PAPAGENA PRESS

Strings with Piano


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




Allegro Giocoso


Aria


Aria and Allegro Giocoso


Dancing



El Andalus


Quintet (Da Pacem)


Shadows


Trio
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Allegro Giocoso

Alternate Tile(s):
  1. Aria and Allegro Giocoso
  2. Allegro Giocoso
Other Alternate Tile(s):
  • Aria
  • Aria for Bassoon and Piano
  • Aria for Cello and Piano
Composed:
  • 1985
Audience Notes:
  • In 1985 a cellist friend requested a companion piece, so I added the Allegro giocoso. It is a light, quick movement with bantering between the two instruments, and a few effects that only a cello can make.
    - K. Hoover.
Duration:
  • 00:02:00
Instrumentation:
  • Cello, Piano
Arrangements:
  1. Bassoon, Piano
  2. Cello, Piano
  3. Voice, Piano
  4. Clarinet, String quartet
Publisher:
  • Papagena Press
Reference:

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Aria

Alternate Tile(s):
  1. Aria
  2. Aria for Bassoon and Piano
  3. Aria for Cello and Piano
  4. Aria and Allegro Giocoso
Other Alternate Tile(s):
  • Allegro Giocoso
Composed:
  • 1982
Audience Notes:
  • A short melodic piece, 'Aria' was written in 1982 as the middle movement of a Serenade for clarinet and string quartet. Its simplicity and lyricism have proved perfect for the cello.
    - K. Hoover.
Duration:
  • 00:04:00
Instrumentation:
  • Voice, Piano
Arrangements:
  1. Bassoon, Piano
  2. Cello, Piano
  3. Voice, Piano
  4. Clarinet, String quartet
Publisher:
  • Papagena Press
Reference:

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Aria and Allegro Giocoso

Alternate Tile(s):
  1. Aria
  2. Aria for Bassoon and Piano
  3. Aria for Cello and Piano
  4. Aria and Allegro Giocoso
  5. Allegro Giocoso
Composed:
  • 1982-1985
Audience Notes:
  • A short lyric movement followed by a lively humorous duet with continual interchange.

    'Aria' was written in 1982 as the middle movement of a Serenade for clarinet and string quartet. This piece was originally intended for adult amateurs, and its simplicity and lyricism have proved perfect for the cello.

    In 1985 a cellist friend requested a companion piece, so I added the Allegro giocoso. It is a light, quick movement with bantering between the two instruments, and a few effects that only a cello can make.

    - K. Hoover.
Movements:
  1. Aria
  2. Allegro Giocoso
Duration:
  • 00:07:00
Instrumentation:
  • Cello, Piano
Arrangements:
  1. Bassoon, Piano
  2. Cello, Piano
  3. Voice, Piano
  4. Clarinet, String quartet
Publisher:
  • Papagena Press
Reference:

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Dancing

Composed:
  • 2007
Audience Notes:
  • Music begins to atrophy when it departs to far from the dance; poetry begins to atrophy when it gets to far from music. (Ezra Pound, 1972). Every few years I reread this to see where it will take me. This time it has resulted in a lyrical Arabesque built above a repeating pattern of 8+8+3… a Cortege reminiscent of a sarabande… and a rather breathless Stomp.
    - K. Hoover.
Duration:
  • 00:11:20
Movements:
  1. Arabesque
  2. Cortege
  3. Stomp
Instrumentation:
  • Violin, Piano
Publisher:
  • Papagena Press
Reference:
  • ASCAP Work ID 905827954

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El Andalus

Alternate Tile(s):
  • El Andalus
  • Andalus El
  • Andalus
Commissioned:
  • by AZ Friends of Music.
Composed:
  • 2003
Dedicated:
  • written for Sharon Robinson
Premiered:
  • 2004, Tucson, AZ.
Audience Notes:
  • El Andalus, is the Arabic name for Andalusia, an area of Spain with an unusual history. For several hundred years in the Middle Ages under Muslim caliphates (spiritual leaders of Islam), it was a center of great learning and culture, and a gathering place for Christian, Jewish and Muslim intelligentsia of Europe and the Middle East. Robinson,* having seen an article about this, asked if Hoover might somehow imagine a piece about this center of tolerance and light.

    Traditional Arabic music, both secular and religious, is a sophisticated art form which is mostly improvised on involved scalar and formal patterns. It makes use of quarter-tones and slides, as well as modal materials familiar to the western ear. Its influence is clear in Jewish liturgical music, and also in some Eastern Orthodox Christian music. Hoover combined some of this kind of melodic material with sections that employ western harmonies, and there are rhythmic and formal influences from both traditions. There are also timbral sounds that have their origin in eastern instruments. The piece begins with a snippet of Gregorian chant and quickly moves into material with roots in both east and west.

    - undetermined.
Duration:
  • 00:15:00
Instrumentation:
  • Viola or Violoncello and Piano
Publisher:
  • Papagena Press
Reference:
  • ASCAP Work ID 310676561

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Quintet "Da Pacem"

Alternate Tile(s):
  • Quintet (Da Pacem)
  • Quintet (Da Pacem) For Piano And String Quartet
  • Da Pacem
  • Quintet For Piano And String Quartet
Commissioned:
  • by the New Jersey Chamber Music Society
Composed:
  • 1988
Premiered:
  • May 20, 1989 by the New Jersey Chamber Music Society at Alice Tully Hall, Lincoln Center, NYC.
Audience Notes:
  • An intense and haunting fantasy in 2 parts.

