Small Ensemble - chamber/mixed
Theodore Presser, Carl Fischer, Boelke-Bomart/Schott/Mobart, Songs of Peer, and Warner-Chappell are distributors for Katherine's music.
Theodore Presser, Carl Fischer, Boelke-Bomart/Schott/Mobart, Songs of Peer, and Warner-Chappell are distributors for Katherine's music.
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.
In 1985 a cellist friend requested a companion piece, so I added the Allegro giocoso. It is a light, quick movement with bantering between the two instruments, and a few effects that only a cello can make.
Make Music New York.
Performed at the National Flute Association's Convention in Charlotte, North Carolina, on August 14 of the same year by a large group of attendees, with movement choreographed by Zara Lawler.
Clowning Around, nfaonline.org Fall 2012 The Flutist Quarterly
Premiered in Central Park June 2011 and performed at theNational Flute Convention in Charlotte, North Carolina, in 2011, this piece can be performed by four flutists or by any larger group. Alto flute and percussion parts are optional, as the alto part simply doubles the lower lines. Hoover suggests a suspended bell for the percussion part, but adds (smiling wryly, I imagine), “I think a tap-dancer would be quite as effective as a percussionist.” Light-hearted, with steady rhythm (cut-time), and in our beloved key of C, the music does suggest its title, and one smiles (unfortunate for embouchures) even while playing. A nice addition to amateur flute choir libraries, for high school flutists, or for anyone just looking for a romp. Thanks, Ms. Hoover! You’ve struck again.
This piece has to do with the way various images - or themes - are changed in the process of thinking. The first movement is concerned with two very distinct ideas that eventually interact and affect each other. The second movement is a set of six variations on a somewhat somber American colonial hymn, "God of my Justice". Each of the variations relates back to the original theme rather than to each other, as is traditional. The third movement begins with similar themes which diverge and eventually agree to a separation. It also contains hints of a Gershwin tune that reveals itself at the very end.
