Post Hop Ergo Propter Hop

Nikki, don't lose that rhumba.

– Postcards From Red Squirrel Trail

“Alas, how easily things go wrong!
A sigh too much, or a kiss too long,
And there follows a mist and a weeping rain,
And life is never the same again.”

— Geo. MacDonald, Phantastes

As I was wrapping up Music for the Un-Hip Hop, Op. 178 for two flutes, the thought occurred to me, to adapt the piece for two violins. Finding myself in some little doubt as to whether it really flies in that guise, I’ve reached out to a professional violinist friend, and am presently awaiting his opinion on the viability of the Op. 178a.

I sent the Hop over to my colleague Peter Bloom for comment, he replied:

So, having taken a closer look at the way “...Un-Hip...” I get the hopping manner is which the duo references a hop that might be construed as unhip.  Karl, your counterpoint of parallels (fourths, fifths, sevenths) and open intervals conjure a scene of a medieval ball as experienced through the fifth or sixth dimension. Fantastic (and phantastic)! Might this be Guillaume de Machaut on ketamine?

Let’s schedule a reading (with composer) sometime soon.

Peter’s comment reminded me of a Wuorinen piece I've known about for a long time, but haven’t yet heard: Machault, Mon Chou.

The Hop thus finished, I proceeded to wrap up the last of the Opus 169 organ solo pieces.  As I warmed to the task,  I decided to lean into an Ivesian melting-pot approach, so there are incursions by the National Anthem, “Poor Wayfaring Stranger,” an adaptation I knew from the old English Hymnal of the plainchant Agnus Dei, “Sunshine of Your Love,” and I just don’t remember where I first heard the bass lick which first appears in the pedals at m. 13.  Oh, and I really enjoy the jest of an ending, a spar of inspiration which really did surprise me.

As I warmed to the task, I decided to lean into an Ivesian melting-pot approach, so there are incursions by the National Anthem, “Poor Wayfaring Stranger,” an adaptation I knew from the old English Hymnal of the plainchant Agnus Dei, "Sunshine of Your Love," and I just don’t remember where I first heard the bass lick which first appears in the pedals at m. 13.  Oh, and I really enjoy the jest of an ending, a spar of inspiration which really did surprise me.

I was on the phone with my publisher to share the news of the Op. 169’s completion, and he suggested publishing them all as a set, which means pealing № 4 (for flute and organ) out from the set, so that it looked like the set would be eleven pieces, after all. As I in turn shared this datum with friend and colleague David Bohn, to whom I have sent each piece as it came off “the press” who then asked if № 4 could perhaps reduce down to organ solo. He did not merely ask but is graciously setting himself to the task. The original version of № 4, marketable as really a flute piece now bears the designation Opus 180.

My publisher is also going to float the complete set by Jens Korndörfer, recently retired as organist at Peachtree Presbyterian Church in Atlanta, and who is presently joining the Baylor faculty. I am, needless to say, excited at the prospect of Maestro Korndörfer’s feedback.

I have been listening to a playlist of the twelve pieces, two of them in performances by Carson Cooman, the remainder as MIDI exports from Sibelius. I don’t like to seem to pat myself on the back, but I am truly gratified to find that I believe fully in the set, which consists of:

1. Where bright angel feet have trod, for Barbara Otto, based on HANSON PLACE
2. While the dew is still on the roses, for David Bohn, based on GARDEN
3. Love is come again like wheat that springeth green, for Carson Cooman, based on FRENCH CAROL
4. Come unto me and live, for Delores and Robert Jan August, based on THIRD MODE MELODY
5. Be thou our guide while life shall last, for Heinrich Christensen, based on ST. ANNE
6. To lay aside his crown for my soul, for Gigi Mitchell-Velasco, based on WONDROUS LOVE
7. Till Love create a place, for Michael Joseph, based on DOWN AMPNEY
8. Sorrow and Love flow mingled down, for Jack Russell, based on HAMBURG
9. Let streets and homes with praises ring, for Mark Engelhardt, based on TRURO
10. Love’s pure light radiant beams from thy holy face, for Leonardo Ciampa, based on STILLE NACHT
11. The grateful song my voice unwearied raises, for Mark Frazier, based on MIT FREUDEN ZART
12. When this poor lisping stammering tongue lies silent in the grave, for Eric Mazonson, based on CLEANSING FOUNTAIN