Excellent. Would there happen to be a photograph of the actual headquarters D?
I take it that is somewhere in St Petersburg?
Mike
I take it that is somewhere in St Petersburg?
Mike
I just happen to have a picture:
(http://cse.unl.edu/~bkell/st-petersburg.jpg)
After the ballet is done, Ed Broms will have me compose a setting of the St John Passion for Good Friday next year.
I just happen to have a picture:sweeeeeeet!!!
(http://cse.unl.edu/~bkell/st-petersburg.jpg)
Yay Team! (HEY! What happened to the Angel emoticon??? And the Policeman?)
Which language? The highly theological languages of Latin, German, or even Ancient Greek (!?) or something from Petrograd?
Yay Team! (HEY! What happened to the Angel emoticon??? And the Policeman?)
Which language? The highly theological languages of Latin, German, or even Ancient Greek (!?) or something from Petrograd?
And if you are thinking of English, which translation?
Decisions, decisions! :o
Zowie! how we crossed just then.
We have been singing an edition of a plainchant delivery of the Passion. I will probably use that as a base, and may make informed adjustment.
No, it will serve as the Gospel reading, and so really ought to be in Ingrish.
You seriously mean Ingrish? If that's the same as Engrish (http://www.engrish.com/), then that doesn't sound good... :oi still remember that time in Japanese class when my teacher had that site on the overhead projector- my favorite one was Tickle Me Elmo. Instead of reading "Clap Your Hands", it said "Crap Your Hands."
Choir rehearsal tonight! Which means that I may learn from Ed when he may be thinking of doing Nuhro, or the Magnificat (again), or (as the composer should prefer) both.
Both! That's the kind of thinking we like to see! 0:)Actually, he should have all 3 of them sing in a different language.
Thanks for the update! The piece with Portuguese texts sounds intriguing! 3 voices and percussion: I assume you will ask if the latter means things like vibraphone, tubular bells, celesta, etc. Or just a few snare drums?!
Ed wants to do both Nuhro and the Magnificat for an evening service on the Feast of the Ascension (Thursday, 17 May).
Those are pictures of Karl before he got married! Thanks to marital bliss, he now resembles Charlton Heston.
Music of Karl Henningwow, you're going all the way back to op.9? is that a type (90) or not?
Terpsichore in Marble, Op. 9 (clarinet and cello)
Canzona & Gigue, Op. 77a (clarinet, viola and cello)
Three Things that Begin with ‘C’, Op. 65a (clarinet and viola)
Song of Mary, Op. 29 (three mixed voices)
Mirage, Op. 79a (clarinet, viola and piano)
Karl Henning, clarinet (& bass)
Assisted by:
Rachel Cama-Lekx, alto
Sara Richardson, cello
Peter Cama-Lekx, viola & tenor
Ed Broms, piano
Wednesday, 20 June
12:15pm
Cathedral Church of St Paul
138 Tremont St, Boston
T minus four hours 22 minutes.
(Just got the Burpee reference! Color me slow today! Concentrating on The Music!)
You know, I think the last time I played at King's Chapel, The Bend of Time was on the program :)wow, it's been over a year, hasn't it?
Recital went very well, and we had 48 out in the audience (which is excellent turnout for this sort of thing).
And of course, now I can play even better for next month's recital.
Oh, yes she is - she absolutely loves your clarinet playing! :D
No "hot" news by me.
Very pleased with how this week's recital went at King's Chapel.
...
And I am cooking up a piece for three soli voices and light percussion, for a Cambridge-based ensemble; they provided the texts, exquisite old Portuguese Christmas ballads.
— Cambridge, Massachusetts, Guido & Luke 8)
Don't worry; I've long ago gathered that your 'King's Chapel' isn't our real one as well.... ;) :-*
More work done on Castelo dos anjos for three soli voices and percussion, on antique Christmas texts (three in Portuguese, one in Spanish).
All the texts are so lovely, I didn't have the heart to reject any of them, so I figured I'd make a 'mini cantata' of it.
just wondering what classical category you would place your music in,
Well, right now, Bill, this piece . . . Maria has described as "African or Middle Eastern." (This is essentially for this first of four texts, and the character will change imminently.)
The performers for whom I'm writing have asked for something with 'a Sephardic flair' . . . I'm just hoping this flair may serve :-)
Thank you, indeed, Patrick!
Blue Shamrock 8)
Does the title Blue Shamrock bear any relationship whatsoever to the music ?......... ?
That's exactly what I had in mind (http://www.good-music-guide.com/community/index.php/topic,1647.0.html), Luke! 8)
Nice to read Portuguese in here. ;D
Al cantar el gallo tinto, al cantar el gallo negro,
y al cantar los pajaritos, ha nacido el rey del cielo.
No ha nacido en vama de rosas, ni tampoco de romero;
nació en un percebito, entre la paja y el heno.
I will, though, make the bongo pattern for Text I serve for Text IV,
That would have been my suggestion as well .........
Who will handle this "wicked" percussion? Is that already arranged?
I pared the bongos back for both strophes, but this morning I think that I do, after all, need the bongos wickeder for the second strophe (two singers).
Also, 'fixing' the bongos in mm. 273-286, which I can probably make a relatively easy matter of salvaging 'the wicked stuff' from yesterday which I had to scrap for mm. 260-272.
Finished Castelo dos Anjos last night.
In shuffling things around to open up space on the home PC, at random I revisited the MIDI of Intermezzo II from the ballet. Back when I had been working on it, I wondered if I needed to re-work some of it; but now, with the musical palate cleared by the flame of Castelo dos Anjos, it just sounds good to me.so you think you'll get it done by the end of the year?
So, once I get all the i's dotted and the T's crossed in the score for Tapestry, the iron is probably hot for the remainder of White Nights.
so you think you'll get it done by the end of the year?
and........ will you have it all in MIDI for us?
Well, right now, Bill, this piece . . . Maria has described as "African or Middle Eastern." (This is essentially for this first of four texts, and the character will change imminently.)
The performers for whom I'm writing have asked for something with 'a Sephardic flair' . . . I'm just hoping this flair may serve :-)
It is, indeed, Bill.
And I've started the sketches for the next piece. Watch This Space
I've been watching for 2 hours ........... still nothing ..........
On consulting with the instrumentalists/fellow choristers, the scoring of the (sparse, discreet, mysterious) accompaniment will be:wow
Baroque viola
bass viol
harp
organ
djembe
I wrote Castelo dos Anjos for the group Tapestry (http://www.tapestryboston05.com/).
An example of their music-making (with sound samples) is here: The Fourth River (http://www.amazon.com/Tapestry-Fourth-River-Millennium-Revealed/dp/B000035X5C/ref=sr_1_1/002-4800350-8486427?ie=UTF8&s=music&qid=1187203966&sr=1-1).
I had e-mail from Tapestry this morning, and have just spoken with one of the singers to sort out some details; and I am very pleased to say that the group like the piece, and will include it in a program they are singing in Denver on 1 Dec 07. I will post details as I learn them!
More work, both on the Passion, and on the clarinet/viola duet I started back in June, The Mousetrap, this weekend.
Is Agatha Christie somehow involved? $:)
Or Tom and Jerry? 0:)
Nay. 'Tis a knavish piece of work: but what o' that? your majesty and we that have free souls, it touches us not . . . .
Is the piece to be performed in some sort of enacted version then?
:-{)That's a great piece of smiley art.
That's a great piece of smiley art.
A violinist in town has kindly expressed interest in a violin version of Irreplaceable Doodles, which involves among other things a judicious transposition. I've finished the initial draught of this adaptation today.
We'll also play The Mousetrap as the Prelude for the 9 December service; for that auspicious occasion, I have already devised a theological alternate title: Meister Eckhardt, or, The Cheese Which Baits the Divine Mousetrap.
Recital: John Rasmussen
Saturday, 15 September 2007, 7:30pm
Program:
Karl Henning: Studies in Impermanence for English horn solo
Richard Rodney Bennett: Sonata for oboe and piano
Eugene Hartzell: Workpoints 4 for flute and oboe
Francis Poulenc: Sonata for oboe and piano
John Rasmussen: Dissolution (for soprano and piano)
Antal Doráti: Cinq pièces pour le hautbois (unaccompanied)
St Barnabas Episcopal Church
1280 Vine Street
Denver CO 80206
Working on The Mousetrap today; I've got the "unison dance" section wrapped up to my satisfaction.
Working on The Mousetrap today; I've got the "unison dance" section wrapped up to my satisfaction.
Working on The Mousetrap today; I've got the "unison dance" section wrapped up to my satisfaction.
Working on The Mousetrap today; I've got the "unison dance" section wrapped up to my satisfaction.
More! More!
More! More!
More! More!
More! More!
More! More!
Working on The Mousetrap today; I've got the "unison dance" section wrapped up to my satisfaction.
i'm assuming we should do that after the program?
Please send them an e-mail message complaining that the composer Henning is not represented in their "Boston's Top 100 Classical Pieces of All Time"!! 8)
i'm assuming we should do that after the program?
and which piece, specifically- you mean, say that "Allelulia in D" is not in one of Boston's top 100 classical pieces of all time?
The St Paul's Choir singing my Bless the Lord, O My Soul (informally known within the choir as Bless the Lord, O Henning) for mixed choir unaccompanied will be part of this week's radio broadcast.
Sunday, 21 October . . . .
Tapestry will perform Castelo dos Anjos as part of their "In the Company of Angels" program at 7:30pm, December 1st at Denver's Newman Center for the Performing Arts (http://www.du.edu/newmancenter/newmanCenterPresents.html).
Also, the choir may possibly read my unaccompanied setting of the Advent Responsory I Look from Afar at tomorrow night's choir rehearsal. When I talked with Ed this Sunday past, I sounded him out delicately, and he seems actually to want to put it on; so I asked if he would mind just having a read of it tomorrow, so it will have been under everyone's eyes at an early stage.
Why compose? Well, sometimes, your fellow musicians might like what you write.
The President of the New England chapter of the American Composers Forum just called to say that the chamber ensemble Brave New Works (http://www.bravenewworks.org/) has accepted my quartet (fl/cl/hp/pf) Radiant Maples for their reading on the 15th.
that's cool, how'd you get that arranged?
that's cool, how'd you get that arranged?
I submitted a blind score, and other people did the rest.
(a) There was a call for scores (http://www.acfnewengland.org/BraveNewWorks.html); (b) I saw right away that Radiant Maples, a piece for whose premiere I have always been keen to find some occasion, fit within the instrumentation; (c) I sent the score; (d) they liked it.
(a) and (d) were dumb-luck breaks which happened to fall my way; (b) and (c) were readiness on my part.
Karl Henning’s Nuhro (Hymn of Light) will open the 10 am service early. Come ten minutes before the hour to enjoy this sacred offering. Listen, reflect—hear the glory!
All right, now to extract and spiff up some parts . . . .
Tapestry will perform Castelo dos Anjos as part of their "In the Company of Angels" program at 7:30pm, December 1st at Denver's Newman Center for the Performing Arts (http://www.du.edu/newmancenter/newmanCenterPresents.html).
(g) Extracting and spiffing up ........
