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Discussion Starter · #1 ·
Hi, I'm Karl Henning, and there goes the neighborhood.

I'm a composer and a clarinetist. Currently at work composing a piece for clarinet solo, for a half-recital in October.

Cheers,
~Karl
 

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Howdoo Everybody!!

Always good to find a new site, where hopefully we can discuss basically all and sundry about this love of ours.

I'm Tony by the way, a Printer/Data Processor/Paper Print Design and general dogsbody!! I won't bore you with all of my listening pleasures, but Beethoven, Bruckner, Mahler and Vaughan Williams are pretty high up on my list along with quite a few others, to be revealed all in good time.

I notice a few old faces have arrived over here and it will be great to get to know the other members of these boards, I can feel the horns locking already :D

Tony
 

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Discussion Starter · #6 ·
AnthonyAthletic said:
... pretty high up on my list along with quite a few others, to be revealed all in good time.
Yes, Tony ... gradual revelation ... that is no doubt prudent! :)
 

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Discussion Starter · #8 ·
Daniel said:
A great welcome to you all!!
Thank you, Daniel!

Daniel said:
@karlhenning: what kind of clarinet piece do you write and in what style?
This new piece is something of an experiment, and so is actually stepping a bit out of my customary styles.

A few years ago, I wrote a crazy-hectic clarinet solo, called Blue Shamrock, which runs less than four minutes, but is a lot of living in that short time; it is also very clearly in three sections, which are in some ways variations on a[n unstated] theme.

The new piece is twenty minutes in duration, is sectional, but the boundaries between sections are somewhat 'porous'; 'motivic' relations between sections are not obvious; the whole thing I want to have a feel of improvisation, or spontaneity, but I am notating everything out, composing the complete piece.

My Ur-creative work is with pen and paper; I then take these sketches and transfer the music into a Finale file; I do some adjustments, and finishing, in Finale. In a sense, the piece exists (while it is yet unfinished) on two planes, the Finale file which is in a somewhat more finished condition, and "on paper", where the piece has continued beyond (sometimes, a great deal beyond) where the Finale-file version leaves off.

All that is to explain that, as the piece when completed will run 20 minutes, the Finale 'edition' so far is at the 14-minute mark, but in sketch, the piece is fairly close to completion. I expect I will work with paper for another two-three days, and the piece will be completely finished this weekend.

Cheers,
~Karl
 

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karlhenning said:
This new piece is something of an experiment, and so is actually stepping a bit out of my customary styles.

Do you have some recordings by your old and new pieces? I would be interested in listening to them. --->maybe download?

karlhenning said:
The new piece is twenty minutes in duration, is sectional, but the boundaries between sections are somewhat 'porous'; 'motivic' relations between sections are not obvious; the whole thing I want to have a feel of improvisation, or spontaneity, but I am notating everything out, composing the complete piece.

And in the end result you plan to let some "blank" spaces for the improvising interpret? A nice thought, going straight to an idea of a creative interpret (and not a typical "improviser", kind of a way in the middle?), kind of partner-work of composer and interpret. I must admit, I don't like so much that kind of (piano) music, which sounds too improvising all the time, it is too un-conqrete for me, I don't know where it leads too, but the idea you have, if I didn't misunderstood you, sounds like a very nice and interesting idea! (I am curious on results). And maybe I have once the chance to listen to it.

karlhenning said:
My Ur-creative work is with pen and paper; I then take these sketches and transfer the music into a Finale file; I do some adjustments, and finishing, in Finale. In a sense, the piece exists (while it is yet unfinished) on two planes, the Finale file which is in a somewhat more finished condition, and "on paper", where the piece has continued beyond (sometimes, a great deal beyond) where the Finale-file version leaves off.

All that is to explain that, as the piece when completed will run 20 minutes, the Finale 'edition' so far is at the 14-minute mark, but in sketch, the piece is fairly close to completion. I expect I will work with paper for another two-three days, and the piece will be completely finished this weekend.

Ever tried Sibelius? And when yes, why did you choose Finale?

Good luck with your work, and will you perform it yourself?

All the best,
Daniel
 

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godzillaviolist said:
Whoah! Gone for a few days and all my favorite people turn up on my old forum ( I better go through my earlier posts and search for anything embarrassing )....
Yeah whatever happened here Godzilla? From what I could tell this might have been a once thriving forum-- the front page shows that one day there was 160 posters active. Now the tumbleweeds are blowing through. :confused:
 

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Discussion Starter · #13 ·
Daniel said:
Ever tried Sibelius? And when yes, why did you choose Finale?
I had heard of Finale while doing my doctoral work in Buffalo, but didn't use it at all then. When I returned to the states from Russia, I started using Finale myself (this would have been the 1997 version). At that time, I heard rumor of Sibelius, but it was not yet available in the US. Finale users have benefited greatly from the competition provided by Sibelius, I think, because in the period 1998-2000 Finale made great leaps in user-friendliness. Anyway, I had learnt Finale enough, and it has pretty much done well whatever I have required of it notationally, that even though I ordered a demo CD of Sibelius out of curiosity, I've never gotten around to giving it a test-drive.

