PAPAGENA PRESS

Woodwind with Panio


Aria (4')

Aria

Journey

Journey


Sonata for Oboe and Piano (16')

Sonata for Oboe and Piano


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Aria

  • Opus 31
  • Composed 1983
  • Duration 4'

Instrumentations:

  1. Bassoon, Piano
  2. Cello, Piano
  3. Voice, Piano
  4. Carinet, String quartet

Notes:

  • A short melodic piece...'Aria' was written in 1982 as the middle movement of a Serenade for clarinet and string quartet. This piece was originally intended for adult amateurs, and its simplicity and lyricism have proved perfect for the cello.
    - K. Hoover.
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Ayres

  • Commissioned by Christopher Creviston and James Forger
  • Composed 2011
  • Premiered 2012
  • Soprano Saxophone, Piano

Movements:

  1. Can she excuse my wrongs
  2. Weep no more sad fountains
  3. Fine knacks for ladies

Notes:

  • A few months ago (prior), I heard a recording of a soprano saxophone played in the Cathedral, and I was struck by its beautiful vocal quality. I wanted to write something that would bring out this quality in a way that the saxophone is not generally used. Elizabethan lute songs have always moved me, with their extended phrases and haunting melodies, and John Dowland was the master of this style. After going through numerous pieces, I chose three. I have treated them somewhat in varying ways; counterpoint in the first, some variations in the second, and rhythmic play in the last, always being informed by the original song and/or words.

    These songs were commonly called Airs, or ‘Ayres,’ per the spelling of the time.

    - K. Hoover.
  • Based on Three Elizabethan lute songs by English Renaissance composer John Dowland.

    Ccommissioned by James Forger and Christopher Creviston. The premier took place at the WMP Concert Hall in New York on February 24th, 2012, with Christopher Creviston and Hannah Gruber.

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Journey

  • Composed 2007
  • Premiered October 8, 2009 at Teatro National, Panama City, Panama
  • Bassoon, Piano

Performance Notes:

  • The pianist is encouraged to petal as needed, in addition to the markings in the third movement. In this movement, the apostrophes signal breaths, but not a break in rhythm, with the exception of Bar 94, where a break seems natural. Accidental's carry through the bar, but not over the octave.

Commissioned:

  • Journey was commissioned by a consortium of 31 bassoonists (* see below) organized by Peter Kolkay. I thank them all, and am especially pleased to dedicate this piece to Peter, who, with pianist Alexandra Nguyen, premiered Journey at Teatro National, Panama City, Panama
    - K. Hoover.

  • This project is funded by The Cultural Council of Richmond and Lexington Counties and the South Carolina Arts Commission, which receives support from the National Endowment for the Arts and the John and Susan Bennett Memorial Arts Fund of the Coastal Community Foundation of South Carolina.

Notes:

  • Journeys can be outward in the world or inward into the self. I think of most of my work as journeys or narratives of some kind. In this piece, the 1st movement begins in an inward, thoughtful manner, but after some deliberation, moves into rolling rhythms and conversation between voices. The second is a romp, a race perhaps, or a game. The 3rd is truly inward, a mostly quiet, though sometimes intense reflection. The last is a particularly American trip: jaunty and tinged with elements of the jazz that is a part of our sonic atmosphere.
    - K. Hoover.

* Tier I donors:

Rachael Elliott Terry Ewell Todd Goranson Julie Feves Leonard Hindell
Peter Kolkay William Ludwig Anne Lyle Jeffrey Lyman Charles McCracken
Christin Schillinger Maya Stone

* Tier II donors:

David DeBolt Sue Heineman Yoshiyuki Ishikawa Kristan Wolfe Jensen Joseph Kluesener
Michael Kroth Carol Cope Lowe Richard Meek Albie Micklich Janet Polk
Scott Pool Richard Ramey Christian Smith Keith Sweger Mark Vallon
Christopher Weait Nathaniel Zeisl
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Ritual

  • Opus 41
  • Composed 1989
  • Duration 8'
  • Clarinet, Piano

Notes:

  • Commissioned. by New York State Music Teachers Association.

  • Ritual was written in 1989 and is influenced by my study of Greek folk music, which features the clarinet as a virtuoso solo instrument. The piece is in three distinct parts. The first consists mostly of isolated gestures; a sort of recitative. This moves into a mournful, measured duet that builds in steady motion to a climax that recalls some of these opening gestures. This is followed by a fast, at times almost frenzied dance. Many of the runs, interval patterns and rhythms, particularly in the dance, are related to the Greek tradition.
    - K. Hoover.
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Ritual

by Jessica Lindsey and Christian Bohnenstengel.

2018 Albany Records, Set No Limits: Music by Women Composers for Clarinet and Piano.

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Ritual

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Sonata for Oboe and Piano

  • Opus 44
  • Composed 1991
  • Duration 16'
  • Oboe and Piano

Notes:

  • Commissioned by Vinland Duo; Premiered at the Weill Recital Hall, NY, April 1991.

  • Throughout my composing career I have avoided the name "Sonata". Discussion of the term in Grove's Dictionary of Music and Musicians(Fifth Edition) runs to twenty-two pages. In this case, however, it seems appropriate, for it gives a sense of substantiality, and a link to the past.

    The first movement introduction contains a short quote from Samuel Barber's haunting and beautiful "Cave of the Heart", a piece I played often on tour with the Martha Graham Dance Company in the 1960's. This quote becomes a motive that generates much of the rather lyrical first movement.

    The second movement is much more intense, and grows in a freer fashion from the opening ostinato to a large climax. It ends in a somewhat improvisatory, pastoral mood, which I have always found particularly appealing on the oboe.

    The third movement hasn't a single serious measure, and even pokes a little fun at some of what comes before.

    - K. Hoover.
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Sonata for Oboe and Piano

by Rebecca Henderson and Timothy Lovelace.

Boston Records (BR1057CD), ...is but a Dream.

by Claudia Anderson and Karen Yonovitz.

Centaur CD RC2203, American Flute..

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Sonata for Oboe and Piano