While some compositions are well-documented with readily available citations, others may require further research and exploration at Eastman School of Music's Sibley Library.
Katherine Hoover's working papers, manuscripts, books and research materials have been gifted to Sibley's Special Collections.
To maintain precision, the sources for composition titles and manuscript dates encompass reputable references, such as ASCAP, the International Confederation of Societies of Authors and Composers, and Papagena Press.
The reliability of the citations is ensured through reference to sources including the United States Copyright Office's, "Music Licensing U.S.
(2012)[24] Written for Wendela van Swol of Cordoba, Spain, and premiered at Maranatakerk, The Hague, Netherlands, December 2013.
(1974)[43] WorldCat[45] Composed to demonstrate various effects and sonorities, and different ways of combining the voices, also including a musical palindrome.
Composers program note: "In Celebration, I have quoted some of the pieces that I studied under Joseph's tutelage, as well as others that have become part of our heritage as flutists".
WorldCat[111] Recorded by Leonarda Productions in the Recital Hall, Penn State University, December, 1979 with members of The Alard String Quartet[112](1954 to 1994) [Leonard Feldman, Raymond Page, Joanne Zagst] and with Diane Gold.
Inspired by Michael Lacapa's[125] book The Flute Player[126] which retells the folktale of two young Apache who first meet at a Hoop Dance.
Movements: My days have been so wondrous free is written by Francis Hopkinson, to a poem by Thomas Parnell.
[141] Premiered at a tribute concert to composer, sponsored by the New York Flute Club[142] at the Lighthouse in NYC, March 2013.
[9] (1977) Based on five short piano works by Wolfgang Amadeus Mozart, arrangements for woodwind quartet by composer.
[169] Inspirations include jazz, big bands, rock and a train trip made to London England.
[9] (1987)[170] WorldCat[172] Commissioned by philanthropist Peter Alexander, The Hudson Valley Wind Quintet[173] and the State University of New York at New Paltz.
(2010)[192] Premiered by Stanley and Naomi Drucker, and Marilyn Sherman-Lehman,[193] at the Park Avenue United Methodist Church, New York.
Premiered 2012 at the Workshop for Music Performance Concert Hall, New York, by Christopher Creviston and Hannah Gruber.
Inspired by the beautiful vocal quality of a soprano saxophone played in the Cathedral as well as the extended phrases and haunting melodies of Elizabethan lute music as styled by John Dowland.
Premiered by The New Jersey Chamber Music Society, Alice Tully Hall, Lincoln Center Plaza, NY, May 20, 1989.
Inspired by Robinson's request to envision the Andalusian area of Spain and it's confluence Muslim, Christian and Jewish cultures as a center of tolerance and light.
Based upon the fear of tumbling through thin ice into cold and darkness, alternatively taking a chance, considering the disdain and shock of others yet forging ahead.
Tone poem based on Nicholas Gage's book Eleni, the story of his mother's heroism during the Greek Civil War.
Dedicated to Eleni Gatzoyannis, who was tortured and executed by Communist partisans for attempting to smuggle her children out of Greece in 1948.
[9] (1989)[276] WorldCat[278] Commissioned by and Premiered by Bay Area Women's Philharmonic, Faletta conducting 4/20/90 in San Francisco.
As work continued the second section was engaged by the nightscapes of Albert Pinkham Ryder, which feature mysterious and haunting moons and hazy, sensual forms.
Recorded 1987 by The Ariel Ensemble: Julia Lovett, soprano; Jerome Bunke, clarinet; Michael Fardink, piano.
[9] (1982) WorldCat[294] Commissioned by L. Lindell, premiered 1985 by L. Hindell & John Cheekat and String Quartet, at Merkin Hall.
[9] (1997)[295] WorldCat[297] Inspired by the portrayal of delight, despair, love, contempt, courage, and to a chilling look at the folly of war within poetry written by Anna Wickham & Sara Teasdale.
Inspired by an unusual book titled Izok Amar - Go, meaning "women going forward with love, not bitterness".
Movements: (2009) Premiered in 2009, by Katherine Ciesinsky, Bonita Boyd, and Nickolas Goluseswas at the Eastman School of Music.
[320][246] (1974)[321] WorldCat[327] Arrangements of traditional German Christmas carols with titles: The numerical designation of this musical work is Op.5.