Where is the Newman Center for the Performing Arts in relation to St. Barnabas Episcopal Church (1280 Vine)?
Bálint Karosi, organist & director
Oh, and he's a clarinetist, too.
But can he compose?
[ maybe no one will notice the double-post . . . . ]
Levine conducts Carter premiere, Haydn & Mahler (http://www.berkshirelinks.com/berkshires-news/bso-haydn-carter-mahler/)
What a wonderful and rare occasion!
Tapestry rehearsed Castelo dos anjos at noon today, and I visited further with them much of this evening over tea.
Bill, I think you will be pleased with the performance in Denver!
The composer really did autograph my program, God bless him.
Harpists will love you ....... and flock to your composition in droves ........
Tapestry rehearsed Castelo dos anjos at noon today, and I visited further with them much of this evening over tea.
Bill, I think you will be pleased with the performance in Denver!
The droves! Where are they!?
Very pleased that you enjoyed the concert, Bill; but then, knowing their work, I knew well that as long as you arrived at the concert, you would enjoy Tapestry's performance!
Any chance that your commissioned piece will end up on their next cd Karl. They seem to record recent compositions, no?
I submitted a blind score, and other people did the rest.excellent.
(a) There was a call for scores (http://www.acfnewengland.org/BraveNewWorks.html); (b) I saw right away that Radiant Maples, a piece for whose premiere I have always been keen to find some occasion, fit within the instrumentation; (c) I sent the score; (d) they liked it.
(a) and (d) were dumb-luck breaks which happened to fall my way; (b) and (c) were readiness on my part.
Performers:
Steven Miahky, Violin
Maria Sampen, Violin
Tim Christie, Viola
Norbert Lewandowski, Cello
Sarah Brady, Flute
Kevin Schempf, Clarinet
Amy Ley, Harp
Winston Choi, Piano
Chris Kim, Conductor
i've forgotten to check up on this thread for a while! :P
excellent.
Is this how you get all of your music performed?
Would there be a similar "call for scores" for orchestras?
Is this something this group does regularly, so would you advise me to write a work with the following instrumentation to submit to them so they can play it if they like? that was a long sentence.
No, thankfully :-)sweeeeeeet
ASCAP has an annual call for orchestral scores, for instance; I think it's called the Nissim Prize.
Although this specific occasion was a one-off deal co-sponsored with the American Composers Forum, the group does have an annual call for scores (whose deadline for this year, I think, may recently have passed). But I'd certainly encourage you to compose something for their instrumentation, and send it in for next year.
I am just keeping fingers crossed for an eventual Denver premiere!
And for Castelo dos Anjos to be recorded by Tapestry? You never know Karl.
And for Castelo dos Anjos to be recorded by Tapestry? You never know Karl. Like I pointed out, with their past repertoire on their cds this could very well happen if they should record this year. Speaking of which.....
I am out a-vacationing starting tomorrow (Saturday), and will be pretty much unplugged for a week
Thanks to the especially awesome vibrational fields generated by Florida bees,you're in Florida?.... looks like you must've found out my favorite beehive to go to for absorbing great vibrational fields....
you're in Florida?.... looks like you must've found out my favorite beehive to go to for absorbing great vibrational fields....
purely as an unaccompanied delivery of the text.
you're in Florida?.... looks like you must've found out my favorite beehive to go to for absorbing great vibrational fields....
just try to be careful for the wild Pikachus
Congrats, Karl ........ even sans instrumental accompaniment .......
Up to p. 14 .....
Our dear Karl. without any reference point, that statement has limited meaning for us .........
I don't know, it's hard to tell, but have you "used too many notes" ??? 8)
Any extraneous notage, I relied upon the Florida sun to bake off . . . .
Yes, I was also kindly sent a copy of the score - I've told Karl how impressed I was with it in private, but I should also put my praise out here too! I haven't had a chance to play through it yet, but I am really looking forward to it, as the piece looks elegantly conceived and beautifully executed.
. . . no dynamics are given in my copy . . . .
Thank you, all, gents!
Oh, we've got to get you an up-to-date score :-)
Many thanks! I was able to download it today, thanks to a snow day, where everything melted by 9:00 A.M!
Today is Ash Wednesday; I have an idea that we may be singing one of my anthems at the noon service, May God Be Merciful to Us.
At tonight's rehearsal, I am told, we will begin reading my setting of the Passion.
And in yesterday's mail, there came a demo of Tapestry's (http://www.shuppartists.com/Shupp/Artists/Tapestry.htm) Denver performance of Castelo dos anjos, to which I will try to listen this afternoon.
Or, if time allows, this morning . . . .
Today is Ash Wednesday; I have an idea that we may be singing one of my anthems at the noon service, May God Be Merciful to Us.
At tonight's rehearsal, I am told, we will begin reading my setting of the Passion.
And in yesterday's mail, there came a demo of Tapestry's (http://www.shuppartists.com/Shupp/Artists/Tapestry.htm) Denver performance of Castelo dos anjos, to which I will try to listen this afternoon.
Or, if time allows, this morning . . . .
and we've got six weeks to pull it into graceful and grand shape.good luck, i hope they can do it justice.
Glad you like it, Greg; more positive feedback has been filing in from sundrie choristers :-) A bunch of people look like they will be gone missing this next rehearsal, so progress may not be what I might hope; will report.yes, please do keep us informed.....
That's great Karl! When are you gonna put your CD together?
Allan
Allan, have I not yet sent you aught of my music?Why isn't "nostrum" capitalized?
. . . separately, I am quickly, oh so quickly, adapting the brass compliment of my roof-raising Easter anthem, Pascha nostrum, to a tp(2)/tn(2) quartet.
Why isn't "nostrum" capitalized?
Allan, have I not yet sent you aught of my music?
I had been writing quite a few pieces for the choir of the First Congregational Church in Woburn, Massachusetts, of generally modest dimensions. Pascha nostrum was the first piece I wrote which sort of 'tested' the outer limits of duration for use in the service . . .
no scores, no performances, no midi, none, zip, zero, zilch. I keep thinking a DVD of White Nights will just arrive to surprise me one day and that could be 1) my introduction to Henning and, maybe better for you, 2) the end of any ammunition I have against you. :P
Allan
With Karl's music Allan, this quote came to mind:lol, that's more or less a point i made on another thread.
Willy Wonka: But Charlie, don't forget what happened to the man who suddenly got everything he he always wanted.
Charlie Bucket: What happened?
Willy Wonka: He lived happily ever after. ;)
Quote from: Bogeyjust wondering what classical category you would place your music in
Breakbeat hardcore
Breakbeat hardcorewow, i love it! :D
Proof! The breakbeat hardcore sensation, Out in the Sun —
[mp3=200,20,0,center]http://www.gesprek.net/hendrik/Henning/Instrumental/09%20-%20Track%20%209.mp3[/mp3]
20 June 2007:
Three Things that Begin with 'C', Opus 65, clarinet & viola (2002)
Karl Henning, clarinet
Peter Cama-Lekx, viola
Cathedral Church of St Paul
138 Tremont Street, Boston, Massachusetts
[mp3=200,20,0,center]http://www.gesprek.net/hendrik/Henning/Instrumental/07%20-%20Track%20%207.mp3[/mp3]thanks for posting audio files of your works!
that one sounds like it has more of a detectable influence of Stravinsky and Shostakovich in some parts....
Music of Karl Henning
Canzona & Gigue, Op. 77 (clarinet and organ)
Breakbeat hardcore
Proof! The breakbeat hardcore sensation, Out in the Sun —
[mp3=200,20,0,center]http://www.gesprek.net/hendrik/Henning/Instrumental/09%20-%20Track%20%209.mp3[/mp3]
wow, i love it! :D
such a refreshing work...... to me, very original sounding- i can hardly think of any music that sounds like it at all.
As to Out in the Sun:ok, i was thinking Adams...... still, i don't think Adams could've written it.
If I were to pinpoint one possible influence ........... perhaps John Adams ..........
ok, i was thinking Adams...... still, i don't think Adams could've written it.
Whether composer X "could have written" composer Y's piece isn't the question ...... The issue is detecting possible upstream compositional influences..hmmmmmm what do you think, Karl?
The musicologists are so happy, in a self-indulgent way, when they can point out the influences. But that’s not what’s important. What’s important is that the composer transforms those influences, and makes them his own. Which reminds me of a wonderful Stravinsky statement. He once said, “You must always steal, but never from yourself.” What he meant by that is quite obvious. When you steal from yourself you learn nothing. When you steal from others, you enrich your vocabulary.
Anyway, I'll stick to just to comment on for now, with Out in the Sun. How big of a wind ensemble is that anyway?
Ten pieces:
Anyway, I'll stick to just to comment on for now, with Out in the Sun.
A brilliant performance of a brilliant composition! ........ 0:)
In New Hampshire, of course, E-flat is the key of the Piscataqua.Then why didn't Walton write Portsmouth Point in that key? ;)
Lovely to see all discovering the sunny joy! :DJuly...... the month or the name?
I love the instrumentation (great use of saxophones), and waxed lyrical to Karl about this piece before...I would love to perform it if we had the players at our school...
I wouldn't say John Adams comes to mind, more Reich or to me Michael Torke, there was a piece I was looking at for our quartet that I remembered that it reminds me of, it's called "July".
Here is a clip.
[mp3=200,20,0,center]http://www.fileden.com/files/2007/4/13/981279/torke-julyclip.mp3[/mp3]
I like Karl's piece better though, because I love the chorales, and the way the brass trio plays off the woodwinds (and it is less repetitive)!
Choral works are wonderful. I like the use of the trombones in those works.
Music of Karl Henning
Canzona & Gigue, Op. 77 (clarinet and organ)
[mp3=200,20,0,center]http://www.gesprek.net/hendrik/Henning/Instrumental/03%20-%20Track%20%203.mp3[/mp3]
[mp3=200,20,0,center]http://www.gesprek.net/hendrik/Henning/Instrumental/04%20-%20Track%20%204.mp3[/mp3]
Karl Henning, clarinet
Mark Engelhardt, organ
Irreplaceable Doodles, Op. 89 (clarinet unaccompanied)
Karl Henning, clarinet
[mp3=200,20,0,center]http://www.gesprek.net/hendrik/Henning/Instrumental/08%20-%20Track%20%208.mp3[/mp3]
Easter is a-coming (early this year). Ed sent me the sound-file for a Georgian (i.e., the country in the Caucasus) Alleluia, with the request that I transcribe it so that we can sing it for Easter. It is a lovely little piece, and will go well with a transcription I made much earlier of a Russian Liturgical Easter Stikheron.
Apart from those 'slight distractions' I've been working on the Prelude for some wedding music, organ, brass quintet, and we'll see :-)
Tasos, what is the proper plural for stikheron?stikheroni?
stikheroni?
I thought that was something Michel was going to to when he got old ...only if he's smart enough to figure it out, maybe.....
stikheroni?
I thought that was something Michel was going to to when he got old ...
so that in addition to the audio recording, there is a visual document of the event.
You know where to post the audio/video ..........
I do; what I do not know, is when either will be in my possession, mon vieux 8)
More Karl Henning works (sacred vocal and instrumental-clarinetal). A collection of short vocal works is absolutely enchanting. The more festive and 'pastoral' events seem to elicit from Dr. Henning some particularly felicitous vocal writing. Everything I hear here is worth singling out, but the last items on the disc (as per Henning's own ordering) are particularly beautiful, life affirming pieces: Mary's Song, Simeon's Song and the concluding Nativity work, (Hodie), where ethereal voices chant high above a solo clarinet intoning the Christmas story in its baritone register. Magical!.
The other collection of instrumental works features the clarinet in various combinations (including a cl quartet!). Although I'd be hard put to call them memorable, each has a distinct character that quietly grabs the attention. IOW these are quality musical moments that don't need any throat clearing to make themselves noticed and invite repeated exposure - which they're getting as my 'in car listening' program of the week ;D.
Alas, I learn that no recording was made of Pascha nostrum on Easter. Wish I had known earlier; you never know, arrangements might have been made.
Ah, well.
Alas, I learn that no recording was made of Pascha nostrum on Easter. Wish I had known earlier; you never know, arrangements might have been made.
Ah, well.
Technology is to blame here gentlemen. Whatever happened to the good ol' days when some punk would sit in the front row and tape the show with his taperecorder under his winter jacket and then make poor quality copies for all his friends....and then ten years later, these recordings are selling for a mint. What we need is more Henning boot-legs! 8)
Tchah, why's David 'gone guest'?
Tchah, why's David 'gone guest'?
Breakbeat hardcore
Proof! The breakbeat hardcore sensation, Out in the Sun —
[mp3=200,20,0,center]http://www.gesprek.net/hendrik/Henning/Instrumental/09%20-%20Track%20%209.mp3[/mp3]
This is really interesting. The score must be fascinating.
Working on a passage along a sort of "construction' methodology which I sometimes find both useful and instructive. I'm about four minutes into a piece which has already established the Lydian mode as one of its tonal ambits. I decided I wanted to putter with some block chords, so I started with a pentachord which is a subset of the Lydian mode, and a chord with which I've worked more than once in the past: D, E, G#, B, F#Which piece is this for?
Perhaps as I putter this may change downstream, but to start I want to see what I can do with a series of pentachords which are all either transpositions of this, or inversion. And I want the chord sequence to hinge on a bass line. I wrote a bass line, fairly wilfully chromatic . . . and indeed (as it befell) eleven of the twelve pitch-classes turn up: D, E-flat, F, F#, A, B-flat, C, C#, E, G, A-flat . . . not octatonic, of course (since we've got eleven pitches represented) but 'locally octatonic,' we might say.
Then, I made a game of 'building' a series of pentachords which include the bass notes.
Now (or rather, on the bus this morning) I took back up the matter of rhythm . . . and work goes on . . . .
"Locally octatonic"... interesting. Is this somewhat similar or the opposite?
My idea:
(ascending) A C - D F - G Bb - C Eb etc.
it's sort of like an infinite scale, the closest thing I can think of are certain uses of Xenakis' scale. It's something I've thought of (maybe you remember?) from playing the same two notes on the guitar and going up the next string in a pattern- the unique thing is that it doesn't connect at the octave.
Someone pointed out it's actually the circle of 4ths or 5ths with an added note (or two).
Could you explain certain techniques that you have used for Out in the Sun? (or refer to previous posts)?
Quote from: karlWorking on a passage along a sort of "construction' methodology which I sometimes find both useful and instructive. I'm about four minutes into a piece which has already established the Lydian mode as one of its tonal ambits. I decided I wanted to putter with some block chords, so I started with a pentachord which is a subset of the Lydian mode, and a chord with which I've worked more than once in the past: D, E, G#, B, F#
Perhaps as I putter this may change downstream, but to start I want to see what I can do with a series of pentachords which are all either transpositions of this, or inversion. And I want the chord sequence to hinge on a bass line. I wrote a bass line, fairly wilfully chromatic . . . and indeed (as it befell) eleven of the twelve pitch-classes turn up: D, E-flat, F, F#, A, B-flat, C, C#, E, G, A-flat . . . not octatonic, of course (since we've got eleven pitches represented) but 'locally octatonic,' we might say.
Then, I made a game of 'building' a series of pentachords which include the bass notes.
Which piece is this for?
Well, what I mean is that the tetrachord D, E-flat, F, F# [0,1,3,4] is characteristic of the octatonic scale; to finish it (as an octatonic scale), you would compliment it with a transposition of the same [0,1,3,4] tetrachord, in this case at the tritone: G#, A, B, C . . . but I transpose it "wrong" (wrong for the octatonic scale, I mean), to A, B-flat, C, C# . . . then the line continues E, G, A-flat which is a transposition of a subset of the same tetrachord.This sounds similar to Xenakis' sieve technique, although I can't remember the details about how he constructs it.
Or, even more accurately, two interlocking circles of fifths: [ A - D - G - C - F ... ] + [ C - F - B-flat - E-flat - A-flat ... ]
Which piece is this for?Hmmmmmm i think i can imagine it, vaguely
Prelude for Brett's wedding; this section is organ and brass quintet. I worked some more on the rhythm of this section, on the bus ride this morning. In general what happens (in this section) is, the organ and brass start out together, both rhythmically and in terms of harmonic content; then the two elements split apart, and are in a kind of counterpoint.
Did you have any specific questions? Otherwise, I'm apt to just gab about the piece, of course. 8)I see that it's heavily contrapuntal, especially in the beginning. Are there other really important subjects besides the first (which the alto sax begins with) that aren't quite as easily seen?
Well, I think that will happen, if they take a liking to it in the reading. The trombonist of the quintet seemed enthusiastic about the piece from the look of the score.
In the mood for Henning's Hodie, my favourite piece so far 0:).
At yesterday’s service at the Cathedral, the St Paul’s choir sang Nuhro as an extended choral prelude, and Pascha nostrum at the communion. Overall they went very well. The ‘perfect’ performance of Nuhro continues to elude us;
Dear friends and Karl, let it be known that through some small effort on my side, Karl's Magnificat will be performed in Holland on the 24 and 31 of May 2008, by a very good Choir.
I have played many times through the score of this piece, and my admiration is growing every time. A fine and well written choir work, of great dimensions, so congratulations Karl, well done.
It will be recorded and possibly filmed, and I am sure copies will be available either through Karl, or me. :)
Here in New England, Johan, there is a traditional caution: You can't get there from here :(
Ed thought he was recording my two pieces in Sunday morning's performance, but thanks to our selfish, piggish "guests" of Saturday night, the "recording" is blank. Dead silence. No record of the choir's performance.
On the brighter side, continued work on a bride's entrance, on the bus-ride this morning.
Perhaps the bride should be brought down the aisle on wheels? (Note to self . . . .)
[ I first wrote: On the brighter side, continued work on a bride's entrance on the bus-ride this morning . . . but felt that a judicious comma might be in order. ]
i don't think i'd wanna go to THAT wedding :D
[ I first wrote: On the brighter side, continued work on a bride's entrance on the bus-ride this morning . . . but felt that a judicious comma might be in order. ]
I will make the suggestion, but if I get in trouble, I'm going to blame you!
[ I first wrote: On the brighter side, continued work on a bride's entrance on the bus-ride this morning . . . but felt that a judicious comma might be in order. ]
That's just what the chap on the MBTA said, Johan! ;)
Turns out that Ed was responsible for the breakdown of the soundboard. No comment.:D
Turns out that Ed was responsible for the breakdown of the soundboard. No comment.
No, no. I still forbear to comment.
and sure enough, he has muttered things like, "Evil!," "You're crazy, you know," &c. as we've worked on the piece.oh, we all knew that......
And now, per Brett's suggestion, some noodly organ toccata-ish bits ;)
Thanks, Harry; and I hope that all is going well in preparation for tomorrow's performance!
There's a lot that is 'untrue' to the piece in this MIDI . . . the organ patch is weird; and because I'm not really happy with the solo string patches, I've here used a 'String Ensemble' patch for the string quartet, so that the quartet, too, sound much bigger in the mix than they ought. Oh, and did I mention that the organ patch is weird? -- the final A in the organ is actually notated an octave lower than it sounds. All the same, the surging energy of the piece comes across.wait....... now which one is op.93?
Karl, my 4000th post is coming up..... any ideas?
and when your 10,000th post comes up.... we'll have to make a thread for that! :)
Harry will be there first...ok, then we should maybe start a single thread for everyone who reaches 10,000 maybe?
wait....... now which one is op.93?
The Wedding Musicwow, you're actually playing that at a wedding?!
ok, how much for a plane ticket to?......
Now, if you were thinking of coming to the recital in Boston, though . . . JetBlue flies direct to Boston from Ft Myers and Jacksonville.If I could afford the plane tickets, stay, and actually get days off......
Just as I knew to expect: splendid!
I do have a special fondness for that Magnificat, you know!
I had been wondering how it went. Good for Karl (and for you, Harry!)
Thank you most kindly, Harry; it is a very great pleasure when one's work is so generously received.
What we don’t want (neither the composer, nor the bride or groom) is anything on the order of the Pope demanding that Michelangelo explain his decision to include three Christs, a kangaroo and a mariachi band on the canvas of The Last Supper.
To recapitulate: I set out this year with three compositional goals: 1. To complete the St John’s Passion (which I had begun writing last summer, and for which there was the performance opportunity in March); 2. To complete the music for Brett’s wedding (complete rather than start; Brett and I had gotten the conversation going on this back in September); 3. To complete, at last, White Nights.
So, with 1. and 2. accomplished before the end of 1H08 (and clocking in together at a bit more than 70 minutes of music), it does not seem at all unreasonable to manage the 20-25 minutes of music yet to compose, so that the ballet will at last see completion by the end of 2008.
;D
Will someone record your Wedding Music?
I would definitely like to, but I have to clear it with the musicians, who will be professional, and the church and organist. And if I can, I will definitely put the event on YouTube.
Its going to be awesome.
Now to that hymn...
I hadn't realized it was your wedding, Catison... So, a bit belatedly - Congratulations! I hope you and your bride-to-be will have a day to remember.Same here.... didn't realize it was Catison's wedding (and Congratulations!)
I hadn't realized it was your wedding, Catison... So, a bit belatedly - Congratulations! I hope you and your bride-to-be will have a day to remember.
Nana brought me up to date, concerning the first performance of your Magnificat. It was a resounding success. The concert started with it, and was again performed at the end of the concert, lots of applause, lots of compliments.
It will again be performed coming Saturday in Groningen, and I will take pictures, and a video recording will be made.
Henning's name is resounding through our parts of the Netherlands. :)
How did the choir do last night, Harry? Was the program well received?
Is it going to be on Youtube?
If I can find someone to man the video camera, maybe.
Come on over, Boston is lovely in June!
Yee-haw! The score for the Opus 93 is all laid out!is it a bluegrass score?
