Henning's Headquarters

[Cato]

We are also very close to ready on the rehearsal edition of the Schulte Exaudi Me.

Karl has been more than generous with his help in preparing the score, via the Sibelius music program.

When it is ready, along with a "MIDI" version of the score, I will reveal the work and the story behind it:the Exaudi me is for a 9-voice choir, i.e. double SATB plus a Solo Soprano, and the sketch dates from the early 1970's.

GMG members might be able then to verify that I am indeed NOT a composer! 

[Karl Henning]

(Meanwhile:  571 unread messages . . . .)

[Karl Henning]

Yesterday Carson Cooman sent word that he has programmed the Henning Op.32a as the anthem for Morning Prayer in Harvard's Memorial Chapel this coming Wednesday.

[North Star]

Wow, I didn't realise you where a composer too Cato!  I can't wait to hear it! 

Hey, watch it! Cato is NOT a composer! 
You're too new here to have read the story, I suppose. . .

[Cato]

Wow, I didn't realise you where a composer too Cato!  I can't wait to hear it! 

Hey, watch it! Cato is NOT a composer! 
You're too new here to have read the story, I suppose. . .

Here is the story, written nearly 10 years ago!

I have mentioned throughout the years here that I used to compose music, usually with exotic scales, sometimes utilizing a quarter-tone system, but gave it up decades ago, and not without a little regret.  Somebody asked me why, and I said I would eventually respond, and today, while writing about Glazunov, I decided to clarify.

"Something in him holds him back" was Tchaikovsky's famous comment about Glazunov.

I could tell you that the hours needed alone for composition were not conducive to endearing me to my girlfriend and later my wife: she knew about my composing talent, but did not always comprehend it.

That is partially involved in giving up composition.

I could tell you that the frustration involved in dealing with musicians/professors/directors etc. was immense: promises of performances, promises and flattery, all leading nowhere.  (I could write a novel about the trials and terror of working with a certain famous and duplicitous tubist on a quarter-tone tuba concerto! But I digress!)

That is partially involved in giving up composition.

The realization that what interested me the most - microtonalism - was still going to be a tiny niche market, was always balanced by the hope of a breakthrough.  But that breakthrough never came, especially when I witnessed the rebirth of the neo-conservative movements of Minimalism and Neo-Romanticism.

That is partially involved in giving up composition.

But in the end here is what ended it: I realized that, when I heard my music, I did not want my personality, my soul, if you can abide the term, so openly exposed for public examination.  When the few performances occurred, I realized that the experience was so private, that I could not feel anything but embarrassment, as if I were confessing my sins over a loudspeaker.

My best friend at the time remarked, after hearing one of the quarter-tone works: "Okay, that will be evidence at your commitment hearing!"

He was only half joking!

"Something in him holds him back." 

In my case I turned away from the desire to compose because - oddly, when I finally succeeded in having a few things performed - I knew I did not want people to hear my music!

Probably the feeling is mutual in many cases!   

So I wonder if Glazunov and other second-rank composers were perhaps held back not by a lack of talent, but by an emotional reticence, which compelled them to compose only "surface pieces" and prevented them from creating e.g. a Schumann Second Symphony , or a  Mahler or Tchaikovsky Sixth Symphony.

See:

http://www.good-music-guide.com/community/index.php/topic,4143.msg99876.html#msg99876

[Karl Henning]

I had meant to follow up with Gandalf this weekend, but the cold which has been making the rounds hath laid me flat.  He called and left a nice message yesterday, and rang again today from the station before today's show;  I called the station back so that he might hear in my voice why I have been remiss in returning to him.

Time for my next nap, I think.

[Karl Henning]

http://www.americancomposers.org/2016/09/05/underwood-new-music-readings-commission-2017/

Just submitted the first movement of the symphony to this.  Recall that nothing doing was the response to Discreet Erasures, so hopes are not exactly high.

But, you don't get rejected if you don't apply . . . .

[Mahlerian]

Congratulations on your Christmas concert, Karl!

[Karl Henning]

Thanks for coming to hear!

[Karl Henning]

The Naperville, Illinois performance of the expanded In dulci jubilo (2 fl, ob, cl, ta, handbells, glock, strings) will be this Sunday the 18^th at 15:00.

[Cato]

The Naperville, Illinois performance of the expanded In dulci jubilo (2 fl, ob, cl, ta, handbells, glock, strings) will be this Sunday the 18^th at 15:00.

