Theodore Presser, Carl Fischer, Boelke-Bomart/Schott/Mobart, Songs of Peer, and Warner-Chappell are distributors for Katherine's music.
Wolfgang Amadeus Mozart 's (1756-1791) Concerto in G, K. 313; .
Wolfgang Amadeus Mozart 's (1756-1791) Concerto in G, K. 314; .
This collection of "Etudes for Flute" ascribe to the belief that they should be challenging, but also enjoyable and musically apt. These eleven etudes address breath control, trills, and overall musicality. I hope you will enjoy working on them, and perhaps performing them as well.
Cynthia Stevens, nfaonline.org Spring 2012 The Flutist Quarterly
What I enjoy most about Katherine Hoover’s compositions is that somehow, I can nearly always find a piece to match my mood. Here are nine new etudes for flute, all of which span many moods and wanderings. Characteristically, they feature free-flowing line, interesting rhythmic combinations (much mixed-meter, non-measured material), and challenging dynamic contrasts. When these arrived on my desk, I decided to enlist one of my most advanced high school students, Aidah Kaetterhenry (17), as a “tester.” Over a two-week lesson hiatus, I asked her to read through all the etudes carefully enough to note what kinds of challenges each asked of her, which she most enjoyed, and which she found more frustrating. She came back with two pages of detailed notes on all nine etudes, as well as her assessments. “These etudes were very interesting,” she wrote, and “I got to like them the more I played them. Some of them took a little work to get playable, but being able to play them was worth it! The etudes are good for advanced high school-aged flutists.” Her two favorites were 8 and 9. These, she said, were “fun.” Number 8, nearly all mixed-compound meter with only one measure of simple time, asks the flutist to move at 140 to the dotted quarter note, an Allegro Molto with driving eighth notes, eighth rests, and a few hemiolas for good measure. Number 9, also an Allegro molto but in simple time, similarly features driving eights and 16ths in interesting rhythmic and articulation patterns. V gave her a bit of trouble at first because of the unusual rhythms, but she caught on well enough with minor instruction. She commented that VI (Espressivo with quarter note at 86) reminded her of the third movement of the Sonata by Robert Muczynski. And yes, some of the etudes sport Arabic numerals and some Roman. These are also appropriate for college students, many approximating in difficulty the Karg-Elert 36 Caprices or Douze Etudes by Jacques Casterede, others less challenging but always interesting. Thank you, Ms. Hoover, for providing us with this sophisticated study material to explore and to enjoy.
The Flutist Quarterly Fall 2012
These performable etudes by Katherine Hoover easily lend themselves to the stage. The variety and creativity explored while focusing on specific pedagogical goals (i.e. mixed meters, absence of meter or key, virtuosic technical passages, large interval leaps) expose the flutist to a wide variety of musical situations. In particular, the etudes with no key signature or meter can prepare the student to perform modern music. The clear composer’s performance notes in the back provide valuable insight to the pedagogical goal of each etude. Thus, these etudes can be learned with or without a teacher. In addition, printing layout is clear and efficient.
Kokopeli, the flute player, was a great Mahu, or legendary hero of the Hopi. He is said to have led the migrations through the Southwest, the sound of his flute echoing through the great canyons and cliffs. In this piece, I have tried to capture some of this sense of spaciousness, and of the Hopi's deep kinship with this land. This piece has been influenced by Native American flute songs and sounds.
Although the rhythms have been carefully notated, performers are encouraged to play with some freedom. Length of notes and pauses will vary in different acoustics and circumstances.
NFA Newly Published Music Award, 1991.
Leslie Gerber, Classical Pulse
...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.
Reflections is a series of free variations on a short sequence from the ancient Norwegian Olavs-fest in Nidaros. Most of it was written during a performing residency at Artpark, near Niagara Falls, New York, in 1982. I played for an hour out-of-doors twice a day, usually alone, but sometimes with mimes or storytellers. Each day I wrote a variation and performed it still in pencil sketch. Later, in New York City, I reordered the set and added a contrasting variation and a final section.
During the writing of this piece I searched for a name. Nothing seemed to fit, though the connection to native American sounds and wooden flutes were clear. Finally when it was done I was still puzzled about it, I played for 2 friends. One who is Lakota described vivid images of varied landscapes as if flying, and the other said the 2 words above, which had flashed through my mind as well.
To greet the sun is to give thanks for the great richness of the Earth and the gift of life. Various cultures have done this in differing ways, from dawn prayers to dances and ceremonies to researching the sun’s awe-inspiring power.
There is a picture by the marvelous artist Maria Buchfink of a Native American flute player; from his flute rises a cloud of kachinas and totem spirits. This piece has also risen from his notes, and it is indeed influenced by Native American music. The idea of the flute invoking beneficial spirits, be they kachinas or any others, is a very natural one. Such spirits are an accepted and valued part of life in most of the world, and the flute has been used to honor and invite their presence for countless ages.