Notes:
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.
Incantations.
Flute and Company, Flute Music by Katherine Hoover.
Flute Reflections.
Flute Reflections.
Reflections.
Reflections.
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.
Canyon Echos, Native American Stories in Classical Flute Music.
KOKOPELI, Katherine Hoover Plays.
Mark Sparks,Flute.
Song of the Wind.
American Flute.
Incantations.
Contrasts.
Red, White, and Blue.
Flute Moments.
Kokopel by Katherine Hoover.
Katherine Hoover - Kokopeli for Flute Solo.
Canyon Echos, Native American Stories in Classical Flute Music.
Kokopelli-Katherine Hoover.
Flute Stories: Kokopeli.
Katherine Hoover - KOKOPELI.
Kokopeli by Katherine Hoover, 1937-2018./li>
Kokopelli (Katherine Hoover) - May 2013.
...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.
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.
Fantasie.
Canyon Echos, Native American Stories in Classical Flute Music.
The Colors Fall.
Flute and Company, Flute Music by Katherine Hoover.
KOKOPELI, Katherine Hoover Plays.
Canyon Echos, Native American Stories in Classical Flute Music.
Winter Spirits by Katherine Hoover.
Winter Spiritsfor Solo Flute, DSE's
Rediscoveries: Festival of American Chamber Music.
fantasia, Winter Spirits for Solo Flute.
KOKOPELI, Katherine Hoover Plays.
Notes:
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.
Katherine Hoover To Greet the Sun.
5 of the 12 currently viewable on YouTube
Katherine Hoover To Greet the Sun.
To greet the sun.
Katherine Hoover: To Greet the Sun.
Katherine Hoover's To Greet the Sun.
Katherine Hoover: To Greet the Sun (2004).
Performer's Notes:
III. 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.
IV. 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.
VI. 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.
VII. 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.
IX. 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"!
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.
Notes for Perfofmance:
The other effects are quite easy to do:
Notes:
Spirit Flight - Katherine Hoover.
Spirit Flight - Katherine Hoover.
Spirit Flight by Katherine Hoover.
Katherine Hoover: Spirit Flight.
Spirit Flight (Katherine Hoover).
Katherine Hoover, Spirit flight.
