Papagena Press

Flute, Solo


Theodore Presser, Carl Fischer, Boelke-Bomart/Schott/Mobart, Songs of Peer, and Warner-Chappell are distributors for Katherine's music.


Mozart concerto in G, K. 313
Mozart concerto in G, K. 314
Etudes for flute
Kokopeli

Reflections
Spirit Flight
To Greet The Sun
Winter Spirits

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Cadenzas for Mozart concerto in G, K. 313: flute - fl

Arranged for flute:
  • 1984
Audience Notes:
  • Wolfgang Amadeus Mozart 's (1756-1791) Concerto in G, K. 313; .
  • - K. Hoover.
Publisher:
  • Papagena Press
Reference:

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Cadenzas for Mozart concerto in G, K. 314: flute - fl

Arranged for flute:
  • 1982
Audience Notes:
  • Wolfgang Amadeus Mozart 's (1756-1791) Concerto in G, K. 314; .
  • - K. Hoover.
Publisher:
  • Papagena Press
Reference:

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Etudes For Flute - fl

Composed:
  • 2011
Audience Notes:
  • 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.
    - K. Hoover.
Instrumentation:
  • Flute, solo
Performance Notes:
  • 3rd mvt.
  • ..This one has no signatures, though the measures do change time. All information needed to play the piece in time is given by the beams.
  • 4th mvt.
  • ..This one is a bit freer, and it also has no time signatures. However, the relationship of the notes remains as usual, so counting should not be a problem.
    When playing trills, keep in mind that there is a main note and an auxiliary note. Be sure to keep the tone focused on the main note; this way, you can control tone and dynamic. Don't get stuck between the notes. Also, in this piece, start the trills slowly and speed up as you intensify the tone.
  • 6th mvt.
  • ..The breach marks indicate a lift, but not a long pause. (If I wanted a real pause, there would be a rest.) The challenge here is one we often face as flutists - how to carry long phrases convincingly with little space for breath.
  • 7th mvt.
  • ..This is more of a cadenza, in four phrases. Each phrase, beginning on a long low D, should rise and fall with a sense of form. And each one should take the listener farther than the one before. Try playing each one away from the music to see if it is really convincing. Better yet, plan all from memory.
  • 9th mvt.
  • ..This is a solo version of the final duet in my early "Suite for Two Flutes". The rhythm must be felt strongly in bars 27-31 is if the dancers are still dancing. Think "salsa"!
Publisher:
  • Papagena Press
Reference:

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Etudes For Flute

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.

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Kokopeli

Alternate Tile(s):
  • Kokopelli
Composed:
  • 1990
Audience Notes:
  • 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.

    - K. Hoover.
Duration:
  • 00:04:30
Instrumentation:
  • Flute, solo
Arrangements:
  1. flute solo
  2. solo flute with accompaniment
Publisher:
  • Papagena Press
Reference:

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Kokopeli

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.

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Reflections - fl

Alternate Tile(s):
  • Reflections (For Solo Flute)
  • Reflections: Variations On A Medieval Norwegian Chant
Commissioned:
  • Performing Residency, Artpark, Lewiston, New York (near Niagara Falls)
Composed:
  • 1982
Audience Notes:
  • Variations on an ancient Norwegian chant. Written outdoors at Artpark, NY.

  • 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.
  • - K. Hoover.
Duration:
  • 00:06:00
Instrumentation:
  • Flute, solo
  • any woodwind,
Publisher:
  • (1983) Boelke Bomart Inc
Reference:

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Spirit Flight - fl

Commissioned:
  • by flutist Wendela van Swol of Cordoba, Spain.
Composed:
  • 2012
Premiered:
  • by Wendela van Swol, at Maranatakerk, The Hague, Netherlands, on December 8th, 2013.
Audience Notes:
  • 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.
    - K. Hoover
Duration:
  • 00:06:00
Instrumentation:
  • Flute, solo
Performance Notes:
  1. Fingerings are marked for flute: LH T, 1, 2, 3, 4; RH 1, 2, 4; 1 signifying the index finger of each hand.
  2. Accidental's (including grace notes) go through the line or the bar, but not overly active.
  3. All trills and mordants are to the half-step above.
  4. Repeated notes under a slur are legato tonguing, i.e., articulated without space between the notes.
  5. For tremolo A-C, use LH T (line 1 etc.); For B-D use first Tr. Key (8 etc.).
  6. Slide with lips only at the end of the long notes where marked.
Additional Performance Notes:
  1. Trill RH 1 2 3.
  2. Keep E, lift LH 2. (This gives an airy Bb.).
  3. RH 2 (E key) on open hole flute, trill back of key, leaving a hole open.
  4. LH 2 (A key) on open hole flute, trill back of key, leaving hole open.
  5. Press RH 1 2 3.
  6. Trill RH 2.
  7. Keep fingering for #2 (Finger E, lift LH 2), then left RH 2.
Publisher:
  • Papagena Press
Reference:

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To Greet The Sun - fl

Alternate Tile(s):
  • To Greet The Sun
  • Greet The Sun
Composed:
  • 2004
Premiered:
  • by Alexa Still at the 2005 National Flute Association's convention.
Audience Notes:
  • Written in Southampton, New York 2004. This work incorporates the unique sound of a flutter-tongued timbral trill.

  • 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.
    - K. Hoover.
Duration:
  • 00:06:00
Instrumentation:
  • Flute, solo
Publisher:
  • Papagena Press
Reference:

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Winter Spirits - fl

Alternate Tile(s):
  • Winter Dreams
Composed:
  • 1997
Premiered:
  • August 1997, by Jeffrey Khaner at the National Flute Association's Convention in Chicago, IL.
Audience Notes:
  • 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.
    - K. Hoover.
Duration:
  • 00:05:00
Instrumentation:
  • Flute, solo
Publisher:
  • Papagena Press
Reference: