Theodore Presser, Carl Fischer, Boelke-Bomart/Schott/Mobart, Songs of Peer, and Warner-Chappell are distributors for Katherine's music.
This piece was inspired by a book called The Flute Player, a simple and beautifully illustrated retelling of an Apache folktale by Michael Lacapa. It is the story of two young Apaches from different areas of a large canyon, where the streams ripple and the wind sings in the cottonwoods. They meet at a Hoop Dance, and dance only with each other. The next day, as the girl works up on the side of the canyon in her father's fields, the boy sits below by a stream and plays his flute for her (flute-playing was a common manner of courtship). She puts a leaf in the stream which flows down to him, so he knows she hears. This continues for a time, until the boy is woken one morning and told he is of age to join the hunt - a journey of some weeks, leaving momentarily. The girl still listens each day for the flute until, feeling abandoned, she falls ill and dies. When the boy returns, he runs to play for her - but there is no leaf. When he learns of her death, he disappears into the hills, and his flute still echos when the breezes blow through the cottonwoods, and the streams ripple in the canyon.
by L.Zucker and R. Savino
Canyon Echos, Native American Stories in Classical Flute Music
by Bonita Boyd and N. Goluses
Albany CD, TROY379
Chronicles of Discovery
by Katherine Hoover
Leonarda Classical Recordings CD LE349
Flute and Company, Flute Music by Katherine Hoover
Gasparo CD, GSCD-336
Canyon Echos: New Music for Flute and Guitar
Leslie Gerber, Classical Pulse, Jan. 1997
...a heart-stoppingly beautiful piece: Kokopeli by Katherine Hoover, four and a half minutes of magic capturing Indian legend and the vast spaces of the Southwest.
When I was asked to join this unusual group commission using artwork from the Cedar Rapids Museum to inspire music, I chose Red Event by James Michael Smith to base my writing. I must admit I didn't study it all that carefully. The slide was so very small. I like the curved pattern in the fabric and how the red slash cut across the other aspects of the peace, a clear interruption.
I began with lines in both instruments that seemed to reflect the curves in the pattern; then, I did interrupt the work with a very different, darker gesture. As the piece proceeds, the gesture returns, but it is co-opted bit by bit and becomes part of the fabric of the piece. And it is true that as we look at a piece of visual art that contains a shock or surprise, over time, that element does become absorbed into our perception of the piece as a whole.
Long after my Caprice was finished, I had the slide developed into a 3' x 5' photograph. At this size, the piece takes on a more austere, even threatening quality. The patterns in the cloth are balanced by large, open spaces, the muted textures, and colors to the background, and the Red Event seems more violent. Someone could write a very different piece about it!
by Jan Boland and John Dowdall
Fleur de Son Classics, FDS 57960
CD Red Cedar Collection
The flute and harp are both ancient and beautiful instruments, and their sounds complement each other in unique ways. In this piece I have explored some of these combinations. The first movement, "Entrata", is a light piece with shifting rhythms in both instruments; it quotes some children's tunes now and again. The second movement, "Adagio", is rather stark, with a measured ostinato in the harp and contrasting, rhythmically free gestures in the flute. These eventually come together in a slow melodic section. These two movements comprise the "Dances" of the title, for they are both involved with various kinds of motion, and I would love to see them choreographed at some time.
The third movement is a series of variations on a lovely tune written in 1759 by Francis Hopkinson, a Philadelphia lawyer and a signer of the Declaration of Independence. The song is called "My Days have been so wondrous free", with a poem by Thomas Parnell. The variations are rather "wondrous free" themselves, having been influenced as much by the words as by the melody, and moving far from the original, though returning for a straightforward rendition of the tune at the end.
by Laurel Zucker and S. Jolles
Images for Flute and Harp
by Katherine Hoover
Leonarda Classical Recordings CDLE349
Flute and Company, Flute Music by Katherine Hoover
by Micheke Frisch, Kathy Kienzle
Ten Thousand Lakes, Bella Danza, SC130
Adagio from Dances and Variations
David Williams, The Charleston Gazette
Hoover's new Dances and Variations for flute and harp proved to be both tightly reasoned and beautiful...The finale brimmed with warmth. Hoover built a nearly seamless flow that fought against the variation form's tendency to lurch along in fits of starting and stopping. Here each new variation seemed to blossom out of the last idea in the old.
Four Winds considers breath as integral to flute performance through the depiction of winds at different times of the year.
When asked to write a piece for the National Flute Convention in Phoenix, I envisioned a piece comprising several short movements. The idea of MASKS appealed to me, for a mask generally makes an impression quickly; its affect clear at a glance.
I have collected several masks over the years, and looked at many more in museums and art books of various kinds. Three of these movements reflect particular masks that I have seen, one is a generic type, and two are waiting to be constructed.
The three specific masks are: I A Haida (Northwest Native American) mask, of commanding presence; II a Huichol (Mexican Native) Jaguar mask, completely beaded with intricate flower patterns; and III, an African American death mask of great calmness. IV is a clown mask, and the last two are left entirely to your imagination.
by Lisamarie McGrath
Lisamarie McGrath (634479624988)
Masks from The Colors Fall.
by Katherine Hoover
Parnassus PACD 96031
Masks from KOKOPELI, Katherine Hoover Plays
by Trio Spektrum
North Pacific Music LD 011
Masks from Dreams of a Dancer
Selection of 6 from 11 current videos
Masks for flute and piano no. 1.
