dazzlingly crafted." Born in Elkins, West Virginia, Hoover was raised in a "non-musical family." Her mother was a painter and her father was a scientist, and they discouraged her from pursuing music as a career. However, music was the most important part of Hoover's life. She recalls being able to read music as early as four years old, before she could read words. After her family moved to Philadelphia, she began playing the flute. At age fifteen, she began playing the piano.
She received "mediocre music instruction" in high school. Because her parents discouraged her from pursuing a music major, she began her academic studies at the University of Rochester in 1955. Two years later she transferred to the Eastman School of Music, where she studied with flutist Joseph Mariano, began studying composition, and graduated in 1959 with a Bachelor of Music in Music Theory and a Performer's Certificate in Flute. Unfortunately, her composition classes left a bad impression. Hoover comments, "There were no women involved with composition at all.
rather discouraged – being the only woman in my classes, not being paid attention to and so forth." After graduating from Eastman, she moved to Manhattan and spent the next ten years focusing on performing and teaching. In the summers of 1960 and 1961, Hoover attended the Yale Summer Session, where she studied flute, theory, and composition. During this time, she studied with flutist William Kincaid in Philadelphia. From 1961–1967 Hoover taught flute at the Juilliard Preparatory School as well as a few other small schools, including the Third Street Music School. It was at the Third Street Music School that Hoover had her first positive experience as a composer.
She was asked to compose a piece for a school concert, a duet for violins, which was very well received. In 1969, Hoover began teaching flute and theory at the Manhattan School of Music, a position she held for fifteen years. During her time at Manhattan, she continued her graduate studies and received her Master of Music in Music Theory in 1974. In 1972 Hoover had her first publication of a composition, Three Carols for choir and flute, published by Carl Fischer. Hoover was also a faculty member of the Teachers College, Columbia University from 1986 to 1989, where she taught flute and composition to graduate students. In 1990, she wrote Kokopeli, a work for solo flute inspired by the Hopi tribe and the American Southwest.
At this time, she began Papagena Press, which was founded to publish her works. Kokopeli was the first publication of Papagena Press and won the National Flute Association's Newly Published Music Competition in 1991 (Hoover's second of four NFA Newly Published Music awards). Hoover was very involved with women's arts organizations and has worked to bring the works of women composers to the public's notice. In 1977, she began work with the Women's Inter-Art Center in New York. Here she organized Festivals I, II, and III of Women's Music which presented music by fifty-five historical and contemporary women composers. In 1996, Hoover was the composer in residence for the Fourth Festival of Women Composers at Indiana University of Pennsylvania. In her later years, Hoover lived with her husband Richard Goodwin in New York City where she continued to actively compose new works as well as promote an interest in compositions, historical and contemporary, by women composers. Compositional style Hoover's compositional career got off to a rather discouraging start.
With the combination of parents who did not want her to pursue music and composition teachers who paid little attention to her because she was a woman, it makes sense that she did not publish anything until 1972. Hoover claimed to be somewhat self-taught as a composer. Although she did have some formal education in composition, her main studies were in music theory, and she said her job as a theory teacher at the Manhattan School was where she learned the most about compositional techniques. Teaching music theory forced her into careful analysis of scores of a variety of music, especially twentieth-century music, which she taught for many years. It was also at the Manhattan School where Hoover spent a great deal of time discovering how people perceive sounds. Hoover had perfect pitch, so studying how other people identify with sounds was helpful as she began to compose. Hoover's compositional style has been described as "a romantic, often pictorial atonal style" that is "clear and eloquent [with] moments of startling beauty [emerging] from her sometimes acerbic harmonies." Three compositional elements stand out as consistent patterns in Hoover's music: 1) extra-musical references; 2) quotations and manipulations of other composers' melodies; and 3) use of abstract, original material. Extra-musical references have proven a consistent trend throughout Hoover's compositions, and she has found inspiration in a wide variety of sources.
