!

PD

Done. Now, for the re-scoring of The Mask I Wore Before.

[Karl Henning]

The new Therapy Machine.

[Pohjolas Daughter]

The new Therapy Machine.

Therapy machine?  And how is that supposed to work?

All the best,

PD