Katherine Hoover

Katherine Hoover (December 2, 1937 – September 21, 2018) was an American composer of Contemporary classical music and Chamber music, flutist, teacher of Musical composition and Music theory, poet, and later a conductor of her music. Her career as a composer began when few women composers earned recognition in Classical music in the 1970s. As shown in her list of known works, she has composed pieces for solo flute, mixed ensembles, chamber orchestra, choir, full orchestra, and many other combinations of instruments and voice. Some of her flute pieces incorporated Native American themes.

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." Also, there are two works where she cowrote under the pseudonym Kathryn Scott.

Biography/life and career
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. 2017 Hillyer Pl NW, near Dupont Circle. She remembers her love for music started at the age of three when she was entranced by the melodies of Mozart. Standing in front of a large record player, young Hoover felt captivated by the music. That moment ignited her passion for music, and she has been pursuing it ever since.

The onset of World War II brought significant changes to Hoover's life. Her father, driven by a sense of duty, asked to be reassigned to the Department of Agriculture's Eastern Regional Research Center in Wyndmoor, Pennsylvania, a suburb of Philadelphia. A role better suited to his expertise in pasteurization also contributed directly to the war effort. This relocation marked the beginning of a new chapter for the family. Leaving their familiar surroundings, the family rented their home in D.C. and relocated to a two-family house on Linden Rd. Katherine's father happily took advantage of walking to work at the research center. However, the private consequences of moving from the city to suburbia have not been detailed.



When Hoover's family moved to Linden Road, her father rescued a piano their neighbors were about to abandon. Despite being out of tune and having broken pedal action, her father had the piano tuned, and this fueled Katherine's passionate and persistent pleas for piano lessons. Thus, at age five, her dream became a reality when she began piano lessons. Although her parents had no musical training, they supported Katherine's artistic inclinations. Hoover fondly remembered those early days, saying, "[Her parents] would play a game, just putting their hands down anywhere in any combination and asking me what notes they were playing. Then, turn to young Hoover to query the notes they had just played. This unique ear training, Katherine believes, contributed significantly to her development of perfect pitch, a rare and invaluable gift.

In primary school, Hoover was given the option to learn how to play the clarinet as her first instrument. However, she did not enjoy playing it because it caused discomfort due to biting, pressure, and being in the wrong key. She was ecstatic when her music teacher offered her the chance to play the flute instead, and she began taking flute lessons in fourth grade at the age of eight.

During her high school years at Springfield Township, Hoover found a diverse musical education. She participated in various musical activities, including bands, marching bands, and the Eastern Pennsylvania State Band. Additionally, she was a member of the "Quintones" singers for five years, which led to her numerous appearances on radio and early television programs. Overall, she had a rich musical education, which helped her hone and develop her talents. Later in life, when asked about her scholastic music instruction, Katherine apologetically responded that it was "mediocre." Expressing the desire for a faster learning curve in hindsight, especially considering her artistic aspirations.

University of Rochester
Hoover's parents didn't see music as a viable career option, probably due to their experiences during the Great Depression. Consequently, they pushed her towards academics, thus began her academic journey in 1955 at the University of Rochester, where she pursued a general studies major. After two years of general studies, Katherine transferred to the Eastman School of Music to follow her passion. However, her experience was different than expected. Hoover was often ignored and discouraged as the only woman in her classes. Katherine candidly expressed her disappointment, saying, "There were no women involved with composition. [I got] rather discouraged – being the only woman in my classes, being ignored, and so forth." While at Eastman, I learned of Nadia Boulanger, who has taught in France and the USA for decades.

Hoover earned 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, a testament to her musical prowess. This certificate also allowed her to perform solo with an orchestra, a significant achievement at Eastman. Her studies at Eastman acquainted her with the American Flute School movement through Joseph Mariano, a distinguished student of William Kincaid, and was highly regarded by eminent conductors such as Toscanini, Fritz Reiner, and Eugene Ormandy throughout his career.

Philadelphia
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. Katherine said that Kincaid's standards were very high, and she had to work hard to meet them.

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.

New York City
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. In 1964, she married John Christopher Schwab, (m.1964-1972).

Hoover's career as a composer began slowly. As a scholastic student, she was unaware of any notable contemporary classical 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. During this period, she worked as a freelance flutist for multiple ballet and opera companies.

From 1969 Hoover taught flute and music theory at the Manhattan School of Music (1969-1984). During this time, she analyzed a wide range of music scores and learned a great deal about compositional techniques. 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.

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. 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).

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.

Beginning in1984, Hoover taught theory and composition to graduate students as a faculty member at Teachers College, Columbia University (1984-1989).

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."

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.



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.

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

Compositional style
Hoover's unique compositional style bears the unmistakable imprint of her mentors Joseph Mariano and William Kincaid. 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.

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. 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. "'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.

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

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.

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. This is confirmed by Cathy Hancock Hicks: "“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."

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. 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.

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.

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.

Honors and awards

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