Henning's Headquarters

[Karl Henning]

I'm also thinking about the Symphony № 3 for Strings, Op. 175, and the fact that the typography of the score needs to be punched up. I'm having two conductor friends (one of them a composer, as well) cast their expert eyes over the score, and we'll take it from there. Pursuant to PD's query about whether I mostly write on the shorter side ... Having now completed the ballet White Nights and three symphonies which I've written on spec, my feeling is that I'm not going to invest the effort in another large-scale piece until the Universe takes up one of the big pieces now complete. It's also probably true that anything concrete on that head, how small soever, may really light a fire under me. The fact of neither of the first two symphonies having gotten anywhere (not a huge surprise—I have a friend who IIRC has written at least ten symphonies, only one of which has been performed—so I know not to expect immediate success) is why I decided to make the third a piece for bowed strings only (not even harp) so that it should be easy to shop around. Hence, too, why I would like to get the score in condition to show to conductors. Now and again, I feel an itch and think that once the Op. 169 is in the can, I'll write a tone-poem for chamber orchestra. Maybe just seven minutes.

[Karl Henning]

I suppose I might add that I'm contemplating adapting the Op. 178 for two violins.

[Karl Henning]

Après-Hop

[Karl Henning]

Après-Hop

[Cato]

I'm also thinking about the Symphony № 3 for Strings, Op. 175, and the fact that the typography of the score needs to be punched up. I'm having two conductor friends (one of them a composer, as well) cast their expert eyes over the score, and we'll take it from there. Pursuant to PD's query about whether I mostly write on the shorter side ... Having now completed the ballet White Nights[/b][/i] and three symphonies which I've written on spec, my feeling is that I'm not going to invest the effort in another large-scale piece until the Universe takes up one of the big pieces now complete. It's also probably true that anything concrete on that head, how small soever, may really light a fire under me. The fact of neither of the first two symphonies having gotten anywhere (not a huge surprise—I have a friend who IIRC has written at least ten symphonies, only one of which has been performed—so I know not to expect immediate success) is why I decided to make the third a piece for bowed strings only (not even harp) so that it should be easy to shop around. Hence, too, why I would like to get the score in condition to show to conductors. Now and again, I feel an itch and think that once the Op. 169 is in the can, I'll write a tone-poem for chamber orchestra. Maybe just seven minutes.

White Nights is a wonderful ballet and somebody somewhere should give it a chance...along with your other works!

[Karl Henning]

White Nights is a wonderful ballet and somebody somewhere should give it a chance...along with your other works!

Still hoping that the string suite from the ballet may get programmed.

[Karl Henning]

Good progress on the organ piece. On one hand, I can just about taste the finish, on the other, I think I may be beat for the day, and should hit Recreation Mode.

[Pohjolas Daughter]

Good progress on the organ piece. On one hand, I can just about taste the finish, on the other, I think I may be beat for the day, and should hit Recreation Mode.

Go for it Karl! 

PD

[Karl Henning]

There's a chance it may be done.

[Karl Henning]

Many thanks! I shan't post the refreshed final score, but I made two trivial additions, which may make @hopefullytrusting smile: to facilitate page turns in the parts, I added one measure here and another measure there. I've sent the piece to Orlando, and will report.

I also sent the piece to Henning Ensemble members Peter Bloom and Carol Epple. Peter writes:

So, having taken a closer look at the way "...Un-Hip..." I get the hopping manner is which the duo references a hop that might be construed as unhip.  Karl, your counterpoint of parallels (fourths, fifths, sevenths) and open intervals conjure a scene of a medieval ball as experienced through fifth or sixth dimension. Fantastic (and phantastic)! Might this be Guillaume de Machaut on ketamine?

Let's schedule a reading (with composer) sometime soon.

Peter's comment reminds me of a Wuorinen piece I've known about for a long time, but haven't yet heard: Machault, Mon Chou.

[Karl Henning]

There's a chance it may be done.

As I live with it, I don't think it needs any serious adjustment. I decided to lean into an Ivesian melting-pot approach, so there are incursions by the National Anthem, "Poor Wayfaring Stranger," an adaptation I knew from the old English Hymnal of the plainchant Agnus Dei, "Sunshine of Your Love," and I just don't remember where I first heard the bass lick which first appears in the pedals at m. 13. There is one measure which is not a "problem" per se, but which I want to tinker with via augmentation. First, though, my post-PT nap. Oh, and I really enjoy the jest of an ending.

[Karl Henning]

There is one measure which is not a "problem" per se, but which I want to tinker with via augmentation.

Truly an errant thought. Gilding the lily. Implementation of the idea would have made for turning things upside-down. You know, when something's done, let it be done.

[Karl Henning]

Just had a great talk with my publisher. He's keen to show the Opus 169 organ pieces to Jens Korndörfer, recently retired as organist at Peachtree Presbyterian Church in Atlanta, and is presently joining the Baylor faculty. We've decided to publish it as a set of eleven (the Old # 4, being a piece for flute and organ, needs to be separate, so I've reassigned it to Opus 180.) Very excited at the prospect of getting feedback from Jens. It may seem I've skipped to Op. 180, but I went ahead and assigned Op. 179 to the projected orchestra tone-poem.

[Karl Henning]

Incidentally, for fun I've tossed the sound files of the twelve pieces of the Opp. 169/180 into Media Monkey, and it's 45 minutes of music.

[Karl Henning]

There's a chance it may be done.

Eric has been quite warm about receiving the piece. Today he writes: I'll be heading into the church shortly before it gets super hot, and hopefully ahead of any violent weather, and I'm looking forward to checking out your piece when I get there. I decided to be lazy this week, and my service music isn't very challenging in terms of footwork or registration. I think that the early German Baroque composers of organ music are underperformed, and I chose a very cool echo fantasia (no feet) by Samuel Scheidt for my prelude. The postlude will be a Scarlatti sonata, still to be chosen.

[Karl Henning]

Post Hop Ergo Propter Hop

[Karl Henning]

My friend David Bohn sensibly suggested that the Op. 169 n^o. 4 might be reduced to organ solo, thus preserving the set of twelve, and indeed he graciously assisted.

[Cato]

I also sent the piece to Henning Ensemble members Peter Bloom and Carol Epple. Peter writes:

So, having taken a closer look at the way "...Un-Hip..." I get the hopping manner is which the duo references a hop that might be construed as unhip.  Karl, your counterpoint of parallels (fourths, fifths, sevenths) and open intervals conjure a scene of a medieval ball as experienced through fifth or sixth dimension. Fantastic (and phantastic)! Might this be Guillaume de Machaut on ketamine?

Let's schedule a reading (with composer) sometime soon.

Peter's comment reminds me of a Wuorinen piece I've known about for a long time, but haven't yet heard: Machault, Mon Chou.

See e.g. one of my favorite sections bars 73 ff..

[Karl Henning]

I suppose I might add that I'm contemplating adapting the Op. 178 for two violins.

I had so done (Op. 178a) John writes: Karl, it looks like it should work fine. Thank you for sending it. I will read it with a colleague and report back on its playability.

[Karl Henning]

Revisiting the "Henning First" today: