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Etudes For Flute
Cynthia Stevens, nfaonline.org Spring 2012 The Flutist Quarterly
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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
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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.
by Carla Auld