Obsession & Digression || Duologue & Monologue
[ Listening to the Early 21st Century ]
Steve Hicken, The Rings of Saturn (2005) (cl/va duet; premiere)
Joshua Sellers, Dithyramb (1992, rev. 2008) (cl solo; premiere)
Karl Henning, Irreplaceable Doodles (2007) (cl solo)
Henning, Blue Shamrock (2002) (cl solo)
Henning, The Mousetrap (2007) (cl/va duet; premiere)
Karl Henning, clarinet
Peter Cama-Lekx, viola
Wednesday, 18 June 2008
12:15pm
The Cathedral Church of St Paul
138 Tremont Street, Boston
Artist at play:wait, what is she playing? Hide and go seek? Who's better, you or her?
(http://farm4.static.flickr.com/3043/2616174528_15d9ae45a7_m.jpg)
Evidently he is - that's him, disguised as a bush; she walked straight past him."Oh, I'm not really married to her, this is just the lady I spy on and take pictures of from time to time".
I'm awaiting delivery of Sibelius . . . .wow, seriously?
Well, and finding the sketches for Scene viii, which it will be about time soon to write out in proper scoring.
Today is The Day, you know :)
Really?! I hope all things matrimonial and musical are perfect today.
Harry! Any word on video or other recording of Magnificat? I'm in the dark, here ;D
No worries; I figured that it was a matter of Nana being busy. Dank je wel!
wow, seriously?
you'll have to specifically tell me what the advantage is- what is it about the interface between the parts and scores? Is it just a much better, quicker, more efficient system?
In a holding pattern while I learn Sibelius.
Good news is, a chum at the Museum who recently bought Sibelius was sent an extra copy of the Comprehensive Guide to Sibelius . . . he graciously made me welcome to this, and I started reading it on the train this morning.
I realized at an early stage that I was not simply going to learn what is different in Sibelius by keeping at work on the ballet; I've got to make my way along the learning curve, first.
ask Liadov!well, he could, but i don't think he'd answer back ;)
Not really news, but I was reading through the scores of the Sinfonietta and of Moonrise for brass quintet this morning.
In a holding pattern while I learn Sibelius.
On the whole, yesterday's premiere of the Passion went well. Of course, I could readily draw up a list of 50 items which want improvement, or modification, or just plain wanted happening, and I wish there had been the opportunity to address these (in many cases, preventively) in rehearsal -- and the opportunity simply was not made available to me. But nothing that went amiss was 'fatal'. And considering it was the first public performance of a 40-minute piece for unaccompanied choir, and that it did not get started until the choir had already been singing off-&-on for 3 hours (the call was 11, and the Good Friday service started as 12), and that it was scheduled in Holy Week when there's a lot else on the choir's plate . . . truly, the composer is well content to say, "on the whole, good."
One added bonus is, that a friend of mine kindly agreed to operate a video camera, so that in addition to the audio recording, there is a visual document of the event.
There's a Russian saying, If you want to make God laugh, tell Him your plans.
I was hoping to spend this evening burning discs, but for 4-1/2 hours now (and counting) my computer has been taken up with security and systems updates. I got two discs burnt in that time, but they're both just four of the five tracks. What a discomfiture in the botty.
(http://engrishfunny.wordpress.com/files/2008/08/confusedchanting-copy1.jpg)Ha, you need to show that to all of your singers!
(http://engrishfunny.wordpress.com/files/2008/08/confusedchanting-copy1.jpg)
And, coincidentally, the Wedding Palace on the banks of the River Neva in St Petersburg where Maria and I were joined in holy matrimony:
(http://farm4.static.flickr.com/3008/2649854735_dfc02532ea.jpg?v=0)
Sunday should be ok for me to listen to it. Karl, what structure did you adopt? Can you describe how you have allotted the roles / voices ?
A Naxos contract? ;)
Luke! :D
Oh, not that I've heard . . . .
Brett advises me that mp3's are uploaded for the Grand Festival Suite, Opus 93 (https://mywebspace.wisc.edu/btstewart/Music/Henning/)
I know the composer can hardly wait to listen (but he's at the MFA tonight . . . .)
Ooo. I think that's in my inbox already. Eager to hear later.
Hmm. I don't remember ever furnishing you the score for the wedding music, Luke . . . apart from your guessing the brass quintet number (Introitus).
Update:
Henning, Irreplaceable Doodles, downloaded 28 times
Henning, The Mousetrap, downloaded 34 times
Henning, The Passion according to St John, downloaded 52 times
Where are the links for these downloads?
No, I haven't seen it - would be very interested to do so, of course.
meditational (yeah, i made up that word)
You are most kind; it will likely be Saturday evening (Chowder Time) before I can mash the links you kindly furnished, and I can also e-mail you a pdf file . . . .
No, I think that's an actual word.interesting....... i guess it would be the adjective form, but i can't remember the last time seeing it, so writing it felt like i was just making it up.
A waltz by Lanner . . . so a quotation of a quotation.i bet you wouldn't have used it if it weren't in Petrushka ;)
It's between the 49th and 55th second... DSCH is also present at one point, as another poster already remarked. I like the sonority of viola plus clarinet.
(The same Tristan allusion returns between 18:51-18:58)
Latest statistics:May I ask where it is possible to download this music?(Maybe there is a problem with my eyes ;D ) I am very curious about it. ;)
Henning, Irreplaceable Doodles, downloaded 31 times
Henning, The Mousetrap, downloaded 41 times
Henning, The Passion according to St John, downloaded 58 times
May I ask where it is possible to download this music?(Maybe there is a problem with my eyes ;D ) I am very curious about it. ;)
Is it ok to share these files outside of GMG (publically, rather than friend to friend), or are they being kept under wraps for now?
None of the pieces are contracted to a publisher, so for my part, that's all right. It's Johan's "space," so meseems his permission is needed, too.
Oh, I'll rehost it so it doesn't leech direct dl bandwidth from GMG users - the strangers will have to put up with the countdowns ;D
I've just had the immense pleasure of listening to Karl's Passion and I'm simply staggered by it. I've just overloaded Karl's PM box with a series of missives as I ponder on just some of the many and various striking qualities of the piece, but essentially I think it is a consummately realised, perfectly paced, and above all hauntingly beautiful piece which Karl must be immensely proud of. The large-scale structure is underpinned with the most wonderful sense of harmony and harmonic type, and an ability to slip between these types completely naturally. The spellbinding chorus during the crucifixion is almost unbearable, with its aching augmented intervals, its melismas, its softly droning lower voices - I expected it would be when I first saw the score a few months ago. The restrained and sonorous beauty of the closing pages, though, really only comes home listening to a recording, and again it's bursting with subtle touches - like the soprano/alto doubling on the last page - which passed me by when I read the score but which seem inspired now I hear the music in the flesh. Which puts me to shame somewhat, I feel.
Thanks for sharing this piece, Karl - it's one of the very very few 'pieces-by-a-bloke-I-know-off-the-internet' that I've acquired which is worthy of a much, much greater hearing. Most of the others are by Henning too, FWIW..... ;D
Thanks to a friend's kind inquiry, I rooted through papers last night and at last scared up a piano solo MS. which I'd been missing for years. It's an easy-ish piece, and I wanted (actually) to play it, when there was a need for Plan B for a recital in the spring of last year. (Couldn't find it at the time, and thus was born Plan C ;))
Quite an old piano piece in MS:
The Sleep-Pavane at the Foot of Frozen Niagara, Opus 11/4
You should add, "To be played 897 times".
mahler10 has likely tried a second time on the Passion; it seems that his earlier download cut the file off before the end.
I wonder if anyone else had trouble?
And Sara seemed to have some click issues (did I send you a bad disc, Johan?)
No, the disc is fine, I haven't had any 'click issues'... Which piece(s)?
Sara? . . .
Sara? . . .
Oopsie haha, I keep forgetting this section :) Danke!
I don't think it's a digital audio glitch from the mp3ing process, it's just the ambient sounds in the passion - for example one is at 14:44. another at 21:51 - it is totally lame to even care, but my brain would not let it go :P
Oopsie haha, I keep forgetting this section :) Danke!
I don't think it's a digital audio glitch from the mp3ing process, it's just the ambient sounds in the passion
--------------------------------------------------------------------------------
mahler10 has likely tried a second time on the Passion; it seems that his earlier download cut the file off before the end.
I wonder if anyone else had trouble?
And Sara seemed to have some click issues (did I send you a bad disc, Johan?)
I got it in full! ;D ;D
Now to print the libretto and follow it through... ;D
Beware of people who say that they know nothing about opera — or poetry or painting or whatever other form of artistic expression is in question — but they do know what they like. No doubt they do. But ignorance of the genre itself makes it all too probable that what they happen to like isn't terribly good.
Since only a select fraction even of the membership of GMG visit here, I shall post something without fearing for it being terribly immodest.
to study with Yvar Mikhashoff
I should add that I've heard the Tenth live at least twice that I can recall, by two conductors who make a very good case for it: Chailly and Rattle. The latter, especially, makes it sound incredibly modern, really emphasizing its weird sonorities and structure.
Just saw Karl's post... ;D
--Bruce
Well, not the most exciting of details, I'm sure, though it is kind of you to enquire, Luke.
A trumpeter friend I hadn't heard from in a couple of years is now back in Boston, and no longer part of a quintet; he asked if I had anything for trumpet solo, but I don't have much. So he's agreed to have a look if I punch out an unaccompanied trumpet piece. I probably started this last Wednesday, and I'm doing most of the work on the bus or train either into or out of Boston. This morning, I was on an unusually early bus (the first on the schedule, actually) . . . so there it is.
There was a fellow chatting a couple of seats behind me, and at first I wondered if that might prove a distraction. But I got focused surprisingly quickly, reaching that 'state' in which I 'hear' only the piece I'm working on, and not 'outward sounds'.
Wrote up some eleven and two-thirds measures . . . not an enormous patch of music, to be sure. But, making some slight gains twice a day each day, it is not only that the piece itself makes some definite progress, but my 'grasp' of the piece gets firmer, and the drive to the end actually picks up excellent energy.
Plucked out of the air, really, my working title for the piece is The Angel Who Bears the Flaming Sword. That would be the angel who bars humanity's return to Eden, and this was a thought at the end of a chain inspired by a documentary on ancient Mesopotamia which is available at the Exhibition Shop at the MFA, now that the Assyrian exhibit has opened.
Just another little illustration of how inspiration can come from anywhere; the trick is being attuned to it, and having one's hands at the ready.
No, no.
Karl, that's a bit short. Here's a proper reply:
Quand'ero paggio Ero un miraggio
Vago,leggero, gentile, gentile.
Quello era il tempo
Del mio verde Aprile,
Quello era il tempo
Del mio lieto Maggio,
Tant'ero smilzo, flessibile e snello
Che avrei guizzato attraverso un anello.
Falstaff, Act II, Second Part. ;)
After I get more work done on this draught,
Guess I picked the wrong week to give up 7AM Turbo-Happy Hour
Well, and I've just had e-mail from Chris (the trumpeter), and he remains eager to see some of the music.
After I get more work done on this draught, I may just draw up fair MS. in ink, rather than risk slowing things down with needing to master Sibelius.
(OTOH, mastering Sibelius is what I'll need to get done, at some point, all the same.)
Gosh, Eugene, I had forgotten sending you (Nuhro, was it?) when you were thinking about choral music. How did that go? Do we get to see a score?