Three of her compositions for solo flute, Kokopeli, Winter Spirits, and To Greet the Sun, are influenced by the sounds of Native American music and the Hopi tribe of the American Southwest. Eleni: A Greek Tragedy is an orchestral tone poem inspired by Nicholas Gage’s book Eleni. Likewise, Hoover drew inspiration from Barbara Tuchman's A Distant Mirror: The Calamitous Fourteenth Century for her Medieval Suite, originally scored for flute and piano, then transcribed by the composer for flute and orchestra. Night Skies, on the other hand, was inspired by a painting Hoover saw that motivated her to spend time examining the wonders of the starry evening sky.
She pulled from many different sources for her compositional ideas, and it is because of these references to extra-musical concepts that her music is often considered pictorial and evocative. Hoover was also known for her use of musical quotation and adaptation of other composers' melodies. She then juxtaposed these quotations against her own original material and harmonies. An obvious example of Hoover's use of musical quotation can be found in Celebration for Flute Choir, written for her teacher Joseph Mariano's ninetieth birthday. In Celebration, Hoover juxtaposed her own material against quotations of famous flute works.
These quotations are direct and straightforward without any major changes or adaptations to the melodies. However, Hoover's use of quotation was not always this obvious. In the first movement of Medieval Suite, for example, Hoover quoted Virelai No. 17, "Dame, vostre doulz viaire debonair" by Guillaume de Machaut in several different ways.
The melody is first heard in fragments and at a different pitch level than the original Virelai. Then a more extended quote of this material is heard at the Virelai's original pitch level, but these pitches are produced using harmonics overblown at the twelfth. This is just one example of how Hoover manipulated melodies and juxtaposed these alterations against her own material. In this piece alone, there are several more musical quotations, including references to the famous Dies Irae in the final movement, "Demon’s Dance." Hoover became particularly renowned for her compositions for flute.
This was natural since she had quite a varied career as a distinguished flutist. Hoover believed that being an accomplished performer greatly benefitted her compositional abilities. She said, "It is a great advantage to be good at an instrument, to understand in depth what making music on a high level is about. It encourages respect for your performers and their needs..." While her idiomatic flute writing bears witness to her in-depth knowledge of the instrument, her compositions were certainly not limited to just the flute.
Hoover composed works for many different instruments and a variety of ensembles. The majority of her output, however, was chamber works. She explained that this was more of a "pragmatic, not an artistic" decision because "it's increasingly difficult for composers to get new works programmed by orchestras... The growing tendency of conductors to have several orchestras means that they increasingly leave programming to their boards and to committees.
They don't have time to study new scores or listen to new works..." Despite this challenge, Hoover composed several orchestral works and a handful of concertos. Perhaps the greatest praise of her ability came from composer John Corigliano: "Katherine Hoover is an extraordinary composer. She has a wide and fascinating vocabulary which she uses with enormous skill. Her music is fresh and individual. It is dazzlingly crafted, and will reach an audience as it provides interest to the professional musician.
I do not know why her works are not yet being played by the major institutions of this country, but I am sure that she will attain the status she deserves in time. She is just too good not to be recognized, and I predict that her time will come soon." Honors and awards National Endowment for the Arts Composer's Fellowship, 1979 Academy of Arts and Letters Academy Award in Composition, 1994 Outstanding New American Chamber Work, Friedham Contest, 1978/79 New York State Music Teachers' Association Composer of the Year, 1989 National Flute Association Newly Published Music Competition, 1987, 1991, 1993, 1994 National Flute Association Lifetime Achievement Award, 2016 Selected Works Flute Alone Kokopeli, Op. 43 (1990) Winter Spirits, Op. 51 (1997) Reflections, Op.
25 (1982) To Greet the Sun (2004) Etudes For Flute (2011) Spirit Flight (2014) Flute and Piano Medieval Suite, Op. 18 (1981) Masks, Op. 56 (1998) Mountain and Mesa (2008) Piccolo and Piano Three Sketches (2003) Alto/Bass Flute and Piano Two for Two Flute Duets Antics (2002) Sound Bytes, Op. 43 (1990) Suite for Two Flutes, Op.
12 (1977-1981) Six Simple Duets, Op. 23 (1982) Two Flutes and Piano Faure (Two Pieces), Op. 56 (2002) Arranged by Katherine Hoover Le Jardin de Dolly Le Pas Esponol Flute Trios Trio for Flutes, Op. 6 (1974) Flute Ensemble Mariposas (2001) for 10 flutes Celebration (2001) Kyrie, Op.