Masks for flute and piano no. 2.
Masks for flute and piano no. 3.
Masks for flute and piano no. 4.
Masks for flute and piano no. 5.
The Medieval Suite was inspired by characters and events described in Barbara Tuchman's A Distant Mirror, a history of fourteenth-century France. It was a violent, bitter century of extensive wars, and Ms. Tuchman sees it as something of a reflection of our own. The first movement, 'Virelai', uses parts of a work in that form by Guillaume de Machaut, a French composer of that era. The "Black Knight" was a violent British prince barred from his beloved field of battle by a wasting disease. The fourteenth century was a low point for the Catholic Church with warring Popes in Rome and Avignon, and 'the Drunken Friar' was apparently a common sight. In this movement I have freely adapted and embroidered a Gregorian chant and quoted a well-known round of the time, 'Sumer is acumin in'. 'Princess Isabelle' describes a daughter of the King of France who was engaged at the age of six, sent to England to live permanently, and wed at twelve - a common fate for royal children. The 'Demon's Dance' was a desperate marathon dance done by some in hopes of avoiding the Black Plague.
by Alexa Still with the New Zealand Symphony
CD Pied Piper Fantasy from Koch Classics (KIC-CD-7566)
Medieval Suite for Flute and Orchestra for oboe and piano.
by C. Thorspecken and C. Hacke
Bayer Records CD #100246
Der Ferne Spiegal (A Distant Mirror).
by Pola Baytelman and Jan Vinci
Albany Records 2013, Celebration of the New American Composers
by Katherine Hoover and Mary Ann Brown
Leonarda: LP LPI 121, Cassette LPI 221
New Music for Flute
by Arcata String Quartet
by Jan Vinci and Reiko Uchida
Albany Records, October 27, 2016
Medieval Suite from American FluteScape
Mark Crawford, Reno Gazette-Journal
A fine new work...The Medieval Suite realizes (its) inspiration in the language of Katherine Hoover, a language not to be confused with that of Aaron Copland, Walter Piston, or George Crumb, but equally as American as these. This is a short, uncompromising, sympathetic contemporary work.
Alfred de Jaeger, The Intelligencer (Wheeling, WV)
The highlight of the afternoon...Katherine Hoover's Medieval Suite is brilliant. Each of the five movements is exquisitely crafted, leaving the listener confident that a musical journey has taken place. Every note is placed with the same care exercised by an expert diamond-cutter, giving the work a discernable architecture which is very satisfying.
Norman Pickering, The Southampton Press
The writing is extremely imaginative and full of exciting instrumental passages displaying the composer's knowledge and skill...this is a major addition to the flute and piano literature, and every movement has a character and emotional impact that is rarely achieved in contemporary music.
Tim Page, The Washington Post
The program began with Katherine Hoover's "Medieval Suite," a five movement work dating from 1983 that was originally written for flute and piano. Hoover is herself a distinguished flutist, and so the idiomatic scoring for her chosen instrument came as no surprise. The suite itself has a stylistic diversity that is never merely clever; this is limpid, honest, attractive and appealing music, full of graceful melodies and the subtle "touches" of a natural composer.
Though flutes are found all over the world, the music they play is quite varied. This piece brings together three different styles of music. exploring the different sounds of flute around the world. This work starts its journey with gypsy music from Eastern Europe (Hungarian Lassu), then travels through a Hopi Lullaby of Native America, and ends with Dizi Dance in the style of Chinese folk music.
The music of the Gypsies of Eastern Europe is harmonically sophisticated and melodically adventurous. The czaradas, it's best known form, generally begins with a lassu that sounds, and sometimes is, improvised. The piano imitates a cymbalom, or hammered dulcimer in this duet.
The Hopi lullaby was notated by Natalie Curtis at Third Mesa sometime before 1905. Sounds of nature were an integral part of the music of Native America, and I have set this gentle melody with simple harmonics and birdlike sounds.
The dizi is one of the most commonly played flutes in China. The dizi dance uses patterns and records characteristic of much Chinese music, combined with shifting rhythms, syncopation's, and a swift tempo.
hammered dulcimer. Judicious piano pedaling and help to give this affect. Pedaling choices in II and III are also left to the player; however III should be played lightly, as the instruments imitated are generally plucked.
by Mimi Stillman and Charles Abramovic
Innova Records CD #814, American Premieres for Flute and Piano
Mountain and Mesa from Odyssey 11
by Christina Ledford
Premiere recording. Co-op Press-Emeritus, CD 20082
When Chris Potter asked me to write a piece including both alto flute and bass flute, I tried to hone in on some of the special but perhaps less commonly heard qualities of each. The alto flute has its lovely singing quality; it also has the capacity to move quickly and easily. So I decided to feature that as well. The base, I felt, could show off that wonderful husky quality in a slightly off-centered tango.
In two sections one flutist plays both alto and bass flutes which is a departure from the ordinary.
Chris Potter also performed this work, 2006 winner of the NFA Newly Published Music Award, in Albuquerque, New Mexico during National Flute Association Convention.