Nuhro is a Lux Nova imprint, which the press modified from a Finale file I had sent. I've been using Finale for ten years and more, but decided this summer to switch to Sibelius. I haven't given anyone a hand-drawn MS. in all that time; but I may in the case of this trumpet piece, since I doubt I'll learn Sibelius so rapidly as I wish.
I hopped on the Red Line to Harvard Square for a rendezvous with the wife of my bosom. While standing around Harvard Square waiting, I brought out my notepad, and penned another couple of measures of the trumpet solo.
The geographical extent of work on this piece is expanding significantly.
And as if to illustrate the point . . . .
This was doggerel I drew up some four years ago, and had clean forgot about:
When Elvis slept, the angels sang,
“How Great Thou Art” in churches rang,
And lesser session-men cried “Dang!”.
When Elvis woke he oped his lids,
He feasted with his neighbors’ kids
On prawns and cuttlefish and squids.
When Elvis’ stomach breakfast bore,
He saw that he could eat no more,
And entered a convenience store.
And customers the whole store through
Beheld the Elvis whom they knew,
And loved him tender, loved him true.
Moondog lives again, evidently.
This is appreciated in Delft. ;D
Gosh, Eugene, I had forgotten sending you (Nuhro, was it?) when you were thinking about choral music. How did that go? Do we get to see a score?
Nuhro is a Lux Nova imprint, which the press modified from a Finale file I had sent. I've been using Finale for ten years and more, but decided this summer to switch to Sibelius. I haven't given anyone a hand-drawn MS. in all that time; but I may in the case of this trumpet piece, since I doubt I'll learn Sibelius so rapidly as I wish.
I hopped on the Red Line to Harvard Square for a rendezvous with the wife of my bosom. While standing around Harvard Square waiting, I brought out my notepad, and penned another couple of measures of the trumpet solo.
The geographical extent of work on this piece is expanding significantly.
For practically the first time since I first installed it, I'm trying to create a score in Sibelius. It's painfully frustrating, to be this incompetent in a program, when I used to be very nicely functional in Finale. It's vexatious, even that I don't know where to turn immediately when I have a question, and even, trying to figure out how to form the question, so I can find the answer in the on-line manual, for instance.
It's fortunate that the piece I'm working on is rather an optional piece, and there's no deadline.
OTOH, it does mean that, production-wise, I feel like my feet are in concrete.
There; just had to get it off my chest.
Johan, the opening of The Angel Who Bears a Flaming Sword is a fleeting allusion to Tristan, if you like ;)
I already noticed it when I saw the earlier version, but didn't want to ask... ;)
It hadn't occurred to me earlier ;D
Well, either I'm on the right tack, or I am hopelessly out of it. I've listened some four times in immediate succession to the sound-file of piannerfied trumpet, and I do like it.
Must be the Wagner reference 8)
I'm liking what I am seeing so far! The random pianissimo high Cs are a bitch, but overall, good stuff!
If that's the harshest insult tossed at me, I'll consider myself well ahead of the game 8)What a graceful post!
I think, M, you're reading overmuch in that adjective; but I appreciate your swift defense of my pitch-world probity!
I'm often surprised at the choice of notes you have. Very distant-sounding strings of notes are pulled together with such little spacing..... you go from a line that sounds almost Mixolydian to another line that's purely atonal..... but you keep on mixing it up. Even at the end, you have a sus2 chord outline, which i don't recall playing much (if at al throuhg the piece). It seems like you have "everything" in there, in terms of harmony. And I've seen this before with your scores. Is this just how you work sometimes?
each time I played those Cs, they sounded complete different because of context
I just finished reading through it from beginning to end with guitar......... I'm often surprised at the choice of notes you have. Very distant-sounding strings of notes are pulled together with such little spacing..... you go from a line that sounds almost Mixolydian to another line that's purely atonal..... but you keep on mixing it up. Even at the end, you have a sus2 chord outline, which i don't recall playing much (if at al throuhg the piece). It seems like you have "everything" in there, in terms of harmony. And I've seen this before with your scores. Is this just how you work sometimes?
As for the high Cs, they're almost like a motif themselves, since they seem to come from nowhere and just hang on, but they're kinda "developed", because each time I played those Cs, they sounded complete different because of context! :o ;D
Yeah, I know, and everyone who has ever gotten into music has gotten into it because of all the famous bassists. Geddy Lee and Billy Sheehan, now THEY'RE the ones who inspired me to pick up bass, but I decided I didn't have the skills to play repeated note bass lines, so I took up the less challenging instrument, learning how to play lead guitar. But oh well, maybe one day I'll figure out how to play bass and become a real man ;).
Or maybe your cheapo guitar simply doesn't hold its tuning? Real men don't play the guitar anyway. Real men play the bass.
I do like 'blurring categories' harmonically; it's perhaps a sort of concrete application of the questions we've raised various times in the past: 'atonal' obviously means "other than Common Practice"; but is there really such a thing as "atonal"? Is it a question of 'sonic gravity/attraction', and therefore is the composer at liberty to 'manage' varying degrees of that 'gravitation'? Are the question and nature of the importance of that 'gravitation' creatively negotiable?Cool. I don't think there really is a true "atonality", but if you play a series of even rhythmed chromatic notes, like A A# B C C# etc., which note will have the most gravitational force? To me, first place is C# while second place is A. This is a good test for that, being lined up that way, because in "atonal" music, there's always going to be a push or a pull, with occasional 3rds and 5ths- if you've got just semitones w/out repeating notes, i don't see how it can get closer to true "atonality", if there is one......
That's a squirrel, Karl.
Have you been drinking?
Just back from a walk on the Common. Had a nice soft-spoken chat with my buddy, Vasya:He looks yummy. I wonder what he tastes like.
He looks yummy. I wonder what he tastes like.
Odd. He said just the same about you.Probably average. I mean, the humans I've tried can vary from being nasty to not bad.......
...The Squirrel who Bares his Flaming Nuts......
What's the point of the comma there?
Harry! How did the MonumentenDag go?
Very well, Karl, I wonder about it you know that festivity. Our church was open also, a great manifestation of all the beautiful monuments and churches in Holland. And music from the Choir of Nana of course............................with your music performed........... :)
After some covert sneaking, I stumbled across this page:
http://www.gesprek.net/hendrik/Henning/
Which I am gonna leech, but could you give track names to replace the default ones with? 0:)
I've gotten pages and pages done, and in excellent time! I'm on p. 17 now.
. . . I don't think I quite understand notating different 'voices' on the same staff in Sibelius. (In general, of course, I am trying to run run, and finding the odd instance where I don't even know how to walk.) Need to sort it out before I can move on!
No more tonight, anyway . . . .
I don't understand how that problem could have arisen. How (what order etc.) did you input the notes?
I put in cl 2 first; the three quarter-rests, the two-eighth-notes on beat 2 (in voice 2). Then cl 1.
I had a lot of music I needed to rearrange for my orchestra (treble clef/c parts transposed to bass clef for celli or viola clef, up an octave for flute, up a whole step for B-flat instruments, etc.) . I gave up on Sibelius and went back to an old program I bought for my IBM 486! For simple things, I find it so much easier. At the moment, I can't figure out why my Sibelius plays back what I input as random unpitched percussion sounds or how to fix it :( .
Well, here's the state of the Sibelius file thus far. Thanks again to Luke for all sorts of ready advice!
Probably the five things I wish I knew before printing out this torso of the Sibelius-file-in-progress:
1. I added a trumpet III staff, and I don't know why the program didn't brace the two trumpet staves together, nor do I know how to do that 'manually'. (Of course, I should probably look ahead through the rest of the Overture . . . possibly I could as well put the three trumpets on a single staff all together . . . not much independence of writing in this number.)
2. I think I specified legal size (8-12 x 14 inches) for the document, but Sibelius didn't communicate that to the pdf writer (likely User Error rather than any flaw in Sibelius, I am guessing).
3. Bottom system of p. 14, m. 145 cl 2 begins clearly underneath cl 1, but I should have rests for cl 1 in mm. 146ff., and stems directed downward for cl 2 in those measure.
4. Trivial playback thing . . . but on the first page I have a measure's rest held for five measures' duration; I haven't figured out how I can have the playback (which in any case remains flawed in other respects) reflect that.
5. Of course there are a couple of scrunched pages there (10, 12) which have to be fixed.
6. Gosh, I seem to have dropped the "Triangle" indication for Percussion I on the first page, don't I have?
Just to deal with number 3:
1) delete the clarinet part you have here, to leave a normal empty bar.
2) select voice 2
3) enter the notes again. A rest for voice 1 will automatically be inserted above the notes, whose stems will be downwards. (And if at any time you want to flip the stems on a note, press X)
All of these things mentioned above make me wonder: did the programmers consult composers while designing the program? :o
Or, dudes, did they just consult the local garage band down the street? 8)
Just heard from Paul Cienniwa (http://paulcienniwa.blogspot.com/) that he intends to play my Three Short Pieces, Opus 34 (Canzona Semplice, O Beauteous Heavenly Light, Fancy on Psalm 80 from the Scottish Psalter) for the Prelude to the 11/9 service.Just make sure he does it on prepared piano.
After some covert sneaking, I stumbled across this page:
http://www.gesprek.net/hendrik/Henning/
Which I am gonna leech, but could you give track names to replace the default ones with? 0:)
Sorry I took so long with this, Sara!
Tomorrow is a special day for me . . . .
Phone call from the White House to become Obama's National Music Advisor?
Even better: Two years of the sun. (http://henningmusick.blogspot.com/2008/11/solar-anniversary.html)
I like your blog, Karl, an essential companion to this thread. I have added the RSS feed to Bloglines.
Today is The Day, you know :)
Three Short Pieces for organ, Opus 34 (http://henningmusick.blogspot.com/2008/11/opus-34.html)
The composer & the organist:
A thread to celebrate Henningmusick! Karl's blog can be found HERE. 8) (http://henningmusick.blogspot.com/)
I think this a very fitting tribute to Luke whose company we no longer enjoy . . . .
Okay i know that i am way out of the loop. But what happened to Luke?? Is he not on the board anymore? Or am i even thinking of the same Luke? Or am i even making a relevant post? ??? ;D
Look here:
http://www.good-music-guide.com/community/index.php/topic,220.msg241416.html#msg241416
Luke is still sorely missed.
250000 Posts in 5249 Topics by 894 Members.
That is pretty hilarious, Karl...
Meanwhile, you are taking to the blogosphere like the proverbial fish! I know a number of people who have "tried out" blogging but you are one of the most successful to date.
--Bruce
Once the Christmas turkey is digested, he will be preparing parts for Elegy & Ascent for rehearsals in January.Good to hear...
Good to hear...
If I got anyone's name wrong, please advise (I will mend), and pray accept my abjectest appy polly loggies. (http://henningmusick.blogspot.com/2008/12/words-of-passion-after.html)
To Whom It May Concern -
Irreplaceable Doodles, downloaded 39 times
The Mousetrap, downloaded 51 times
The Passion according to St John, downloaded 83 times
In a most curious turn of Fate, some music of mine is to feature in a state funeral.
The Prelude to the funeral service for former Senator Claiborne Pell in Newport, Rhode Island this Monday.
