Nina Perlove, flute plays Hoover: Medieval Suite mvt 3

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with Dianne Frazer, piano
mvt. 3: Drunken Friar
LIVE at NFA 2016 - Tribute Concert to Katherine Hoover in honor of her Lifetime Achievement Award
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Nina is a Gemeinhardt Artist and in this concert is playing her handmade Gemeinhardt Generation Nina Perlove Signature Flute
To Katherine Hoover, from Nina Perlove
August, 2016
My first experience playing Katherine Hoover’s Medieval Suite was as a student of Alain Marion at the Paris Conservatory. I went to Paris to learn the method, style and nuances of French technique and repertoire. It was my goal to come back having had an immersive experience playing Faure, Ibert, Ravel and Debussy. But shortly after my arrival, I became aware that my French teachers and fellow students - who hailed from around the world, had very little knowledge of, or exposure to, the music of American composers. Standard pieces that I took for granted as part of the flute canon were virtually unheard of among my Paris Conservatory colleagues. I decided to make it a priority not only to study the music of France, but to act as an ambassador for American music. My lessons were often in masterclass style, with an amazing collaborative pianist, and I played Copland and Griffes. It was a first hearing for many. And then one day I decided to do something really radical: play a piece in the flute masterclass of the Paris Conservatory not only by an American composer, but by a living, female American composer - Katherine Hoover’s Medieval Suite. When I finished the last movement, I distinctly recall that one of my fellow students leapt to her feet, dashed across the room, grabbed the piano score and started to walk out of the room. I asked her what she was doing and she replied that she simply had to play this piece, so she was going to photocopy it! I had to explain that I could not allow her to copy the piece, but I would be happy to give her the information so she could buy it!
That uncontrollable reaction of leaping to your feet, propelled by the immediacy of “needing to play that piece” is a feeling I have encountered many times upon hearing the work of Katherine Hoover. From the time I first heard Kokopeli as an undergraduate student, to later hearing a student play Winter Spirits for me in a masterclass, I knew on a very instinctive level that I was not just hearing something special, I was experiencing something magical. Katherine is a storyteller, and the stories she recounts are ancient whisperings that resonate with a primal sense of mythological archetypes. Katherine is an old soul, connected to the past through the modes and melodies of our ancestors, reimagining them into a new language that transcends time and place.