55 (1998) for piccolo, 8 C flutes, 3 alto flutes Three for Eight, Op. 50 (1996) for 7 C flutes, 1 alto flute Concertante Dragon Court (2005) for 17+ flutes, including alto, bass, contrabass Peace is the Way (2004) for 6+ flutes Clowning Around (2011) for 4+ flutes Mixed Chamber (with flute) Qwindtet, Op. 37 (1987) for woodwind quintet Homage to Bartok, Op. 7 (1975) for woodwind quintet Canyon Echoes, Op.
45 (1991) for flute and guitar Caprice (1993) for flute and guitar Two Preludes: I “Uptown” & II “Out of Town (2012) for flute and marimba/vibraphone Divertimento, Op. 8 (1975) for flute, violin, viola, cello Dances and Variations (1996) for flute and harp Lyric Trio, Op. 27 (1983) for flute, cello, and piano Summer Night, Op. 34 (1985) for flute, horn, and piano Central American Songs, Op.
49 (1995) for med. voice, flute, percussion, and piano Seven Haiku, Op. 3 (1973) for soprano and flute The Word in Flower, (2009) for mezzo soprano, flute Solo and Chamber (without Flute) Sonata, Op. 44 (1991) for oboe and piano Set for Clarinet, Op.
15 (1978) for solo clarinet Ritual, Op. 41 (1989) for clarinet and piano Images (1981) for clarinet, violin, and piano Aria (1983) for solo bassoon Journey (2007) for solo bassoon Sinfonia, Op. 10 (1976) for bassoon quartet Suite for Saxophones, Op. 20 (1980) for saxophone quartet Ayres for soprano saxophone and piano String Quartet (1999) String Quartet II "The Knot" (2004) Quintet "Da Pacem" (1988) for string quartet and piano Trio (1978) piano trio Aria & Allegro Giocoso (1982-1985) for cello and piano El Andalus (2003) for cello and piano Shadows (2001) for violin and piano Dances for violin and piano Prelude for solo violin The Heart Speaks, Op.
54 (1997) for soprano voice and piano From the Testament of Francois Villon, Op. 26 (1982) for bass-bar voice, bassoon, and string quartet Selima, Op. 16 (1979) for soprano, clarinet, and piano Piano Pieces for Piano (1975–1983) Dream Dances (2008) Preludes (1996-2004) Thin Ice (2009) At the Piano (2003) Toccata (2011) Line Drawingins (2007) Collage (2006) for two pianos Passacaglia and Romp (2008) for two pianos Orchestra/Concerto Eleni: A Greek Tragedy, Op. 36 (1986) Night Skies, Op.
46 (1992) Two Sketches, Op. 42 (1989) Stitch-Te Naku, Op. 47 (1994) Summer Night, Op. 34 (1985) Four Winds for flute and orchestra Clarinet Concerto, Op.
38 (1987) Stitch-Te-Naku(1994) for cello and orchestra Double Concerto (1989) for two violins and strings Medieval Suite, Op. 18a (1984) for flute and small orchestra Summer Night, Op. 34 (1985) for flute, horn, and strings Psalm 23, Op. 21a (1981) for SATB chorus and small orchestra Turner Impressions, (2003-2006) for 3 percussion, harp, piano, and harpsichord Choral Echo, Op.
57 (1998) Psalm 100, Op. 53 (1997) Songs of Celebration, Op. 29 (1983) Songs of Joy, Op. 5 (1974) Psalm 23, Op.
21 (1981) Three Carols, Op. 1a (1972) For Peace: Prayer in Time of War (2003) Peace is the Way (2003) Blow Thou Winter Wind (1999) Sweet Thievery, Op. 35 (1985) The Last Invocation, Op. 30 (Whitman) (1984) Four English Songs, Op.
9 (1976) Incantations (2006) (unpublished @12/2010) SSA, Flute, Perc Requiem (2001 - 2002) mixed choral with instruments Discography Hoover's work has been widely recorded and is available on CD. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
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