Flute with Accompaniment


Four Winds

  • Composed 2015
  • Premiered 2015
  • Flute and Piano *


  1. Flute, Piano
  2. Flute and Orchestra
  3. Flute and Orchestra with Piano reduction


  1. East
  2. South
  3. West
  4. North


  • Premiered by Mark Sparks at the 2015 National Flute Association convention in Washington, D.C.

  • Four Winds considers breath as integral to flute performance through the depiction of winds at different times of the year. For advanced performers.

* Links:
Full Orchestra
PP191-Flt, Pno

Mountain and Mesa

  • Composed 2008
  • Premiered August 2009
  • Flute, Piano


  1. Hungarian Lassu
  2. On the Mesa
  3. Dizi Dance


  • Premiered by Mimi Stillman and Jeremy Gill, National Flute Association Convention, New York, 2009.

  • This work is three-in-one, exploring the different sounds of flute around the world. Hoover's work starts its journey with gypsy music from Eastern Europe (Hungarian Lassu), then travels through a Hopi Lullaby of Native America, and ends with Dizi Dance in the style of the Chinese folk music.
    - K. Hoover.

Two for Two

  • Composed 2006
  • NFA Newly Published Music Award, 2006
  • Alto & Bass Flute w/Piano


  1. What goes around
  2. Tango


  • This work for flute was performed by Chris Potter at the Albuquerque, New Mexico National Flute Association Convention.

  • In two sections one flutist plays both alto and bass flutes which is a departure from the ordinary.
    - K. Hoover.

Three Sketches

  • Composed 2003
  • Piccolo, Piano


  1. Dusk
  2. Hide and Seek
  3. Danza


  • Commission by National Flute Association Flute Association.


  • Composed 1999
  • Flute, Guitar
  • Duration 3'


  • Commissioned and premired by Red Cedar Chamber Music.

  • The flute and harp are both ancient and beautiful instruments, and their sounds complement each other in unique ways. In this piece, I have explored some of these combinations.
    - K. Hoover.


  • Opus 56
  • Composed 1998
  • Preimered 1998
  • Flute with Piano
  • Duration 15'


  1. Haida Indian mask
  2. Huichol Jaguar mask
  3. Afro-American Death mask
  4. Clown mask
  5. (andante)


  • Commissioned by the National Flute Association. Premiered by Jeani Foster and Stefanie Jacob at the National Convention, Phoenix, AZ, August 1998.

  • When asked to write a piece for the National Flute Convention in Phoenix, I envisioned a piece comprising several short movements. The idea of MASKS appealed to me, for a mask generally makes an impression quickly; its affect clear at a glance.

    I have collected several masks over the years, and looked at many more in museums and art books of various kinds. Three of these movements reflect particular masks that I have seen, one is a generic type, and two are waiting to be constructed.

    The three specific masks are: I A Haida (Northwest Native American) mask, of commanding presence; II a Huichol (Mexican Native) Jaguar mask, completely beaded with intricate flower patterns; and III, an African American death mask of great calmness. IV is a clown mask, and the last two are left entirely to your imagination.

    - K. Hoover.

Dances and Variations

  • Composed 1996
  • Flute, Harp
  • Duration 19-20'
  • Recorded, Leonarda Classical Recordings, CD #LE349
  • PBS Documentary, Deborah Novak's New Music


  1. Entrata
  2. Adagio
  3. Variations: My Days Have Been So Wondrous Free


  • Commissioned by Dr. and Mrs. James P. Carey and Marshall University for Wendell Dobbs. Premiered at Kennedy Center.

  • The flute and harp are both ancient and beautiful instruments, and their sounds complement each other in unique ways. In this piece I have explored some of these combinations. The first movement, "Entrata", is a light piece with shifting rhythms in both instruments; it quotes some children's tunes now and again. The second movement, "Adagio", is rather stark, with a measured ostinato in the harp and contrasting, rhythmically free gestures in the flute. These eventually come together in a slow melodic section. These two movements comprise the "Dances" of the title, for they are both involved with various kinds of motion, and I would love to see them choreographed at some time.

    The third movement is a series of variations on a lovely tune written in 1759 by Francis Hopkinson, a Philadelphia lawyer and a signer of the Declaration of Independence. The song is called "My Days have been so wondrous free", with a text by Thomas Parnell. The variations are rather "wondrous free" themselves, having been influenced as much by the words as by the melody, and moving far from the original, though returning for a straightforward rendition of the tune at the end.

    - K. Hoover.

Poem by Thomas Parnell

  • My days have been so wondrous free,
  • the little birds that fly
  • with careless ease from tree to tree
  • were but as blessed as I.
  • Ask the gliding waters if a tear of mine
  • increased their stream,
  • and ask the breathing gales if e'er
  • I lent a sight to them.

Canyon Echoes

  • Opus 45
  • Composed 1991
  • Duration 16'
  • NFA Newly Published Music Award, 1993
  • Flute, Guitar


  1. Dance
  2. Serenade
  3. She Mourns
  4. He Returns


  • Commissioned and premiered by Duologue at the Walker Art Center in Minneapolis Minnasota, November 1991.

  • This piece was inspired by a book called The Flute Player, a simple and beautifully illustrated retelling of an Apache folktale by Michael Lacapa. It is the story of two young Apaches from different areas of a large canyon, where the streams ripple and the wind sings in the cottonwoods. They meet at a Hoop Dance, and dance only with each other. The next day, as the girl works up on the side of the canyon in her father's fields, the boy sits below by a stream and plays his flute for her (flute-playing was a common manner of courtship). She puts a leaf in the stream which flows down to him, so he knows she hears. This continues for a time, until the boy is woken one morning and told he is of age to join the hunt - a journey of some weeks, leaving momentarily. The girl still listens each day for the flute until, feeling abandoned, she falls ill and dies. When the boy returns, he runs to play for her - but there is no leaf. When he learns of her death, he disappears into the hills, and his flute still echos when the breezes blow through the cottonwoods, and the streams ripple in the canyon.
    - K. Hoover.

Medieval Suite

  • Opus 18
  • Composed 1981
  • Duration 18-19'
  • NFA Newly Published Music Award, 1987
  • Flute with Piano *


  1. Depouillement: Virelai
  2. The Black Knight
  3. The Drunken Friar
  4. On the Betrothal of Princess Isabelle of France, Aged Six Years
  5. Demon's Dance


  • The Medieval Suite was inspired by characters and events described in Barbara Tuchman's A Distant Mirror, a history of fourteenth-century France. It was a violent, bitter century of extensive wars, and Ms. Tuchman sees it as something of a reflection of our own. The first movement, 'Virelai', uses parts of a work in that form by Guillaume de Machaut, a French composer of that era. The "Black Knight" was a violent British prince barred from his beloved field of battle by a wasting disease. The fourteenth century was a low point for the Catholic Church with warring Popes in Rome and Avignon, and 'the Drunken Friar' was apparently a common sight. In this movement I have freely adapted and embroidered a Gregorian chant and quoted a well-known round of the time, 'Sumer is acumin in'. 'Princess Isabelle' describes a daughter of the King of France who was engaged at the age of six, sent to England to live permanently, and wed at twelve - a common fate for royal children. The 'Demon's Dance' was a desperate marathon dance done by some in hopes of avoiding the Black Plague.
    - K. Hoover.
* Links:
1984 Orchestration
114-40417-Flt, Pno