    Sometime in the 1960's I came across a simple, lovely canon by Christoph Demantius (1567-1643) with a text beginning, "Da pacem, Domine, in diebus nostris..." ("Give us peace, Lord, in our time...").
    Both the music and sentiment continued to haunt me, for I would occasionally use the piece in sight-singing classes, where it would be sung by vigorous young men the age of thousands who had been drafted to suffer and die in Vietnam and elsewhere. At some point I began to think about structuring a large work around this canon; one whose parts would all be related in various ways. This is the piece that developed from that idea.

    The first movement's main theme grew from certain motives in the canon, but they are woven into this theme in subtle ways; they do not stand out. Since the second theme is derived from the first, those motives, though not obvious, are present throughout much of the movement.

    The second movement, a fantasia, begins in a very quiet, pastoral mood, actually incorporating the sound (at pitch) of a mourning dove in the viola. As this section begins to fade, we hear a more open reference to the canon; this is quickly effaced by the rather violent material that erupts and dominates the next large part of the work. In the aftermath of this section the piano leads us to a quiet, thoughtful area where the canon melody appears in the strings in isolated, chorale-like phrases. Then, after a long section which binds together various aspects of the piece, it appears in the original canon form, to close the work.

    - K. Hoover.
Duration:
  • 00:25:00
Movements:
  1. 2 mvts.
Instrumentation:
  • Pno,2 Vln,Vla,Vc.
Publisher:
  • Papagena Press
Reference:

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Quintet "Da Pacem"

New York Times, 1989

  • The most interesting of these [works by Ravel, Dohnanyi, Damase] was Katheriine Hoover's Da Pacem Piano Quintet...an appealingly intricate fantasy.

The Newark Star Ledger, 1989

  • ...a violent, brooding work...a spiritual exploration of the need for reconciliation in a broken world. It is also an inventive exploration of the motivic and harmonic possibilities of the old tune...When the canon iis finally stated in full by the quartet, with soft comments from the piano, it is satisfying both emotionally and musically. The fragments come together making both levels whole.

The Charleston Gazette, 1991

  • Its balance and serene chordal planes and emotionally charged passage work was fresh and vigorous.

Allen Kozinn, New York Times, 1993

  • The program’s most compelling work was Ms. Hoover’s Quintet Da Pacem, a lyrical, flexibly harmonized piece that made a strong impression (at) its premiere in 1989.

Tim Page, New York Newsday, 1993

  • sumptuous and haunting

Nixon Bicknell, The Montclair Times, 1989

  • Hoover's Quintet (Da Pacem) is clearly a major contribution to the repertory by a contemporary composer.

Leslie Gerber, Classical Pulse, 1996

  • ...a stunning meditation on the Vietnam War based on a canon by Demantius. Brooding music, building up to a shattering climax and then returning to peace, it lingers in the memory and demands to be heard again.
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Shadows

Composed:
  • 2001
Dedicated:
  • In Memoriam 9/11.
Premiered:
  • February 22, 2009 by Marka Gustavson and Lisa Moore at Bard College.
Audience Notes:
  • I began work on this piece in late August 2001. Several weeks later, after the shock of the 9/11 attacks here in Manhattan, as I finally returned to work on this piece, it changed, as our lives had changed. It was as if a black cloud had settled over the island-a giant shadow. This piece became darker.

    I finished it and put it away for some years. Then, when Marka Gustavsson, violinist of the distinguished Colorado Quartet, asked me about a viola piece in 2007, I showed it to her. The first performance was the result.

    - K. Hoover.
Instrumentation:
  • Viola and Piano
Publisher:
  • Papagena Press
Reference:
  • ASCAP Work ID: no entry
  • OCLC: 663974620, 768305019

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Trio (for Vn,Vc,Pn)

Alternate Tile(s):
  • Trio 1978
  • Trio (1978)
Composed:
  • 1978
Dedicated:
  • to the memory of Seymour Miroff, a valued friend to many of us in the New York musical community.
Recorded:
  • 1978, Rogeri Trio, Leonarda LPI 103.
Audience Notes:
  • Its first movement Moderato -Allegro con Fuoco, opens with a soft, rhythmic introduction and progresses to an intense, lyrical Allegro. The second, "Cantabile", begins with a mournful theme in the lowest cello octave range and eventually moves into a dirge, with the strings singing over a slow, repeating piano ostinato. The third movement, Allegro molto con brio, is strongly contrasting with constantly changing rhythms, some playful sections, and a sort of "stamping dance" in the middle.
    - K. Hoover.

  • 1979 Kennedy-Friedheim finalist
Duration:
  • 00:18:00
Movements:
  1. Moderato-Allegro con fuoco
  2. Cantabile
  3. Allegro molto con brio
Instrumentation:
  • Violin, Cello, and Piano
Publisher:
  • Papagena Press
Reference:

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Trio (for Vn,Vc,Pn) (18')

Peter Davis, The New York Times

  • Ms. Hoover's score repays careful attention; a dramatic three-movement scenario that drawsupon the individual sonorities of the three instruments to create an unsettled atmosphere of brooding disquiet and banked emotional fires.

Sylvia Glickman, American Music

  • ...the Hoover Trio is memorable for its fascinating use of rhythm. It is a combination of lyric, romantic, sweep and drive, biting irregular rhythms, and gentle washes of sound. The three instruments are treated in solo, duo, and trio capacities, in all combinations. Piano tone clusters, ponticello and pizzicato string effects, inside-the-piano plucking, and string glissandi are all devices that Hoover uses in the cause of communicating her strong ideas, rather than as devices for effect.

Joseph McClellan, Washington Post, 1979

  • It is risky to attach the title "masterpiece" to contemporary work, but for Katherine Hoover's Trio, I think no smaller word will do. No serious collection of contemporary music should be without this record.