Most excellent news!

Just submitted the first movement of the symphony to this.  Recall that nothing doing was the response to Discreet Erasures, so hopes are not exactly high.

But, you don't get rejected if you don't apply . . . .

And so again we will hope and pray for a positive response! 0:)

[Karl Henning]

Triad repertory committee meeting this Monday, the idea is to choose material for both our one-off Church of the Advent Library Series appearance in January, and our April concerts.  There is no piano in the library (an alcove chapel, really) at the Advent, so we must choose only a capella works.

We will be collaborating with a string quartet for the April program, and our own Edward is finishing up a brace of choir-&-string-quartet pieces which I believe will be an excellent part of the concert.

[Karl Henning]

Idea for the Nov 2017 Triad concert: re-score Castelo dos anjos for choir SSATB.


Sent from my SCH-I545 using Tapatalk

[Karl Henning]

Idea for the Nov 2017 Triad concert: re-score Castelo dos anjos for choir SSATB.


Sent from my SCH-I545 using Tapatalk

This will be a matter of re-composing the percussion component as "vocal percussion" in the tenor and bass parts.  I may still allow for some passages to revert to solo voice.

[Karl Henning]

Bad news:  ASCAP has declined my application for the ASCAP Plus award.

Annoying news:  ASCAP did not send me notification;  I found out by chance, in logging onto the website.

Good news:  Our Man in Illinois reports that In dulci jubilo was beautifully performed in Naperville this Sunday past.

[Cato]

Bad news:  ASCAP has declined my application for the ASCAP Plus award.

Annoying news:  ASCAP did not send me notification;  I found out by chance, in logging onto the website.

Good news:  Our Man in Illinois reports that In dulci jubilo was beautifully performed in Naperville this Sunday past.

ASCAP obviously should be begging you to accept the award!  Probably biased against anyone without "Professor" in front of their name.

But glad to hear about HenningMusic successfully invading Illinois! 0:)

[Karl Henning]

I worked the ending last night.  I am still in the mulling stage, but I think it may be more or less done.  (There is a measure here and a measure there where my ear raised a yellow flag, so the comb's fine teeth remain at the ready.)  The movement runs almost a minute longer than "planned";  in fact, I had planned on the brass coda . . . and the need both to "stop the train," and to allow the coda to be a part of the design, rather than "What just happened? Oh, is the movement over?" meant that (a) the coda needed more play, and (b) I felt that the woodwind recap at [ N ] worked better at a relaxed tempo, too, as a sort of temporal transition.

http://www.youtube.com/v/-WCZ77mt2aE

Revisiting this, as I will likely want to get back to work on the second movement soon after Christmas.

[Karl Henning]

It is official:  we're doing a "make-up" interview this Monday, 26 December, 12 o'clock Chowder Time.

http://www.wjffradio.org/wjff/

[Mirror Image]

It is official:  we're doing a "make-up" interview this Monday, 26 December, 12 o'clock Chowder Time.

http://www.wjffradio.org/wjff/

Excellent news, Karl! Hopefully, there won't be any technical malfunctions this time around.

[Karl Henning]

Bad news:  ASCAP has declined my application for the ASCAP Plus award.

Annoying news:  ASCAP did not send me notification;  I found out by chance, in logging onto the website.

It's official:  ASCAP froze a number of us out, but did not have the courtesy to send any notice.

This was a generic response sent to someone else, and only because he had written specifically to inquire:

The independent ASCAP Plus Awards panel recently held their review of entries for the 2016 awards.

With more than 600,000 members and growing, the number of deserving creators grows dramatically each year, but unfortunately, the resources available for discretionary programs like the ASCAP Plus Awards cannot grow at the same rate in the current environment.

With so many applicants, the ASCAP Plus Awards program is not able to give awards to all who apply, and unfortunately, you will not be receiving an award this year.

ASCAP values your membership. We will continue to seek fresh ways to support and honor the fine work of our members, and to compensate you for your musical performances. Throughout 2016, we advocated for you to both the Legislature and to the U.S. Department of Justice. Additionally, we continue to invest in new tools that increase our transparency for members, like the relaunched Member Access portal at ASCAP.com, and our ACE Repertory. As we move forward, our number one concern is to continue to work to protect, support and advocate for you and the value of your musical compositions.

Our best wishes for your future success.