Katherine Hoover

Katherine Hoover (December 2, 1937 – September 21, 2018) was an American

Her work has received many honors, including a National Endowment for the Arts Composer's Fellowship, an American Academy of Arts and Letters Award in composition, and the National Flute Association's Lifetime Achievement Award, where she is remembered by as an "artist, flutist, teacher, entrepreneur, poet, and, most notably, a distinguished composer."^[7] Also, there are two works where she cowrote under the pseudonym Kathryn Scott.^[8][9]

Early life and education

Katherine Lacey Hoover was born on December 2, 1937, in Elkins, West Virginia, where her mother's family was from. They lived in Washington, D.C. near Dupont Circle at first, but moved to Philadelphia during World War II because her father was working to help the war effort. Her mother was a talented artist and editor, while her father was a biochemist.^[10][11]

Hoover's love for music started at the age of three when she was entranced by the melodies of Mozart. She remembers standing in front of a large record player, feeling captivated by the music. She believes that the piece she heard was Mozart's. That moment ignited her passion for music, and she has been pursuing it ever since.^[12]

Katherine's parents supported her artistic inclinations despite not having any musical training themselves. Her father acquired a piano that was discarded by their neighbors during a move. Her father even offered drinks to the movers who helped secure the instrument for her. Katherine had always begged to take piano lessons, and when she turned five, her parents finally allowed her to start her musical education.^[12] Katherine remembered those early days with affection, saying:

"[her parents] would play a game, just putting their hands down anywhere in any combination and ask me what notes they were playing. It was amazing ear training."^[12]

When Katherine reached the fifth grade in primary school, she was given permission to learn the clarinet. As her second instrument, she chose the flute. She recalls, "I hated it. The biting and pressure were uncomfortable, and it was in the wrong key! The moment I was given a flute, I knew that was the one for me."^[12]

Hoover had a rich musical education during her high school years. She took part in several musical activities such as bands, marching bands, the Eastern Pennsylvania State Band, and was also a member of the "Quintones" singers for five years. Hoover and her group's talents led them to have several appearances on radio and early television programs.

Hoover began her academic journey in general studies at the University of Rochester in 1955. After completing two years, she transferred to the Eastman School of Music to pursue her passion. However, unlike renowned composers like Nadia Boulanger, who taught in France for decades, Katherine's composition classes at Eastman were not as impressive. As the only woman in her classes, she was ignored and felt discouraged. Katherine expressed her disappointment, saying "There were no women involved with composition at all. [I got] rather discouraged – being the only woman in my classes, being ignored, and so forth."^[12][13]

Despite not being allowed to graduate from her desired undergraduate program in composition, she managed to earn a Bachelor of Music in Music Theory with honors in 1959. She accomplished a double major and was awarded the prestigious Performer's Certificate in Flute, which granted her the opportunity to perform solo with an orchestra. These achievements were made during her time at Eastman.^[10][12][14]

Hoover became acquainted with the American Flute School movement during her studies at the Eastman School of Music. Her teacher, Joseph Mariano, was a distinguished student of William Kincaid, and also was highly regarded by eminent conductors such as Toscanini, Fritz Reiner, and Eugene Ormandy throughout his career.^[15]

Influences

After graduating, Hoover spent two years studying with William Kincaid and Hungarian pianist Agi Jambor. According to Katherine, Kincaid was a renowned flutist and teacher who taught her much about the phrasing of the Kincaid/Tabuteau school. This became the foundation of her playing, musical understanding, and writing.

She mentioned that none of her theory classes had taught her how music moves in time and beats and the problem with bar lines. Katherine said that Kincaid's standards were very high, and she had to work hard to meet them.^[12]

She also had the privilege to study with Mme. Agi Jambor, a distinguished pianist. Jambo had a great love for and specialized in Bach. Jambor was forced to flee Hungary during World War II. Katherine said that she learned a lot from Jambor by listening to her play and speak about Bach. Jambor taught and performed at Bryn Mawr College, and Katherine worked as a residential advisor at an undergraduate dormitory there.

