18 January 2017

18 + 18 + 18

And so, with (so to say) 45 seconds remaining of my outline to be composed through, I have become intrigued with the idea of sculpting the ending of the third movement, 18 bars per day. Allowing for my day off for HTUMC choir rehearsal tomorrow evening, that projects a finish to the movement (and the Symphony) on Friday. (Or, a kind of finish, subject to refinement, of course, of course — “the outline be damned” can be the path to the final musical result.) Yesterday afternoon, I drew up both verbal plans, and some notes;  and last night, I composed my “allotted” 18 measures.  Considering the rapid progress over the holiday weekend, 18 mm. feel like restraint, but that is where the sculpting comes in:  more ideas are coming to me, as I take time to reflect, and I thus have the benefit of selecting what I think are the very best of a good crop of ideas.

Another activity this weekend was, I sent The Young Lady Holding a Phone in Her Teeth to a call;  and yes, we all know that this will likely come to nothing.  I suddenly remembered, last night, that I have also sent the first movement of the Symphony to a call.  And although here, too, nothing may come of it, I felt anew what very good music I feel the first movement to be.

At the least, I enjoy the satisfaction of feeling that I am putting my best musical foot forward.


17 January 2017

Not done just yet

On my return home Friday evening, the score of the third movement as I had printed it out ran to 96 measures, almost one and three-quarter's minute duration.  My original outline for the Symphony plans on the third movement lasting five minutes.

I continued work Friday evening (light-ish duty), Saturday morning, some more light work Saturday evening, Sunday afternoon and evening, and this morning [I wrote, Monday afternoon the 16th].  Some of the start of work at some of the sessions included managing or tweaking some of the last bit of work of the day before.

Here on Monday afternoon of the Martin Luther King holiday, I am setting the work aside for the rest of the day (I believe).  The score presently stands at 218 measures, the timing of the mechanized score is now four minutes and a quarter—so that (by my outline, a reference which is of course always subject to artistic revisitation) I have about 45 seconds of music yet to write, to carry the Symphony to its final double-bar.

I can see my way to the end, and will resume that tread Tuesday.



07 January 2017

Further on the Op.143

[ 3 Jan 2017 ]

After a little mental stock-taking these past two days, I continued the third movement (Vivo assai).  The idea for the opening is a sort of variation on the first movement, and I am content with the result. The whole movement will run a trim (and vigorous) five minutes.

I reported the start of work on the second movement (Larghetto) in late October, immediately after completing the first. That trunk of the piece remained in that state through the holidays, and I resumed work on it only on 27 December;  but the work went very smoothly, and the second movement was complete before the turning of the New Year.

If I can have the third movement done before we start up rehearsals for the next Triad concert, I shall be greatly pleased.

01 January 2017

Brief check-in

It is not to be mistaken for a full day's work; but my Muse did require of me to notate a start to the third movement of the Symphony. More to follow.

24 December 2016

This endris night

Pre-service rehearsal done here at First Church Boston.  Paul Cienniwa & I shall play a cl/org arrangement of The Snow Lay on the Ground.

14 December 2016

Bit of a Recap

Weeks after the fact, I write of how very gratifying it was, to have not one, but two pieces performed which I wrote for local chamber ensembles, and indeed, to have enjoyed the privilege of conducting one of them.  Additionally, to have had so wonderful a choir as Triad to give the belated concert première of the Song of Remembrance, Op.123 in their/our two concerts was wondrously satisfying.

In some ways I think that the most musically important thing I might say about the compositional process for both Oxygen Footprint and The Young Lady Holding a Phone in Her Teeth is, it felt great to write them.  Knowing that all the several instrumentalists involved in either piece would be technically able to handle any reasonable challenge I might pose them, gave me as the composer freedom to give my imagination full play;  and both pieces are surpassing playful.

Part of the rationale in putting the Song of Remembrance on the recent Triad concerts was, it is a piece which would be comparatively easy for a group of such accomplished singers.  That said (and not unlike the Alleluia in D) it is a score which, while transparent in its ease, we might almost say, nevertheless requires focus and unflagging attention.

25 November 2016

Henningmusick on the Air

On Monday, 28 November at 12:00 noon (Eastern) Gandalf ("None shall pass who have not rehearsed properly") will interview me (Karl Henning) on WJFF 90.5FM Radio in Jeffersonville, New York. The interview will live-stream at www.wjffradio.org/ . . . so there is no geographic barrier to listening in.

The Music for the program:

  1. Agnus Dei, Op.106 № 5. Performance by Triad. (4:45)
  2. Metamorphosis of Charles Turner’s The Hebrew Children, Op.133 № 3. Source performance by the HTUMC Handbell Choir. (5:15)
  3. Out in the Sun, Op.88. Performance by the University of Michigan Wind Ensemble, directed by Rodney Dorsey. (15:10)
  4. Night of the Weeping Crocodiles, Op.16. Performance by The k a rl h e nn i ng Ensemble. (7:45)
  5. Moonrise, Op.84. Performance by MidTown Brass Quintet. (5:30)
  6. My Island Home, Op.115. Performance by the Reinhardt University Percussion Ensemble, directed by Olivia Kieffer. (5:30)
  7. From the Pit of a Cave in the Cloud, Op.129 (excerpt). Performance by Barbara Hill MeyersThe k a rl h e nn i ng Ensemble. (4:15)
  8. Suspension Bridge (In Dave’s Shed): Sonata for Viola & Piano, Op.102, second movement. Performance by Dana Huyge & Carolyn Ray. (12:30)
  9. Jazz for Nostalgic Squirrels, Op.117. Performance by the 9th Ear. (4:45)
  10. Mistaken for the Sacred, Op.141. Fixed media component. (7:15)
  11. Castelo dos anjos, Op.90. Performance by Tapestry. (13:00)