Henning's Headquarters

[Karl Henning]

To remind myself of a 15 Nov deadline:  Fifteen-Minutes-of-Fame featuring Monica Chew with Clavichord (musicavatar.org)

[Karl Henning]

As a rule, I don't like to submit a score to calls with an entry fee, but I made an exception today, as the orchestral version of Ear Buds fit the call so nicely. The decision(s) of the judges will be out 3 March 2024.

[Pohjolas Daughter]

As a rule, I don't like to submit a score to calls with an entry fee, but I made an exception today, as the orchestral version of Ear Buds fit the call so nicely. The decision(s) of the judges will be out 3 March 2024.

Interesting.  What do the entry fees go towards?

PD

[Karl Henning]

The detailed reply is illuming. I was desirous of the conductor's feedback (which is yet to come.) He has, I think, more than one assignment, so I wasn't necessarily proposing the Op. 175 for this group, though that would of course be wonderful. The gist of the present email is eminently practical: a 25-minute piece by an unknown composer is "a big ask" and so substantial a piece for which the winds all sit out is a further consideration. I kind of feel that I am being asked for a manageable extract from the ballet. Not that my friend is literally so asking, but let me think on those lines.

As a rule, I don't like to submit a score to calls with an entry fee, but I made an exception today, as the orchestral version of Ear Buds fit the call so nicely. The decision(s) of the judges will be out 3 March 2024.

Well, my atypical gambit of "buying a lottery ticket" in submitting Ear Buds to a call with a $35 entry fee set me to thinking that this is a good piece to offer to my friend's orchestra (so to speak), and also to submit to the call ($0 entry fee) of which he notified me. So Ear Buds is now taking its chances, albeit not in its original guise as a band piece.

[Karl Henning]

Interesting.  What do the entry fees go towards?

One wonders, at times. 

[Karl Henning]

Mt first visit to Symphony Hall since my stroke, I think.

[Karl Henning]

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[Karl Henning]

Boston Symphony Orchestra kicks off 2023/24 season pairing Beethoven, Mozart, and Strauss with a Latvian tango

[Karl Henning]

Something Good I Wasn't Expecting

[Karl Henning]

This and That

[Karl Henning]

Symphonic Anniversary

[Cato]

This and That

James Conlon conducted an excellent performance of Mahler's Symphony VIII with the Cincinnati Symphony Orchestra and a host of choirs.

He conducted the premiere of Corigliano's Ghosts of Versailles, and has pushed the music of Zemlinsky and other "forgotten" composers.

[Karl Henning]

James Conlon conducted an excellent performance of Mahler's Symphony VIII with the Cincinnati Symphony Orchestra and a host of choirs.

He conducted the premiere of Corigliano's Ghosts of Versailles, and has pushed the music of Zemlinsky and other "forgotten" composers.

He has done mighty fine work!

Me, I've been tweaking an old Psalm setting for a choral music call. 

[Karl Henning]

[Karl Henning]

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

[Karl Henning]

... a call for orchestral scores suitable for a university orchestra. Still thinking about that one. Perhaps a number from White Nights.

10-15 minutes, hmmm. A lot of niggling details make this a challenge. No harp pretty much excludes White Nights. I use more winds than they'll want, in the First Symphony.

[Karl Henning]

10-15 minutes, hmmm. A lot of niggling details make this a challenge. No harp pretty much excludes White Nights. I use more winds than they'll want, in the First Symphony.

I can lose the harp in Ear Buds, for this instance. Maybe I'll do that.

[Pohjolas Daughter]

10-15 minutes, hmmm. A lot of niggling details make this a challenge. No harp pretty much excludes White Nights. I use more winds than they'll want, in the First Symphony.

Karl,

I saw this on the ACF website and thought of you:

"Innova Recordings, the in-house record label of the American Composers Forum, seeks recording projects at any stage of production, from US-based music creators. Selected artists will receive access to recording studio time, post production, PR and marketing, design, physical manufacturing, promotion, distribution, and help with licensing, at no cost to the artists. 100 percent of sales profits and rights will stay with the artists."

PD

[Pohjolas Daughter]

Karl,

Are there more postings for compositions other than the ACF that are readily accessible to American composers?

PD

[Karl Henning]

Karl,

I saw this on the ACF website and thought of you:

"Innova Recordings, the in-house record label of the American Composers Forum, seeks recording projects at any stage of production, from US-based music creators. Selected artists will receive access to recording studio time, post production, PR and marketing, design, physical manufacturing, promotion, distribution, and help with licensing, at no cost to the artists. 100 percent of sales profits and rights will stay with the artists."

PD

Thanks, PD. I remember seeing that Innova offer decades ago. I should check. Back then (my impression is) the composer was essentially responsible for bankrolling a project.

Karl,

Are there more postings for compositions other than the ACF that are readily accessible to American composers?

PD

I guess I don't know.