C-Span has at last faded out to other programming . . . pity they didn't include (* ahem *) any of the Prelude, though.
To Whom It May Concern -
Irreplaceable Doodles, downloaded 39 times
The Mousetrap, downloaded 51 times
The Passion according to St John, downloaded 83 times
If only I knew where you can download these, the number of downloads would be one higher for each of them.
Well, thanks to Karl as well as to Jezetha. :)
I apologize that we inadvertently left you out of the loop the first go!
I can furnish scores, if you wish.
Former Pres Clinton, Vice Pres-elect Biden and Sen Ted Kennedy to deliver eulogies at the service tomorrow. (http://www.projo.com/news/content/pell_01-04-09_6LCRER8_v3.1bdae8e.html)
’Cellos-in-progress. (http://henningmusick.blogspot.com/2009/01/pushing-lullaby-along.html)
Sign me up; at worst, it will be the 50th time that something which seemed a reasonable hope fizzled out over time.
is? Are you saying you're working on one now?
Not actively at work on it; I have some ten pp. of sketches for a symphony. I shall finish the ballet before resuming work on the symphony.
Same feelings here. But just try not to pull a Brahms on us.... (unless you have to) ;D
But..a SYMPHONY, Karl. YES!!!!!!!!
Happily, in my case, the problem is just time. When I have time to write, I have music ready to write.
And in a year or so, my weekly schedule will open up a bit. And in all events, even in my present, rather busy schedule, I am getting music written. Thus, even though in absolute terms I am not writing as much as I should like, I feel pretty good about it all.
Oh yeah, that's the bad part. I have to schedule a half an hour each day just for composing (well, at least I try at that, but usually fail ::)).
One thing I've noticed, is that composition takes ALOT of time. I get into writing, then I look at the clock and see it's almost time for bed (and my girl upset).
The trick is forming (and getting into the reliable habit of forming) composed environments wherein spontaneous ideas retain their spontaneity.
And believe me, if it were as easy as a few bullet-points, I should share them immediately 8)
Since Maria and Irina are both artists, and have their own creative work that they are often about, I get plenty of 'space' when I am doing work.
Oh yeah, that's the bad part. I have to schedule a half an hour each day just for composing (well, at least I try at that, but usually fail ::)).
For me, it requires intense concentration- much more than when just a few years ago, when it was so much easier to "discover" things. Half the time I can't even concentrate enough to really get into it, though what helps the most is to warm up to it all day long by playing around with ideas and then writing in the evening. Then, when I'm finally able to concentrate, I play all those awesome ideas on the keyboard, but then it ends up being too spontaneous to be able to write down, or even fit anywhere in a piece, so I'm usually able to get a good 8 bars in, then get bored with it and stuck in 2 days. Happens every time. :P
I noticed also that I'll have plenty of "inspired" music coming to me, but I (think) Schubert is the one whom said that there's a big difference between getting inspired and getting to work on it.
Line of thedayyear.
We've been meaning to talk to you about all that perspiration . . . .
The trick is forming (and getting into the reliable habit of forming) composed environments wherein spontaneous ideas retain their spontaneity.I think you're better at concentrating in general, too- i mean, you said you compose on the bus sometimes! :o
And believe me, if it were as easy as a few bullet-points, I should share them immediately 8)
Since Maria and Irina are both artists, and have their own creative work that they are often about, I get plenty of 'space' when I am doing work.
If you don't organize anything, you'll have a hard time finding anything. 8)
This sounds like a very well thought out and practical time schedule.
One way to lose your inspiration is to hear your wife/girlfriend crying in the other room and wondering what they are supposed to do, while you create your next masterpiece for the ages! :o;D
You know, Karl, I could understand what appealed to you in Pettersson's Ninth - it has the sort of elastic movement and spaciousness I know from your own work. I really can imagine a Henning symphony...
http://rapidshare.com/files/140041368/3_Karl_Henning_-_Irreplaceable_Doodles__Opus_89.mp3
http://rapidshare.com/files/140041369/4_Karl_Henning_-_The_Mousetrap__Opus_91.mp3
http://rapidshare.com/files/140041370/5_Karl_Henning_-_The_Passion_According_to_St_John__Opus_92.mp3
I don't think Karl will mind...
Thank you again for all your kind assistance, Johan!
Don't know if Finale have fixed that, Guido. And I've since switched over to Sibelius, though I'm still learning.
I'm still using my Finale 2007c. I'm curious as to the plug-ins in Sibelius. Anything sound better than the Garritan? Or do you use the East West Quantum Leap, Karl?
I'm still using my Finale 2007c. I'm curious as to the plug-ins in Sibelius. Anything sound better than the Garritan? Or do you use the East West Quantum Leap, Karl?
Which one is best value for money, Garritan or East West? And are they as good as they say on the tin? Do you really get full orchestral sound and colour from your compositions using one of these titles?
Judging by my own recent experience (http://www.good-music-guide.com/community/index.php/topic,44.msg278791.html#msg278791), sometimes even a real orchestra doesn't sound much like a real orchestra ;D
Peter Bloom regularly concertizes with a harpist-&-pianist, Mary Jane Rupert. I should be keen to get Radiant Maples together at last, though Mary Jane could not play both harp and piano for that . . . need to collar a (second) pianist if that is to work.
Not just at present, Dave, but thanks for enquiring!
http://rapidshare.com/files/140041368/3_Karl_Henning_-_Irreplaceable_Doodles__Opus_89.mp3
http://rapidshare.com/files/140041369/4_Karl_Henning_-_The_Mousetrap__Opus_91.mp3
http://rapidshare.com/files/140041370/5_Karl_Henning_-_The_Passion_According_to_St_John__Opus_92.mp3
I don't think Karl will mind...
Earlier, there were these (http://www.gesprek.net/hendrik/Henning/), courtesy of a chap named Henry.
Track explication here (http://www.good-music-guide.com/community/index.php/topic,92.msg242908.html#msg242908) and here (http://www.good-music-guide.com/community/index.php/topic,92.msg242911.html#msg242911).
;D
Lordy!! More Henning! Downloading it now. Thanks a lot. That'll be another Henning CD put to press. 8)
Curses! I want it NOW...slow server...still getting it though.
Cannot help feeling that this is over-selling Billings:
Ives a feelin' that some would disagree with you....
Most improbably, Henning appears on BSO website! (Details to follow . . . .)
;D
Lordy!! More Henning! Downloading it now. Thanks a lot. That'll be another Henning CD put to press. 8)
Curses! I want it NOW...slow server...still getting it though.
Ives doesn't particularly move me. But that's just me.
Your grandmother listens to Pierrot lunaire!
And dances to it.
In a muu-muu.
In the not too distant future...
How did you do that?! :o
Zippy would rock with Karl!
Here is how Zippy helped the career of somebody who is famous now:
(http://www.otal.umd.edu/~mgk/courses/spring2004/668/zippy022804.gif)
Surely something on these lines, complete with ambiguous apostrophe, would be simpler:
If I got anyone's name wrong, please advise (I will mend), and pray accept my abjectest appy polly loggies. (http://henningmusick.blogspot.com/2008/12/words-of-passion-after.html)
Well, for Mr. Henning I have created an MP3 album under my classical label 'Athena Classics'. I'm only posting the front cover (had to reduce quality to post it, so it looks much better than it does here), and each MP3 has been carefully tagged (with cover picture too.) It also has a back cover, etc. :o
Karl will have to view it before it's released here - I just think the downloading of his files deserve a little more pizazz and loving than simple downloadables. ;D
Athena Classics, of course, does not exist, but it might very soon! ;)
(and still very draught-ly, of course)
It can start that way, you know: four notes
. . . “You know, I think I like these four notes . . . .”
The M.D. of a Congregational Church just west of Boston heard the St Paul's broadcast of the choir singing Bless the Lord, O My Soul . . . and asks for the score.
Reconquista, Day 5 (and with special thanks to Luke)
Danish Cheese is Bleu | Even Finns Grill Asiago
Okay . . . the Sibelius file has now 'caught up' with the MS. . . .
It's not that the late 20th century didn't produce great music. Any era that can boast Nancarrow, Feldman, Ashley and Scelsi can hold its head up with the best. But while bad 17th century music is merely dull, and bad 19th century music is tediously grandiose, the late 20th century's bad music was pervasively ugly, pretentious, and meaningless, yet backed up by a technic apparatus that justified it and even earned it prestigious awards. Twelve-tone technique -- the South Sea Bubble of music history, to which hundreds and perhaps thousands of well-intended composers sacrificed their careers like lemmings, and all for nothing -- brought music to the lowest point in the history of mankind. Twelve-tone music is now dead, everyone grudgingly admits, yet its pitch-set manipulating habits survive in far-flung corners of musical technique like residual viruses.
I think you should write an encore piece called Blues Harp....
Odd that they came out like that! The default ought to be the normal 'across two staves' line (it always has been for me!). Anyway, if you click at the bottom end of any barline in the upper of the two staves, you ought to be able to drag it down to meet the one directly underneath; at which point all its fellows should follow suit. . . .
Now we expect some Satie-esque composition titles out of you. ;D
The title that came to me last night (before my Satie binge) was Scholar Glare.
Pixie Dust on Huntington Avenue. (http://henningmusick.blogspot.com/2009/04/fairy-stories-castanets-puppetry.html)I'm assuming Dutoit is a guest conductor... ???
I'm assuming Dutoit is a guest conductor... ???
Pixie Dust on Huntington Avenue. (http://henningmusick.blogspot.com/2009/04/fairy-stories-castanets-puppetry.html)
Earlier today I spoke with the flutist, who is keen to progress to Stage II: the three of us (flutist, harpist, composer) meeting to play/chat stars & guitars. He sounds enthusiastic (practically the first thing he said when he answered the phone and learnt that I was the caller, was "the piece looks fantastic").
Most interesting, Sarge.
Once on a time, I owned the Norrington. (I mean that purely informationally, not as comment. Used to own his Symphonie fantastique, which was one of his first recordings, I think . . . and hearing that one over the radio illumined the piece for me.)
Swapping Dmitri for Igor. (http://henningmusick.blogspot.com/2009/05/shining-sub.html)
(Not exactly composing, was it?)
No. Only when you set the whole dialogue to music.
Could be a topical interlude in The Magician of Moscow . . . .
As they say down south, "Ah'll hafta study on that!" 0:)
Do, I pray 8)Now, does this start right at 11:00?- because I have to leave the house at 11:30 pretty much every Sunday. :-\
And . . . Rare opportunity to hear Henningmusick in real time. (http://henningmusick.blogspot.com/2009/05/to-be-sung-in-back-bay.html)
Now, does this start right at 11:00?- because I have to leave the house at 11:30 pretty much every Sunday. :-\
I have been a little careful to go posting this around, because I never got Karl's permission, but here is a link to the recording of the wedding music. And just to forewarn you, the organist was sweating bullets about playing it, so take that into consideration before judging Dr. Henning himself.
https://mywebspace.wisc.edu/btstewart/Music/Henning/
And I assure you Karl was very reasonable with the commission. It was a true wedding gift!
