Henning's Headquarters

[Karl Henning]

I think it may possibly be done!

Well, I think it truly is.

[Karl Henning]

And, wow!  A fellow conductor (perhaps I should simply say conductor) to whom I sent the score yesterday wrote back early this morning with a very generous reaction to the piece.  He leads something of a start-up community band, and so he reports with regret that he lacks the double-reeds (and that a harp would be a matter of for-hire) . . . with delicacy (for he is a fellow composer, as well) he asked if I would be all right with substituting clarinets for the double-reeds.  I've replied positively, with a promise to look the piece over with an eye to an alternate scoring.

[Karl Henning]

I've gone ahead and sent to the director at Univ Michigan, as well.  Chances are, if he decides to do the piece, he will want to purchase it . . . and that will be a good incentive for Lux Nova Press.

[Cato]

And, wow!  A fellow conductor (perhaps I should simply say conductor) to whom I sent the score yesterday wrote back early this morning with a very generous reaction to the piece.  He leads something of a start-up community band, and so he reports with regret that he lacks the double-reeds (and that a harp would be a matter of for-hire) . . . with delicacy (for he is a fellow composer, as well) he asked if I would be all right with substituting clarinets for the double-reeds.  I've replied positively, with a promise to look the piece over with an eye to an alternate scoring.

More alto/bass flutes?  Or bring in the synthesizers! 

I've gone ahead and sent to the director at Univ Michigan, as well.  Chances are, if he decides to do the piece, he will want to purchase it . . . and that will be a good incentive for Lux Nova Press.

Some years ago I was present for a concert in Ann Arbor, where Karl's excellent piece Out in the Sun was played very nicely.  So let's hope the response is positive!

[Karl Henning]

More alto/bass flutes?

Well, if he is short of oboes, I'm doubtful he enjoys a surplus of auxiliary flutes!

[Karl Henning]

Re-post & refresh:

Variations on Wie lieblich est, S.10 (oboe & organ)

Night of the Weeping Crocodiles, Op.16 (cl/vn/pf)

Night of the Weeping Crocodiles, Op.16a (cl/pf/prc)

Fancy on Psalm 80 from the Scottish Psalter, Op.34 № 3, performed by Carson Cooman, on YouTube.

O Beauteous Heavenly Light, Op.34 № 2, performed by Carson Cooman, on YouTube.

Journey to the Dayspring, Op.40 on YouTube

'Tis Winter Now (Danby), Op.45a (mezzo-soprano, flute & organ) at Amazon

Initiation of Barefoot on the Crowded Road, the former Op.41 (now the Discreet Erasures, Op.99, below)

Score of The Wind, the Sky, & the Wheeling Stars, Part I

Score of The Wind, the Sky, & the Wheeling Stars, Part II

Counting Sheep (or, The Dreamy Abacus of Don Quijote), Op.58a for Pierrot-plus ensemble [ score, part I ].

Counting Sheep (or, The Dreamy Abacus of Don Quijote), Op.58a for Pierrot-plus ensemble [ score, part II ].

I Look From Afar, Op.60 for choir, brass quintet, organ & optional timpani

Blue Shamrock, Op.63 for clarinet unaccompanied, at Amazon.

Sweetest Ancient Cradle Song, Op.67 for choir, brass quintet, organ & optional timpani 1^st half | 2^nd half

Sweetest Ancient Cradle Song, Op.67 for choir, brass quintet, organ & optional timpani ::  Choral Score 1^st half | 2^nd half

Timbrel and Dance, Op.73 [ St Paul's choir plus ].

Scene 1 from White Nights, Op.75 № 2

Scene 2 from White Nights, Op.75 № 3

Scene 3a from White Nights, Op.75 № 4

Intermezzo I from White Nights, Op.75 № 6

Intermezzo I from White Nights, Op.75 № 6, arr. for saxophone choir

Scene 4 from White Nights, Op.75 № 7

Scene 5 from White Nights, Op.75 № 8

Before-&-after, Finale-VS.-Sibelius exhibits from the Op.75 № 8| A | B | C | D

Scene 7 from White Nights, Op.75 № 10

Canzona, Op.77a № 1 (org solo)

Gigue, Op.77a № 2 (org solo)

26 February De profundis, Op.78 [ Jaya Lakshminarayan & friends ]

Mirage, Op.79a (alto fl, cl, pf)

God Rest Ye Merry, Gentlemen, Op.80 carol for choir, brass quintet, organ & timpani

Moonrise, Op.84 for brass quintet. And MIDI

Moonrise, Op.84a for flute choir in six parts. And MIDI

15 March Passion rehearsal A [ Sine Nomine ]

15 March Passion rehearsal B [ Sine Nomine ]

15 March Passion rehearsal C [ Sine Nomine ]

Conclusion of the 19 Mar 2010 performance by Sine Nomine of the St John Passion, Op.92:

http://www.youtube.com/v/8netMuAHFkI

12 May recital [ k a rl h e nn i ng Ensemble (Bloom/Henning/Cienniwa) ]

18 May recital [ Bloom/Henning ]

23 May pre-concert rehearsal [ Sine Nomine ]

22 June recital [ N. Chamberlain/B. Chamberlain/Henning ]

Love is the spirit of this church, Op.85 № 3

Nicodemus brings myrrh and aloes for the burial of the Christ, Op.85 № 4 for cello & piano | Recording on SoundCloud

For God so loved the world, after Op.87 № 9 {Would you like the Doxology with that?} Yes | No | Recording on SoundCloud

The Passion According to St John, Op.92 (on MediaFire, courtesy of Johan)

Lutosawski’s Lullaby, Op.96a № 1 (string quartet)

Marginalia, Op.96a № 2 (string quartet)

Après-lullaby, Op.96a № 3 (string quartet)

Score of Fair Warning [Viola Sonata, mvt 1]

MIDI of Fair Warning [Viola Sonata, mvt 1]

Score of Suspension Bridge (In Dave's Shed) [Viola Sonata, mvt 2]

MIDI of Suspension Bridge (In Dave's Shed) [Viola Sonata, mvt 2]

Score of Tango in Boston (Dances with Shades) [Viola Sonata, mvt 3]

MIDI of Tango in Boston (Dances with Shades) [Viola Sonata, mvt 3]

Cato's analysis of the Viola Sonata

Johan's MediaFire folder, including the whole of Dana's première performance of the Viola Sonata

Discreet Erasures[/i], Op.99 for orchestra

Angular Whimsies, Op.100a (bass clarinet, percussion [two players] & piano)

Whimsy brevis, Op.100b (bass flute & piano)

http://www.youtube.com/v/OAp3w15ISl4

How to Tell (Chasing the Tail of Nothing), Op.103 (alto flute, clarinet & frame drum); 7 June 2014 performance

These Unlikely Events, Op.104 № 4

These Unlikely Events, Op.104 № 5

Kyrie, Op.106 № 1

Gloria, Op.106 № 2 :: work-in-progress, March 2015

Credo, Op.106 № 3

Sanctus, Op.106 № 4

(The Sanctus, arranged for tuba quartet)

Agnus Dei, Op.106 № 5

Brothers, If They Only Knew It, saxophone quartet (after Op.106 № 5)

In the Artist's Studio, Op.107, for 17 winds & harp

Organ Sonata, Op.108 :: Mvt 1, Eritis sicut Deus

Organ Sonata, Op.108 :: Mvt 2, . . . scientes bonum . . .

Organ Sonata, Op.108 :: Mvt 3, . . . et malum

Thoreau in Concord Jail, Op.109 for clarinet solo

http://www.youtube.com/v/OnLYQ748aEg

Airy Distillates, Op.110 for flute solo

Annabel Lee, Op.111 for vocal quartet

http://www.youtube.com/v/tN3aMOrzEb8

Misapprehension, Op.112 for clarinet choir

The Mystic Trumpeter, Op.113 № 1 for soprano & clarinet

Après-mystère, Op.113 № 2 for flute & clarinet And MIDI

http://www.youtube.com/v/7RhH161HhlA

just what everyone was expecting, Op.114 № 1 for clarinet & marimba

(very nearly) what everyone was expecting, Op.114 № 5 for bass clarinet & marimba

just what everyone was expecting, Op.114a for clarinet, mandocello & double bass

My Island Home, Op.115 for percussion ensemble

http://www.youtube.com/v/hlh61D6COvU

Plotting (y is the new x), Op.116 for violin & harpsichord

http://www.youtube.com/v/2vKGfppo0o8

Jazz for Nostalgic Squirrels, Op.117 (fl, cl in A, gtr & cb) [ and at Soundcloud ]

When the morning stars sang together, and the sons of God shouted for joy, Op.118 № 1 (shakuhachi, drum & handbell choir)

http://www.youtube.com/v/79tPHWpH3UI

Divinum mysterium, Op.118 № 2 (choir unison & handbells)

http://www.youtube.com/v/MPr7NhE2-Bs

Easter Stikheron, Op.118 № 3 (choir SATB & handbells)

Welcome, Happy Morning!, Op.118 № 4 (handbells)

My Lord, What a Morning, Op.118 № 5 (choir & handbells)

http://www.youtube.com/v/AJzV-RxXiIk

Hymtunes Moscow & Te Deum, Op.118 № 6 (handbells)

Musette, Op.118 № 7 (handbells)

Psalm 130, Op.118 № 8 [ I think ] (clarinet & bass voice) [work-in-progress]

The Crystalline Ship, Op.119 № 1 (mezzo-soprano & baritone saxophone)

I Saw People Walking Around Like Trees, Op.120 (flute, clarinet, double-bass & frame drum)

http://www.youtube.com/v/E0_-CTvtSS8

... illa existimans quia hortulanus esset ...., Op.121 (vc/pf)

Le tombeau de W.A.G., Op.122a (flute, clarinet, double-bass & frame drum) Audio

A Song of Remembrance, Op.123 (mixed chorus SAB & pf)

http://www.youtube.com/v/kYWAm11MX4s

The Mysterious Fruit, Op.124 (mezzo-soprano & marimba)

The Mysterious Fruit, Op.124a (mezzo-soprano & pf)

Tiny Wild Avocadoes, Op.125 № 1 "Children's Song" (2 vn/va)

Tiny Wild Avocadoes, Op.125 № 2 "Autumn Leaves (Wind Effect)" (2 vn/va)

Tiny Wild Avocadoes, Op.125 № 3 "Scampering Squirrels" (2 vn/va)

Tiny Wild Avocadoes, Op.125 № 4 "Pond at Twilight" (2 vn/va)

Tiny Wild Avocadoes, Op.125 № 5 "The Gnomes (Paul's Garden)" (2 vn/va)

Tiny Wild Avocadoes, Op.125 № 6 "Cheerful Song on the Wing" (2 vn/va)

Tiny Wild Avocadoes, Op.125 № 7 "The Avocado in Winter" (2 vn/va)

In the shadow of the kindly Star, Op.126 № 1 (violin solo and handbell choir)

I Want Jesus to Walk With Me, Op.126 № 2 (choir SATB unaccompanied)

Variations on a Basque Carol, Op.126 № 3 (clarinet unaccompanied)

Suite, Op.127 № 1 "Summer Song" (vc/pf)

Suite, Op.127 № 2 "Valentine" (vc/pf) And MIDI

Notebook for Elaina & Anna, Op.128 № 1 "Out for a Walk" (fl/a sx)

8 Oct 2013 recital at King's Chapel

Henningmusick at ReverbNation.

Henningmusick at Instant Encore.

About an hour's worth of Henningmusick, too, at SoundCloud

The 9^th Ear at SoundCloud.

And: Maria appears on the evening news in DC.

[Karl Henning]

This morning's Alleluia in D.

[Karl Henning]

This morning's Alleluia in D.

A couple of things went wrong, which had never happened in rehearsal;  and there are two measures which I have never succeeded in fixing (so that they "stay fixed");  but in all cases the choir recovered musically.  So even with the imperfections of execution, I am quite proud of them.

[Karl Henning]

Cross post

Since the endeavor is modeled on a group in New York, the Naming of the Band has been on hold, as there was the possibility (mild hope) that our name might be much the same, as a sort of "Boston franchise."  That possibility having run its course, three of our organizers decided on Triad:  Boston's Choral Collective.  (I know:  I reported that the thought was expressed, of avoiding the term collective, but I guess it was not a sticking point.)  As explained at last night's rehearsal . . . Why "Triad"?  To underscore the three foci of the group — composing, conducting, singing — and, since we present new music, which is sometimes scary to people, the triad is a musical object with a comforting familiarity to it.

And, for those GMG-ers on Facebook, we are, too.

[Cato]

A couple of things went wrong, which had never happened in rehearsal;  and there are two measures which I have never succeeded in fixing (so that they "stay fixed");  but in all cases the choir recovered musically.  So even with the imperfections of execution, I am quite proud of them.

Yes, very nice: I finally had a chance to listen to the performance this morning.  And if Mrs. Cato is any indication, the average church-goer would  not have noticed the few minor wobbles and bobbles.  Often I will say: "The choir today was really off!"  And she will shrug: "You're too picky: they sounded fine to me."

"Es ist albern, allzu feine Ohren zu haben!"     0:)

[Karl Henning]

Thanks!

And the new venture is now on Twitter (for those who tweet): @TriadBoston

[Karl Henning]

Last night I composed two phrases of the Gloria, but I think I shall wind up throwing the second of them out.  Still: progress.

[Karl Henning]

The Music Director of an Episcopal parish in the Palmetto State has allowed me to send him some choral octavos.  We shall see . . . as we know, Henningmusick is not everyone's money.

[jochanaan]

. . . as we know, Henningmusick is not everyone's money.

That's all right, as long as it's your money.

[Karl Henning]

Yes!

[Karl Henning]

Cross post

Since the endeavor is modeled on a group in New York, the Naming of the Band has been on hold, as there was the possibility (mild hope) that our name might be much the same, as a sort of "Boston franchise."  That possibility having run its course, three of our organizers decided on Triad:  Boston's Choral Collective.  (I know:  I reported that the thought was expressed, of avoiding the term collective, but I guess it was not a sticking point.)  As explained at last night's rehearsal . . . Why "Triad"?  To underscore the three foci of the group — composing, conducting, singing — and, since we present new music, which is sometimes scary to people, the triad is a musical object with a comforting familiarity to it.

And, for those GMG-ers on Facebook, we are, too.

Well, where has the time gone?  Rehearsal again tonight, and in a scant two weeks, we have a pre-concert run-through.

[Karl Henning]

Mostly, the Agnus Dei is sounding fabulous.  The chromatic Misereres need a little attention and tuning, and the composer is eager to get past we'll get there to we're doing it.  One thing which will (would) help, is a Bass Sectional Rehearsal.  Which I have only been trying for a week to coordinate.  Next Monday the plan is to start the rehearsal by running the entire program;  most of the pieces will probably hit a snare here and there, although we can certainly make our way to the end, somehow.  I should feel happier if the run-through is smooth, so that then it is only a matter of refinement;  we won't be fulfilling our musical mission if we are still learning notes next week.

[jochanaan]

... One thing which will (would) help, is a Bass Sectional Rehearsal....

Just make sure the basses aren't loaded!

[Karl Henning]

This evening I heard a most enjoyable vn/pf recital at a local college. (I went for the networking, and the fact that the music-making was of the best was an apt bonus.) There is no chance that I should teach composition there—the department already has four composers on the faculty, all of them part-time.  I met one of them after the concert tonight, a nice chap . . . between his two part-time teaching gigs, and travel here and there, he seldom finds the time to write.

All of which to say:  again, this Henning is grateful to have the non-musical full-time employment, both for financial and mental stability, and for the artistic freedom to write what I damned please.

[Karl Henning]

[name of conductor] and I got a chance to sit down and peruse your scores, and while we appreciate you sharing your music with us, the scores you have sent thus far don't indicate that you music is a good fit for [name of ensemble dedicated to new music].