Later in her career, Katherine, as a member and board member of The New York Flute Club, wrote that she owed much of her success to her mentor, William Kincaid, who taught her more about music than any other composer.^[16]

Teaching career

Juilliard Preparatory School

Several years after graduating, Hoover moved to New York, where she established herself as a flutist and teacher. She taught flute at the preparatory division of the Juilliard School and also at several other small schools, including the Third Street Music School from, 1962 to 1967.^[10][13][17] In 1964, she married John Schwab.^[18]

Manhattan School of Music

From 1969 to 1984, Hoover taught flute and music theory at the Manhattan School of Music. During this time, she analyzed a wide range of music scores and learned a great deal about compositional techniques.^[12][16] She also continued her graduate studies and earned a Master of Music in Music Theory in 1973. For eleven years, Hoover served as a faculty member at the Manhattan School of Music.^[10][19]

Teachers College, Columbia University

From 1984 to 1989, Hoover taught theory and composition to graduate students as a faculty member at Teachers College, Columbia University.^[20]

Composer

Hoover's career as a composer began slowly. As a scholastic student, she was unaware of any notable female composers. A decade later, after settling in New York, she published her first work, Three Carols (1972), for SSA chorus and flute, through Carl Fischer.^[17][21] During this period, she worked as a freelance flutist for multiple ballet and opera companies.^[3]

In 1978, Hoover's growth as a composer was recognized when she became a finalist for the Kennedy Center Friedheim Award's Outstanding New American Chamber Work. She repeated this achievement the following year and was also awarded a National Endowment for the Arts Composer's Fellowship in 1979. These successes marked significant milestones in her career.

Katherine has expressed pride in her ability to create works for specific performers using different instruments. Two examples being: "Stitch-te Naku" for Cello and Orchestra, which was written for cellist Sharon Robinson and the "Clarinet Concerto," which was performed by jazz clarinetist Eddie Daniels."^[11][22]

In 1988 Papagena Press was cofounded by Hoover with her husband (Richard Goodwin, married in 1985) to publish her works. Kokopeli (1990), a solo flute composition inspired by Kokopelli, the Hopi tribe and the American Southwest was the first piece to be published.^[3]

It won the National Flute Association's Newly Published Music Competition in 1991 and is one of six NFA Newly Published Music awards received by Hoover.^[7][23]

Compositional style

Hoover's unique compositional style bears the unmistakable imprint of her mentors Joseph Mariano and William Kincaid.^[24] One foundational aspect of her music, as she acknowledges, is the concept of transitioning from a weak beat to a strong beat - a lesson she learned from Mariano and Kincaid. While valuable, the conventional notation system can sometimes overshadow the importance of auditory perception. Barlines, the equivalent of stop signs in music scores, are inserted before each downbeat in musical notation, sending a clear visual signal to halt the musical flow. Hoover's desire for long, unimpeded musical phrases led her to break free from the restrictive walls they imposed. Her compositions are liberated from such constraints and invite musicians to respond not only to the written notes but also to the sounds of the piece and the acoustics of the performance space. This influences the tempo, interpretation, and the duration of rests and fermatas.^[21]

Hoover's formal training under her mentors is evident, but she humbly admits that her journey as a composer also involved a significant degree of self-discovery. Her tenure as a theory teacher at the Manhattan School enabled her to deeply delve into the intricacies of compositional techniques, further enriching her musical arsenal.^[12] This scholarly pursuit went hand in hand with her remarkable gift of perfect pitch, which allowed her to explore how individuals interact with and interpret sound. This profound insight became invaluable as she advanced on her creative journey as a composer, always seeking the distinctive. This insight has been shared individually, with both Alicia Joyelle Kosack and Kristine H. Burns, Ed.^[17][25]

"Hoover composes with the effects peculiar to each individual instrument in mind, incorporating such effects into the thematic and emotive content of the work at hand. . . . [While some] demonstrate a great gift for expressive lyricism, . . . [others] are notable for rhythmically dynamic passages laced with incisive dissonance but often mingled with elements of jazz and well-timed humor."

Hoover's compositional style is widely recognized for its unique and romantic character, often described as a "romantic, often pictorial atonal style." Her music is known for its clarity and elegance, with moments of stunning beauty arising from her occasionally dissonant harmonies.^[26][27]

The following three elements define Hoover's work are references to non-musical sources, quotations and manipulations, and the use of abstract techniques.^[13]

Extra-musical references

Hoover's compositions draw inspiration from a diverse range of sources - Native American music in flute pieces, such as "Kokopeli," "Winter Spirits," and "To Greet the Sun," Nicholas Gage's "Eleni" in an orchestral tone poem, Barbara Tuchman's "A Distant Mirror: The Calamitous Fourteenth Century" in "Medieval Suite," and a painting of the starry night sky in "Night Skies." These are just a few examples of Extra-Musical References giving her music a vivid and pictorial quality that resonates with audiences.^[3][12][28]

Quotations and manipulations

Hoover skillfully incorporates musical quotations and adapts melodies from other composers into her compositions, creating a rich tapestry of musical influences. For example, in "Celebration," she blends her thematic material with direct quotations from well-known flute works, retaining their original form and showcasing her ability to create captivating hybrids. Notably, her use of musical quotation is not always overt, as seen in the innovative ways she quotes Guillaume de Machaut's "Virelai No. 17, Dame, vostre doulz viaire debonair" in the first movement of "Medieval Suite." These two examples demonstrate her talent for manipulating melodies and integrating these adaptations with her original material.^[13][27] This is confirmed by Cathy Hancock Hicks:^[29]

“Hoover openly borrows from the compositional techniques of other composers. At Eastman, she worked with a student of Hindemith, … and became familiar with Hindemith’s theories of consonance and dissonance. Bartok also influenced Hoover’s music, particularly in the harmonies she utilizes… related to the “split-root” or “major-diminished” chord… [as heard in the] final movement of Medieval Suite. Bartok’s influence is also clear in the title of her first woodwind quintet, Homage to Bartok (1975).”

Use of the abstract

Hoover's ability to craft musical quotations extends beyond the overt, as seen in the subtle and innovative ways she incorporates them into her compositions. For instance, in the first movement of "Medieval Suite," she masterfully quotes Guillaume de Machaut's "Virelai No. 17" in fragmented form, altering its pitch level. Subsequently, an extended quote appears at the original pitch level, achieved through the use of harmonics overblown at the twelfth. These adaptations seamlessly merge with her original material. Throughout the composition, listeners encounter additional musical quotations, including references to the iconic "Dies Irae" in the final movement, titled "Demon's Dance."^[13]

Katherine Hoover had a deep understanding of music, especially in playing an instrument. She believed that being proficient in an instrument gave one a unique advantage in understanding the intricacies of creating music at a high level. This knowledge fostered a deep respect for performers and their unique needs.^[27] Hoover's expertise in composing for the flute was evident in her idiomatic flute compositions. However, she was also skilled in composing for a wide range of instruments and ensemble configurations, including orchestral and concertos. While she explored various musical avenues, a significant portion of her work focused on chamber compositions. This was a practical choice considering the evolving landscape of orchestral programming and conductor involvement.^[27]

Katherine Hoover's music thrives on the interplay of extra-musical references, skillful adaptation of other composers' melodies, and the harmonious fusion of these elements with her original compositions. This creates a captivating body of work that is imaginative and musically inventive. She balances musical expression with performer considerations, ensuring that even challenging passages maintain their lyrical elegance.

Perhaps the greatest praise of Katherine Hoover's ability comes from composer John Corigliano, who describes her as an extraordinary composer with a wide and fascinating musical vocabulary, dazzling craftsmanship, and the promise of well-deserved recognition on a broader scale.^[30]

Promoting women in music

Hoover was actively involved with women's arts organizations and dedicated her efforts to promoting the works of women composers to the public. In 1977, she collaborated with the Women's Inter-Art Center in New York and organized three festivals, namely Festivals I, II, and III of Women's Music. These festivals showcased the music of 55 women composers, both historical and contemporary.^[23][31] Her efforts in this area have been continuous as demonstrated by being the composer in residence for the Fourth Festival of Women Composers at Indiana University of Pennsylvania (1996).

Poetry

Hoover had always written poetry since her youth finding both a striking difference and similarity between music and words. "This Way About"(2015).^[32] was her first book of poetry where she shares glimpses into her life.^[33]

Honors and awards

• Member Laureate, Sigma Alpha Iota^[34]
• Kennedy Center Friedheim Award, Outstanding New American Chamber Work, finalist, 1978, 1979
• National Endowment for the Arts Composer's Fellowship, 1979^[35]
• National Flute Association Newly Published Music Competition, 1987, 1991, 1993, 1994, 2006, 2020(co-winner)^[7]
• New York State Music Teachers' Association, Composer of the Year, 1989^[36]
• American Academy of Arts and Letters Academy Award in Composition, 1994^[37]
• New York Flute Club Tribute Concert for Katherine Hoover, 2013^[16]
• National Flute Association Lifetime Achievement Award, 2016^[7]
• Global Music Awards, Silver Medalist, May 2018^[38]

Compositions

Discography

As a flutist, Hoover has performed other compossers works, as well as her own. The following is a selected list of her recorded performances.

References