Now, does this start right at 11:00?- because I have to leave the house at 11:30 pretty much every Sunday. :-\
It's a tight fit, but I was told today that my piece will be the Anthem (earlier in the service than the Offertory, and these two are the special musical contributions by the choir at First Church Boston). We will be singing Bless the Lord, O My Soul somewhere between 11:10 and 11:25.Excellent!
Rare opportunity to hear Henningmusick in real time. (http://henningmusick.blogspot.com/2009/05/to-be-sung-in-back-bay.html)
. . . my piece will be the Anthem (earlier in the service than the Offertory, and these two are the special musical contributions by the choir at First Church Boston). We will be singing Bless the Lord, O My Soul somewhere between 11:10 and 11:25.
The players will perform it in June and July; just received confirmation yesterday that my friend Shauna will be in town to record the June recital.Terrific!
The players will perform it in June and July; just received confirmation yesterday that my friend Shauna will be in town to record the June recital.
Excellent!
I'll make sure to listen, even if I have to remind myself a thousand times this week. ;D ;D
My small piece this morning went quite well; the performance was an impressive gain on the rehearsal earlier today.
Must have needed two or three thousand, eh? ;) 8)yeah ;D
Order of service from Sunday the 31st (http://henningmusick.blogspot.com/2009/06/order-of-service-31v09.html)
My own private antiquities. (http://henningmusick.blogspot.com/2009/06/revisiting-old-work.html)
1997?!
Oy! ;D
Wait until the work has aged another 30 years! :o
A melancholy experience, visiting early works! . . . .
Not too bad, really, in this case; but then, my backlog of other old (but newer than the dissertation, of course) works still waiting for performance (some of which we shall see to later this very month) helps to dispel any cumulative melancholia.
Separately, Paul Cienniwa (http://paulcienniwa.blogspot.com/) gave me a disc with last week's performance of Bless the Lord, O My Soul (a good thing), but, it's a single hour-long track with the entire service on it, and the freeware audio editor I have on the home PC seems unequal to the task for editing this down (an annoyance, but hopefully temporary).
Coming up in two weeks:The Irrationally Exuberant Music of Karl Henning
About one tough piece. (http://henningmusick.blogspot.com/2009/06/five-little-pages.html)Ouch! Looks like the worst possible combination of brutal finger exercises and impossible articulation etudes! Sorry I won't be able to hear it this week. Why don't you come to DC to play it next time?
I was just thinking anything in driving distance for me! I can check out some venues that sponsor concert series and send you contact info. It probably will come down to how much money you are willing to lose to play here. . . .
Rehearsal tonight with Peter, Paul & Mary Jane. I am pumped!
Far out, Catherwood. Just roll a couple of bombers and leave them on the side-table.
Terrific rehearsal last night. Going back for more tonight.
I have a comment about your notation I would like to share with you.
Please.
Karl, you've. . .you've. . .changed? Gee, you think you're getting to know someone, then suddenly. . . ???
TOMORROW!!Here's wishing you all success, a good reed, and a large and appreciative audience.Bullish Upticks (I)
The Irrationally Exuberant Music of Karl Henning
Blue Shamrock, Opus 63 (2002) clarinet solo
Lost Waters, Opus 27 (1994-95) harp solo – Premiere
stars & guitars, Opus 95 (2009) bass flute & harp – Premiere
The Angel Who Bears a Flaming Sword, Opus 94a (2008) alto flute solo – Premiere
Fragments of « Morning Has Broken », Opus 64a (2002) flute, clarinet & piano
Radiant Maples, Opus 59 (2001) flute, clarinet, harp & piano – Premiere
Peter H. Bloom (http://phbloom.home.comcast.net/~phbloom/nm/bio.html), flutes of divers varieties
Paul Cienniwa (http://paulcienniwa.blogspot.com/), piano
Mary Jane Rupert (http://phbloom.home.comcast.net/~phbloom/rupert2bio.html), harp
Karl Henning (http://henningmusick.blogspot.com/), clarinet
Wednesday, 24 June 2009
7:30pm
First Congregational Church in Woburn
322 Main Street
Freewill donation; all proceeds to benefit Organ Restoration Fund.When the going gets tough, the tough get composing.
Karl! Make sure those recorders and back-up recorders and back-back-up recorders are running!
Thanks!
It's tonight!
Yes, please add my good wishes for all the irrational exuberance one can handle tonight. Hope it goes very well!
--Bruce
...not to mention the irruberant exactionality...
SOOOO.... tell us about last night's concert!
(http://www.simswyeth.com/blog/wp-content/uploads/ears.jpg)
Everybody wants to ear about it! :o
In brief, went very well. More later; going back for some more sleep 8)
There also came a chap I know, who frequently comes to the MFA shop, is very friendly and chatty, and who occasionally schedules concerts at his home. He was one of the first to arrive at the concert, and he apologetically cautioned me that he would probably need to leave a little early . . . so I have not had the chance to speak with him to see if I "passed" 8)
Do you have recordings lying around? If they're studio recordings you should totally sell them! :)
Launch of a new duet. (http://henningmusick.blogspot.com/2009/06/one-reckless-berry.html)
Just heard from my good friend Michiel Schuijer, professor of music theory at the Conservatory of Amsterdam - a female student of his, Uzbek composer Polina Medyulyanova (http://www.composers21.com/compdocs/medyulyp.htm), seems to be preparing her Ph.D. ('seems', because things might still change). The subject: contemporary settings of St. John's Passion. Michiel has suggested she should also take into account Karl's setting and has given her his email address.
I hope she'll be in touch, Karl!
The clavecinist and the composer.
Looks as though Mr. Bloom has a busy tour schedule as well. Do you ever sit in to play someone's music besides your own like he does, Karl?
Looks as though Mr. Bloom has a busy tour schedule as well. Do you ever sit in to play someone's music besides your own like he does, Karl?
Karl, congratulations!!!
Another shot of Drs C & HHeeeeeelllllllllllll yeeeeeeeeeeeeaaaahhhhhhhhhhh!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Absolutely. Do it!
You are kind, Greg!And I'm dead serious! :)
Do you feel like writing a short duet for flute and clarinet? (Or even, alto flute and clarinet?)Maybe. Why do you ask?
Peter Bloom & I have another recital date in September. If you want to draw up something (and if Peter gives it the go-ahead), we can play it then.Cool! I'll go ahead and write something short and fun, then. 8)
Another shot of Drs C & HWhen I lived with my parents, we had the EXACT SAME chairs! Funny!
When I lived with my parents, we had the EXACT SAME chairs! Funny!
Cool! I'll go ahead and write something short and fun, then. 8)
You're most welcome, sir! Have you ever written anything for harpsichord or organ?
I'm sure Lost Waters will be very interesting on harpsichord!
I'd love to check out your Toccata - is it available on your blog, or has it been published?
Lost Waters, Opus 27 — harp solo
2. Irving's Hudson
3. Thoreau's Walden
4. Whitman's Ontario
5. Carlos Williams's Passaic
To repeat, in case some missed it (who prefer not to miss it).I've been enjoying listening to these, bit by bit, getting my first taste of Henningmusik. (Perhaps it is my antiquated computer system at fault, but it takes an inordinate amount of time for the music to transfer to my computer so I can listen to it! Nevertheless, I persevere.) What a varied feast so far! I have very much enjoyed The Angel--the alto flute has a very cool sound, and this is a lovely performance. The harp pieces, Lost Waters, were lovely and intriguing. And I liked the playfulness and inventiveness of Blue Shamrock. I see that Stars and Guitars is quite a large file, so it will have to wait for another day. Bravo! :)
Cari amici,
My excellent friend Shauna has uploaded the recording (http://www.music.mcgill.ca/~sbarra/Karl%20Henning/) from the 24 June event. Notwithstanding the fact that the composer wishes that all might have been better still, it is my great pleasure to make this available to you. I place only the following conditions (which I have no way of enforcing, and regarding which I therefore rely completely on your discretion):
a. I earnestly hope that you may enjoy listening.
h. Track list:
1. Blue Shamrock, Opus 63 — clarinet solo
Lost Waters, Opus 27 — harp solo
2. Irving's Hudson
3. Thoreau's Walden
4. Whitman's Ontario
5. Carlos Williams's Passaic
6. stars & guitars, Opus 95 — bass flute & harp
7. The Angel Who Bears a Flaming Sword, Opus 94a — alto flute solo
8. Fragments of « Morning Has Broken », Opus 64a — flute, clarinet & piano
9. Radiant Maples, Opus 59 — flute, clarinet harp & piano
========
10. Fragments of « Morning Has Broken », Opus 64a — rehearsal
11. Radiant Maples, Opus 59 — rehearsal excerpt
========
I wish you all good listening, and I thank you for all your kind support.
Cheers,
~Karl
BTW, Karl, I succeeded in getting adequate streaming performance to listen to the QuickTime files Shauna posted. In general I liked them, some quite a bit--particularly Radiant Maples and Lost Waters. My wife in the next room overheard several of the pieces and kept asking me who the composer was, because she liked them all very much. She wondered if you might consider a transcription of Lost Waters for guitar.
Separately . . . anyone else know what "purposeful incoherence" means? (http://henningmusick.blogspot.com/2009/07/limits-and-all.html)It's pretty hard to give a definition, but I'm sure that, to paraphrase a Supreme Court opinion on another hard-to-define concept, we'd all know it when we see/hear it! ;D
Playing Irreplaceable Doodles later today.
At the scene. (http://henningmusick.blogspot.com/2009/07/unused-organ-pipes-in-background.html)
NEW!! IMPROVED!!Bullish Upticks (IIa)
The Irrationally Exuberant Music of Karl Henning
Heedless Watermelon, Opus 97 (2009) flute & clarinet – Premiere
stars & guitars, Opus 95 (2009) bass flute & harp
Tropes on Parasha’s Aria, from White Nights, Opus 75 (2006?) flute, clarinet & harp
Peter H. Bloom (http://phbloom.home.comcast.net/~phbloom/nm/bio.html), flutes
Mary Jane Rupert (http://phbloom.home.comcast.net/~phbloom/rupert2bio.html), harp
Karl Henning (http://henningmusick.blogspot.com/), clarinet
Tuesday, 28 July 2009
12:15pm
King's Chapel
Corner of School & Tremont Streets, Boston
Freewill donation.When the going gets tough, the tough get composing.
Good crowd, some 53 people out in the audience.
Good crowd, some 53 people out in the audience.But did you have FUN, man? I just listened to Heedless Watermelon, and I had fun! (Spits watermelon heeds across the cyberspace.) ;D
ADDITIONAL ENGAGEMENT!! CAVING IN TO POPULAR DEMAND!!Bullish Upticks (IIb)
The Irrationally Exuberant Music of Karl Henning
Blue Shamrock, Opus 63 (2002) clarinet solo
The Angel Who Bears a Flaming Sword, Opus 94a (2008) alto flute – Premiere
Irreplaceable Doodles, Opus 89 (2007) clarinet solo
Heedless Watermelon, Opus 97 (2009) flute & clarinet – Premiere
Peter H. Bloom (http://phbloom.home.comcast.net/~phbloom/nm/bio.html), flutes
Karl Henning (http://henningmusick.blogspot.com/), clarinet
Wednesday, 29 July 2009
12:15pm
West End Branch, Boston Public Library
151 Cambridge Street, Boston
Free & Open to the Public.When the going gets tough, the tough get composing.
