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In my teen and twen years, I composed music. Recently, I got back to it when an occasion presented itself. A selection can be found here. A few pieces are based on music (melodies) or lyrics from others. The order is random.

The music is available for download in .pdf (portable document format), by clicking on the music snippet. Lyrics are in German. The typesetting has been done with the free software “Lilypond” (www.lilypond.org). The source (.ly) and audio (.midi) files are available on request.

—C. Henkel, Nov 2008.

Wir leben nicht allein vom Brot (We do not live of bread only)

A song from the 1960s, can be found in many compilations of german songs (Die Mundorgel, Mein Liederbuch für heute und morgen). I made this arrangement for a combo (voices, flute, e-piano, bass, drums) that I played in as a student.

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Christ ist erstanden (Resurrection of Christ)

A medieval anthem (12th century), arranged in a contemporary style for organ and (optional) solo trumpet. Strong contrast between floating harmonies and the ancient melody, and an exercise of writing a fugato.

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Ein neuer Glaube (A novel faith)

A poem by F. Crumphout that was published in the monthly magazine “Publik Forum” in the 1990s. The melody is arranged for a woman’s voice, accompanied by a bass, flute, and synthesizer. We used to play it with a drummer as well. I like very much the flute interlude with its chromatically descending bass line.

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Herr, deine Liebe ist wie Gras und Ufer (Lord, your love is like the grass, like the river)

A modern religious song that went back and forth between Germany and Sweden: Christa Weiss’ “Die ganze Welt hast du uns überlassen” went to Sweden (text: Anders Frostenson and music: Lars Ake Lundberg), and the Swedish melody came back with a German translation (Ernst Hansen). Both German versions can be found in the latest songbook of the German Lutheran church. Arranged as Theme and Variations for trombone and piano, providing a short walk through the history of music. It was performed once in the 1980s at a high school concert. My music teacher appreciated in particular Var. III “Adagio” with its consequent sequence of sustained fourths.

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In dir ist Freude (Joy in you)

An exercise of writing a prelude in modern musical language to a renaissance madrigal by Giovanni G. Gastoldi “L’innamorate” (imported into German religious music as “In dir ist Freude”). Four mixed voices start quite discordantly, each on its own, to finish with a common metrum and tonality.

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O Jesulein süß (Sweet little Jesus)

An arrangement of a traditional Chrismas song for flute and soprano. An unusual harmonic shift is resolved by an interlude.

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Sonata for piano in d minor

Incomplete with only two movements. The first one follows a traditional sonata layout, the second one is strolling (again) through musical history.

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Beethoven: Adagio from Sonate Pathétique

Arranged for clarinet and piano. The clarinet score is typeset both for B and A instruments. The piano part is only sketched, and one better takes the full piano score for performance. A version in the public domain can be found here.

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