(b Scarborough, 8 July 1912; d Sheffield, 18 May 1988). English cellist. She studied with Douglas Cameron both at the London School of Violoncello (1927–9) and the RAM (1929–34), and with Feuermann in Zürich after her Wigmore Hall début recital in 1934. She appeared regularly as a soloist and made her Proms début in Beethoven's Triple Concerto with Frederick Grinke, Dorothy Manley and the BBC SO conducted by Sir Henry Wood; she also played with Grinke and Manley in the Grinke Trio (1933–45), and in 1936 formed a duo with the pianist Kendall Taylor. From 1950 to 1976 Hooton played in the Loveridge-Martin-Hooton Trio with the violinist David Martin, whom she had married in 1938. She gave the premières of several works dedicated to her, including concertos by Gordon Jacob, Alan Bush and Kenneth Leighton, the Legend Sonata by Bax and the Divertimento for unaccompanied cello by Jacob. She also gave the première of Bridge's Oration (1936), a work originally written for Felix Salmond, who rejected it as being ungrateful for the cello. She was a much respected teacher who became a professor at the RAM in 1964 and after her final public concert appearance in 1978 devoted herself entirely to teaching. Hooton played a Rogerius cello dated 1699. She was made an OBE in 1982.
J. Dorner: ‘Teaching With a Smile’, The Strad, xcv (1984), 116–19
M. Campbell: Obituary, The Strad, xcix (1988), 529
Hoover, Cynthia Adams
(b Lexington, NE, 16 Dec 1934). American organologist and musicologist. She studied at Wellesley College (BA 1957), Harvard University (MAT 1958), and Brandeis University (MFA 1961). She taught at Wellesley (1958–60) before becoming a curator in the Division of Musical Instruments of the Smithsonian Institution in 1961. Hoover has been the curator of numerous exhibitions at the Smithsonian and at the Museum of Fine Arts, Boston. She was president of the Comité International des Musées et Collections d’Instruments de Musique (1989–95). Her research interests include musical instruments made and used in America, with special focus upon the social, cultural and technological history of the piano. She has also written on music and theatre in 18th-century America.
‘The Slide Trumpet of the Nineteenth Century’, Brass Quarterly, vi (1962–3), 159–78
Harpsichords and Clavichords (Washington DC, 1969)
‘A Trumpet Battle at Niblo’s Pleasure Garden’, MQ, lv (1969), 384–95
Music Machines – American Style, Smithsonian Institution, 1971 (Washington DC, 1971/R1975 as The History of Music Machines) [exhibition catalogue]
‘Epilogue to Secular Music in Early Massachusetts’, Music in Colonial Massachusetts 1630–1820: Boston 1973, ii, 715–868
‘The Phonograph and Museums’, The Phonograph and Our Musical Life: Brooklyn, NY, 1977, 77–84
‘The Steinways and their Pianos in the Nineteenth Century’, JAMIS, vii (1981), 47–89
‘Music in Eighteenth-Century American Theatre’, American Music, ii (1984), 6–18
‘The Great Piano War of the 1870s’, A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock, ed. R.A. Crawford, R.A. Lott and C.J. Oja (Ann Arbor, 1990), 132–53
‘Music and Theater in the Lives of Eighteenth-Century Americans’, Of Consuming Interests: the Style of Life in the Eighteenth Century, ed. C. Carson, R. Hoffman and P.J. Albert (Charlottesville, VA, 1994), 307–53
(b Elkins, WV, 2 Dec 1937). American composer and flautist. She attended the Eastman School (BM 1959), Bryn Mawr, Yale Summer Session and the Manhattan School of Music (MM 1974). She taught at the Manhattan School and at Juilliard Preparatory, and has performed widely as a flautist. From 1978 to 1981 she organized the Women's Interart Center music festivals in New York. She has received many commissions, residencies and awards, including an Academy of Arts and Letters Award in Composition in 1994.
Although her output includes works for solo voice and chorus, her major works are instrumental. Extra-musical references include Barbara Tuchman's A Distant Mirror (in Medieval Suite) and Amerindian myths (in Kokopeli and Stitch-te Naku). Da pacem takes its name from the 16th-century cantus firmus on which it is based. Her musical rhetoric is clear and eloquent; moments of startling beauty emerge from her sometimes acerbic harmonies. The commissioning, rehearsal and première of her Dances and Variations is the subject of a 1996 documentary.
Orch: Summer Night, fl, hn, str, 1986 (1986); Cl Conc., 1987; Eleni: a Greek Tragedy, 1987; Double Conc., 2 vn, str, 1989; 2 Sketches, 1989; Night Skies, 1992; Stitch-te Naku, vc, orch, 1994; Bounce, orch, 1997
Chbr and solo inst: Homage to Bartók, wind qnt, 1975; Divertimento, fl, vn, va, vc, 1975; Sinfonia, 4 bn, 1976; Trio, cl, vn, pf, 1978; Medieval Suite, fl, pf, 1979–80 (1986), orchd 1987; Images, cl, vn, pf, 1981; Lyric Trio, fl, vc, pf, 1983; Qwindtet, wind qnt, 1987; Da pacem, pf qnt, 1988; Kokopeli, fl, 1990; Ob Sonata, 1991; Canyon Echoes, fl, gui, 1991; Dances & Variations, fl, hp, 1996; Winter Spirits, fl, 1997; Kyrie, 12 fl, 1998; str qt, 1998; Canyon Shadows, native fl, fl, perc, 1999; Trio, 3 fl, 1999; Suite, fl, gui, bn, 2000
Pf: Piano Book, 1977–82; Allegro e andante, 1983; Sonata mvt, 1999
Choral: Songs of Joy, SATB, 2 tpt, 2 trbn, 1974; Ps xxiii, SATB, org, 1981; Songs of Celebration, SATB, kbd/brass qnt, 1983; Ps c, SATB, kbd, 1997; Ps c, SATB, org, 1997; Echo, SATB, 1998
Other vocal: To Many a Well, Mez/S, pf, 1977; Selima, or Ode on the Death of a Favourite Cat, Drowned in a Tub of Goldfishes, S, cl, pf, 1979; From the Testament of François Villon, B-Bar, bn, str qt, 1982; Central American Songs, v, fl, perc, pf, 1995; The Heart Speaks, 7 songs for S, pf, 1997; 3 songs, Bar, 1999
MSS in US-NYamc
Principal publishers: Carl Fischer, Papagena Press, T. Presser
GroveW (C. Parsons Smith) [incl. further bibliography]
E. Yarrison: The Medieval Suite for Flute and Piano by Katherine Hoover: an Examination, Analysis and Performance Guide (DMA diss., U. of Nebraska, 1996)
CATHERINE PARSONS SMITH