Henning's Headquarters

[Karl Henning]

Thanks for your kind interest, Nav.

. . . . . .

Just had a chat with Paul C., mostly about other things . . . but in passing he mentioned that what he has seen of the Organ Sonata looks eminently manageable.

I am singing with Paul's choir for the First Church in Boston Christmas Eve service; it's quite an early service, so our family will go out directly afterwards for a bite to eat.  Just made an online reservation at the restaurant Masha selected.  Gotta love the Internet.

[Karl Henning]

Keeping on track with the 3-a-day plan, I returned to work on the Credo a bit yesterday, while riding the 134 bus to Wellington Station.

The ruse is a great success, really, because if I can press myself to compose this weekend, then I can compose any day at all, really.

[TheGSMoeller]

Listening to Gaze Transfixt for the first time. Wonderful music, Karl. It flows beautifully, each section delivers a fresh journey without ever breaking continuity. It would be great if you could give a little insight into the piece. I sense a little folk-influence, perhaps a little Americana, but I may be completely wrong.

[Karl Henning]

Many thanks, Greg!

Will speak more of the piece to-morrow....

[TheGSMoeller]

Many thanks, Greg!

Will speak more of the piece to-morrow....

You're welcome. I look forward to your composer notes. Merry Christmas!

[Karl Henning]

Listening to Gaze Transfixt for the first time. Wonderful music, Karl. It flows beautifully, each section delivers a fresh journey without ever breaking continuity. It would be great if you could give a little insight into the piece. I sense a little folk-influence, perhaps a little Americana, but I may be completely wrong.

To start, I recall to-day that I once drew up a sort of Listener's Guide to the variations.

In general, I had [my idea at the time of] various specific composers in view with many of the variations . . . perhaps after the service at First Church this evening I'll revisit the score and spill some beans.

[Karl Henning]

I am enjoying a couple of intangible Christmas gifts already . . . two singers whom I don't see all that often severally approached me yesterday.  For one, I had started to write a soprano-&-clarinet setting of Whitman's "Mystic Trumpeter" (I still don't know Holst's setting, and I think I shall probably leave it that way until I have done writing my own).  She recalled the project, and we've agreed to put it together (which is to say, that's a piece I shall need to finish, after the Organ Sonata and the Credo) for my October date at King's Chapel (the 8^th).

The other sings in a crack vocal quartet, and she advised me yesterday that they will be calling for scores for an April concert.  So after the Organ Sonata, but before the Mystic Trumpeter, it is time to finish up that setting of Poe's "Annabel Lee."

[Brahmsian]

Eine Kleine Henningmusik!    

Henning, K.

Heedless Watermelon, Op. 97 for flute & clarinet
Irreplaceable Doodles, Op. 89 for clarinet
The Angel Who Bears a Flaming Sword, Op.94a for alto flute
*Lost Waters, Op. 27 for harp
Studies in Impermanence, Op. 86
Tropes on Parasha's Aria from 'White Nights', Op. 75 for flute, clarinet & harp

Karl Henning - clarinet
Peter H. Bloom - futes
Mary Jane Rupert - harp

Recorded live, in West End Branch, Boston Public Library
September 17, 2009

I've always had a fondness for 'Irreplaceable Doodles & Heedless Watermelon', however my favourite piece is *'Lost Waters'.  Such a gorgeous, beautiful piece.  Anyone who loves solo harp (like I do) will adore this piece, I guarantee it!! 

A beautiful gift, and creation from Karl.  Merci, mon ami! 

**Re-posted from the 'Listening thread'. 

[Karl Henning]

Thanks, Ray!

(Gosh, but that seems long ago....)

[Brahmsian]

Thanks, Ray!

(Gosh, but that seems long ago....)

'Twas not that long ago, just over 3 years.



It's a millisecond, compared to listening to Herr Ludwig's music! 

[Karl Henning]

On the train this morning, sketched part of a tune for the vocal quartet I shall need to draw up : )

[Karl Henning]

More work done on "Annabel Lee."

[Karl Henning]

Chap I "know" on Facebook has a clarinet choir, and he accepts my suggestion to send him something.

What should I [arrange/]send?

[TheGSMoeller]

Chap I "know" on Facebook has a clarinet choir, and he accepts my suggestion to send him something.

What should I [arrange/]send?

Tallis' Spem in alium arranged for Clarinet choir. How many are in this ensemble? 

[Mirror Image]

How I long for the completion of White Nights...

[Karl Henning]

Tallis' Spem in alium arranged for Clarinet choir. How many are in this ensemble? 

Hah!

But I'd arrange Henningmusick.  15 parts, including two bass cl and one B^b contrabass; so I am thinking of a scene from White Nights which might work thus translated.

[Karl Henning]

A friend kindly replies to the incipit of the Organ Sonata (here, ICYMI):

I read the two pages through this morning.  Incredibly, they fit on my my modest and non-standard organ.  Also a boost to my self-confidence since I read it with  more facility than I expected (including the 5 against 4).  I don't get much practice at these things anymore. 

I like it very much.  It has promise for atmospheric expressiveness in a large church à la Messiaen as well as contrapuntal interest à la Hindemith, and to achieve such a balance is in my experience very rare.  It also possesses what I can only call "right-sounding" harmonies, fresh, un-hackneyed, and clearly of our time.   My only concern would be the length at which you plan to continue that texture before some change is called for.  But you probably already have that figured out.

All the best as you work to complete it.

[Cato]

A friend kindly replies to the incipit of the Organ Sonata (here, ICYMI):

Yay team!   

I like it very much.  It has promise for atmospheric expressiveness in a large church à la Messiaen as well as contrapuntal interest à la Hindemith, and to achieve such a balance is in my experience very rare.  It also possesses what I can only call "right-sounding" harmonies, fresh, un-hackneyed, and clearly of our time.   My only concern would be the length at which you plan to continue that texture before some change is called for. But you probably already have that figured out.

You are in good company there.

I am not sure I understand that "concern" about length: does he prefer more of that style or less of it?

"Follow the music" would be my advice.   0:)

[Karl Henning]

Having 'lapsed' into a (let us call it) Holiday Break, I am totally ready to plunge back into the Sonata (and a good idea, too, since Eric has agreed to play it in March). Of course, the score has progressed rather since the 15 Dec PDF which is on the table . . . .

[Karl Henning]

Making great progress on the St John's Passion setting for St Paul's. Posting from an undisclosed roadside location, waiting for my bicycle to emerge from under the knife (or the wrench and sprockets, as it may be . . . .)

A little odd to reflect that this was five years ago, to-day.

OTOH, to think that such a large piece has had two performances in this time . . . .