Daniel said:
Good luck with your work, and will you perform it yourself?
Thanks! Yes, I will be playing the piece on Wednesday, 12 October. I got a lot of good work laid in yesterday, and the piece is closing in on the end! I am planning on reaching the final double-bar sometime tomorrow.

The whole notion of a single-movement, 20-minute impromptu for clarinet solo seems the lighter sort of madness at first. And the first obvious decision was, that the new piece could not make the technical demands of Blue Shamrock, or I'll still be practicing the piece eight months later than the recital date. (Though in theory, writing such a 20-minute tour-de-force for myself, to near exhaust an audience over, is an attractive thought.) So my thinking has been ... if this, that and the other late-20th-century composer wrote long, sparse pieces - and for discussion, setting aside the personal accident that I found this, that and the other piece a poor use of my listening time - if Stockhausen felt compositionally justified in this 70-minute piece, and Glass in that four-hour piece ... well, I ought to be able to write a modest 20-minute composition which I feel as a composer is at least a fair (and possibly even a good) use of the audience's time.

The piece then is a frank experiment, and in one sense is an experiment following what I feel was the success of the new brass quintet, Moonrise ... which, while it is not truly 'Feldmanian', I deliberately set out to make spare of texture, longish-breathed of pace. In the case of both pieces, I did not keep myself strictly to the model - something I probably could not do, and still remain true to myself compositionally - but the model still acted as a musically fruitful agent, I think.

The new piece, whose title is Studies in Impermanence, is sectional, but the sections are not discrete movements; and I wanted to make something of a game, in a certain 'porosity' in the seams between some sections. I set out with the thought of possibly not repeating any material, but of making 'motivic' connections between various sections inobvious ... wanted, in one way, to make the linear unfolding of the piece make sufficient sense, that that might drive the overall arc. (While I think I have enough 'flight time' as a composer that I cannot ignore overall architecture, and I trust, as a result, the arc to achieve some intelligible shape 'on its own'.)

... but, while I wrote the unfolding piece with the thought of not repeating material, as I got to the three-quarters-done point, I didn't want to be bound to non-repetition as a contract, either ... so I found innocuous ways of reintroducing one passage (varied) in two separate places, and a fresh context for the literal repetition of another passage, so that (I think) it will have run its course before it quite occurs to the listener that it's something he's already heard.

Finally, because I've been working to write a 20-minute piece, while entertaining the live question of whether I can really make it as good music as I wish ... I have settled into the thought of 'overcomposing' just a little, of writing this first draught out to, say, a 21-minute piece, as I plan on tightening a few key screws through the course of the piece.

I think it's all going to work, actually.

Cheers,
~Karl
 

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DavidW said:
Yeah whatever happened here Godzilla? From what I could tell this might have been a once thriving forum-- the front page shows that one day there was 160 posters active. Now the tumbleweeds are blowing through. :confused:
Well, it was already that way when I first came here to some extent. The posting dropped off suddenly about a month before I arrived, but there were still a few members active. Then is was essentially just me and Daniel, which can be okay, but not really enough to keep a forum going...
 

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@karlhenning: Thanks for the detailed information! Will you record your perfomance?

And concerning Sibelius: Give it a try! I prefer it because of the easier and more intuitive design and the wonderful handling. In the results both progams might have similiarities, but what is very important for that kind of software is the handling, decides about tempo in working and the personal contentness.
I am using Sibelius 3, but now a new version 4 is available (though English first)! Well I like the blue and the design of version 3 better :(. and I think they went a bit into the Finale-look (playback buttons)...
godzillaviolist said:
Well, it was already that way when I first came here to some extent. The posting dropped off suddenly about a month before I arrived, but there were still a few members active. Then is was essentially just me and Daniel, which can be okay, but not really enough to keep a forum going...
To sum the development of the forum up: It is a main project by James and me and the beginning was not easy (july 2004). Our all-time difficulty is the number of members, esp. of regular-posting members! It had a much posting time after the starting period, with DW for example (I wonder how she is :)). Then I cannot remember exactly why the postings went down...and actually Godzilla you brought back fresh new "air"...and some time ago now, James sold the forum, maybe because of different reasons....I was not really active for some time then (anyway I had also a busy time),...and there came up a new posting, and with you all now again!

The main problem is and was the advertisment I guess!

Anyway: I really appreciate all efforts which were and are done for this forum.

Greetings to all,
Daniel :)
 

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Under the first username I registered, the password would keep coming up as incorrect, or even more surprising, disappear after it was typed...this would discourage people, I guess. Maybe there is a glitch in the software?
I blame it all on Service Pack 2, of course...
 
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