With pleasure (and thanks to Davey & Brian for taking so affectionately to the piece, too!)
One of the highways, was the thought of Lutosławski, on a train out of St Petersburg. (Cello ensemble version, now finished.)
Quote from: k a rl h e nn i ngThe seven composers who have been my strongest overall influences, from the days I was studying the craft of composition, have been: Bach, Beethoven, Berlioz, Chopin, Sibelius, Hindemith & Stravinsky. Three pop artists whose influence upon my musical outlook is at times nearly as pervasive are: Genesis, King Crimson & Zappa.
(Not to derail the thread too much, but I cannot resist...)
What elements of these 7 composers that you have listed do you you think influence you the most? (For example, the orchestration of Berlioz? The rhythms of Stravinsky?) And why these 7 in particular, do you think?
(Not to derail the thread too much, but I cannot resist...)
What elements of these 7 composers that you have listed do you you think influence you the most? (For example, the orchestration of Berlioz? The rhythms of Stravinsky?) And why these 7 in particular, do you think?
For the most part, I don't have a tidy, helpful answer to the "what elements" query. One general thing I particular get from Chopin, is the simultaneous presence of classical nerve/infrastructure, and Romantic "apparent impetuosity." On the whole, same idea (although his era and overall sensibilty are entirely different) with Hindemith.
Contrariwise, the "why these 7 in particular" is an easy question to answer: they were part of my curriculum. Several works of Bach, Beethoven, Chopin & Stravinsky were the subject of extended, in-depth analysis in the composition studio — and it was work which withstood the sustained scrutiny. I always liked a good deal of Berlioz, Sibelius & Hindemith, and although their works were not assigned to me, I applied the same scrutiny on my own initiative.
To those seven composers & three pop artists, I should add Five Works:
Debussy, Sonate pour flûte, alto et harpe
Nielsen, Clarinet Concerto
Messiaen, Quatuor pour le fin du temps
Shostakovich, Tenth Symphony
Reich, The Desert Music
Fingers crossed.Because. . . ? ??? Sorry, what am I missing?
Have I offended the librarians among us? 8) 0:)
I get on very well with lions. Maria's a Leo, you know 8)
She is most reasonable, and disarmingly charmante. So that at the last, you want to obey 8)
I bet she even made you think that it was your decision to shave your beard. ;D jeje
Just had a very nice chat with Chris (weirdears) . . . hadn't succeeded in reaching him for the longest time. He's doing well, keeps busy at his day-job . . . as a result of the latter, he's needed to be selective with his non-work-hours energy expenditure................
Karl - thanks for the update on Chris; I use to enjoy him on the old forum, and we exchanged a number of posts - glad that he's doing well and liking his musical choices. I still come across some of his reviews on Amazon, but doubt that he's doing that much any more - Dave :)
Well, I've gone and got my feet wet here. (http://www.reverbnation.com/karlhenning)
I know: gotta throw some music up there.
Well, I've gone and got my feet wet here. (http://www.reverbnation.com/karlhenning)
I owe some of you (using owe in a broad sense) a disc. Production should resume later this month.
Thank you for your patience, and for your support.
I hope I am still on that list!
Reflections on an apparent waste of time. (http://henningmusick.blogspot.com/2009/09/nod-to-sisyphus.html)
And even choral groups who concertize independent of actual church services . . . similarly, far the greater part either do new music which is a lot 'sexier' than mine, or they're devoted to musical curatorship. Not much of a slice for me to target . . . .
Anyone in or near Atlanta, game for some mid-November Henningmusick?
Well, we moved a few years ago from there, back to Ohio! You could have stayed with us, across from Oglethorpe University!
And we could have driven with you down all of the 317 streets with "Peachtree" in the name! :o
I had to lose Danger Mouse, and this was an av I had right to hand 8)
It's not accurate anymore, though . . . the facial hair has been coming back in.
Where's Karl's lucky beard when he needs it? :)
Play that watermelon heedlessly Karl!!! ;D Oh wait on second thought, perhaps not altogether heedlessly... :-\
:D
:)
Where's Karl's lucky beard when he needs it? :)
It's a-growing in very nicely, thank 'ee!
Never met a tea I didn't like . . . .
Hmm, ginger, eh? Yes, I've got some lemon & ginger tea here!
Thanks, lads!
Program came out very nicely. I'll mail one to anyone who asks ;)
Oh, that was just the print run. The event is this evening. Thank you for your good wishes!
Well, that can only be because you have not yet had some nice hot ginger tea 8)
Thanks, lads!Here's hoping that you have a full house and no programs left to mail! I hope all goes well.
Program came out very nicely. I'll mail one to anyone who asks ;)
Enormously pleased at last night's concert.
Long version to follow.
Enormously pleased at last night's concert.
Long version to follow.
Because. . . ? ??? Sorry, what am I missing?
No, no lions there.
But my music is unafraid of the lions, if I were to play at Copley Square! 8)
Sounds like a great title for a new work:
UNAFRAID OF LIONS! :o
Waves of the Waters. (http://henningmusick.blogspot.com/2009/09/jeu-deaux.html)
sssshhhhh!
And, while I need yet to add some detail, the composition per se of the last of the Opus 96 set for cello ensemble is done:
Well even Bach found it difficult to compete with the sexier Telemann, but we know the winner was there in the long run. 8)
Formula for comparing other composers to Bach:
[Name of composer]...he's better than you are.
Two recent nights at Symphony. (http://henningmusick.blogspot.com/2009/10/two-hot-nights-early-in-season.html)
To paraphrase Rex Harrison’s Pope Julius to Charlton Heston’s Michelangelo: “When will you make an end of it, Karl?” 0:)Probably 3-5 years from now. :-\
To build a sort-of-chorale. (http://henningmusick.blogspot.com/2009/10/sheet-upon-sheet.html)
But where are the quarter-tones? 8)
Hah! :)
Well, if not quarter tones, then I hope you use some quarter notes! 8)
But where are the quarter-tones? 8)
I'm listening to atonal squonking. ;D
That's a pretty complex-looking score you got there...
Unfortunately, I was interrupted. :-\
Peter H. Bloom, flutes
Mary Jane Rupert, harp
and myself
Out in the Sun comes to Ann Arbor. (http://henningmusick.blogspot.com/2009/10/5-november-in-ann-arbor.html)
Karl: the Imperial High Command (aka Mrs. Cato :o ) has approved our presence at the Ann Arbor concert next week!
I just wish I had some stereo recording equipment! At the least I will take some pictures of everything for you!
I do hope that Cato made it to the performance . . . .
Yes, we made it!
Out In The Sun is one of Karl's best works: trombones and a tuba provide a kind of slow, "warm and glowing" basso continuo, (although the tuba does get a moderate workout), while sparks of driving energy are provided by a quartet of saxophones and two clarinets (one alternating on a bass clarinet).
The "sparks" are intriguing melodic fragments passed around by the clarinets and saxophones, and they build to various climaxes: for an image, you could envision a partly sunny day, when clouds at times "tame" the rays and at other times release them to flash around. (This is not to imply that Karl had such a tone-poetic idea in mind, but given the title he chose, it would seem appropriate.)
Eventually the work slows down to emphasize those "warm" and, to my ear, rather mysterious, meditations in the brass, whose music has maintained a detached, almost Olympian tone, although for a few moments the tuba does attempt to dance with the winds.
The student orchestra gave a nice reading, and the players were obviously very engaged and enthusiastic about the work. The conductor (Rodney Dorsey) kept everything in balance, and the lines were usually clear. A few errors here and there (e.g. the one clarinetist working on the bass clarinet was having trouble with the mouthpiece at the beginning) ultimately did not detract from the performance. The response from the audience, numbering around 75 to 100, was equally enthusiastic: a very mixed group consisting of parents, elderly college-town types, and of course assorted students, including the curious 21st-century types, who feel they must be seen sporting scarves (even though the weather was not cold (40's)) to proclaim sort of personal statement.
I will comment later on the other works on the program! And I hope the recording turns out well!
Aiyee! CD production ground to a halt while (among other things) I gear up for the Atlanta trip. Soon!Have fun in Atlanta. I'll be patient. Good things are worth waiting for.
Parellel fifths between the S and T I in m. 25, which I think should be an easy fix.
Between mm. 52 & 53, some parallel fifths crept in at some point of revision; which I am nearly inclined not to worry about with the five-part texture. But I may just tweak the bass line.
Remembering, a bit. (http://henningmusick.blogspot.com/2009/11/shamrock-antiquities.html)
Have fun tonight! :D
Best Wishes on the concert, and maybe the Rota Fortunae will turn in your favor! 8)
CD's? CD's? CD's? :o
For those of you who have patiently waited for the capacity to download the program of Noise in the Library . . .
Now available. (http://www.gesprek.net/hendrik/Henning/NITL/)
I hope you may enjoy!
Friday Night, March 19, 2010
Saint Mary's Church, 327 Second Street, Fall River, MA
Sunday Afternoon, March 21, 2010
Good Shepherd Parish, 1598 S Main Street, Fall River, MA
Audio for the 17 Nov 09 concert is on line. (http://henningmusick.blogspot.com/2009/12/look-back-look-ahead.html)
You are not oblivious, nor do you seem unconcerned. Nothing serious, but a post-surgery wound which has been a slow time a-healing. More weeks of waiting ahead.Best wishes for full recovery as soon as realistically possible. Glad to hear it is not more serious.
Karl!
How fascinating that I saw the notes G#-A-Bb in the opening of your work: in the 1970's I had a piano work which, in the Adagio, used them as a cluster (resolving to the A in the middle): the theme was a series of similar 3-note clusters, always resolving to the middle note.
But G#-A-Bb were the centerpiece.
Tomorrow I will listen to your work: I only was able to skim through the opening pages today.
Johan, there may be a fresh ping on the Passion sound-file; an acquaintance in nearby Rhode Island expressed interest in hearing the piece.
I have been able to listen to your work today, but only down to the clarinet cadenza at Bar 83.
"Piquant" is the word which kept coming to mind to describe what I was hearing, not to mention mysterious and occasionally melancholy.
Besides the dialogue between clarinet and harpsichord, of great interest was the Piu Mosso section at Bar 59. It contained a triplet figure, where the triplet leads to a longer note on the middle tone of the triplet, used subtly here and there, and - for me at least - an echo of Mahler's opening movement for his Seventh Symphony and of various sections of Wagner. :o
I was interrupted, twice, so I hope to start over and listen later to the entire work!
Karl: have you considered a version for bass or alto flute?
Hah! Timbrally interesting suggestions, to be sure . . . since I had not long before written a piece for bass flute and harp, when I set to work on Lunar Glare, I kept all thoughts of bass flutes off my desk . . . and perfectly effortlessly . . . just wanted to give the Glare its own musical space.
The Lux Nova Press website (http://www.luxnova.com/ (http://www.luxnova.com/)) has seen some serious overhaul recently."Your web browser type is Firefox 3.5. "