- Leaning Into and Away (1994)
-
Eleanor Hovda
for flute, oboe, clarinet in Bb, percussion, piano, and string quartet
ca. 12'51"
Commissioned by the Cuicani Orchestra Project, with support from the US/Mexico Fund for Culture
Dedicated to the memory of Manuel Enriquez
I use the title Leaning Into and Away because the piece grew out of many thoughts about and experiences dancing and making music for dancers. I found myself focussing particularly on the energies of running on the ground and leaping into space, and the flow of energy involved in any physical moves from balance to suspension. I also wanted to work with the idea of excavating sounds from the bone and sinew of piano, wind, string, and percussion instruments – as dancers draw energy from deep inside their bodies.
Click here to view the performance notes.
Click here to hear a recording by the Prism Players on Spotify.
- Snapdragon (1993)
-
Eleanor Hovda
for flute, oboe, Bb clarinet, bassoon, horn in F
Commissioned by the Holland Festival for the Nederlands Blazers Ensemble
Snapdragon is written for the Nederlands Wind Ensemble, and was completed on May 19, 1993. I use the title Snapdragon because it refers to a game** where raisins are snatched from burning flames. I wanted to work with extremes of energy (from relaxed to intense-but-inward, to most extroverted, flung energy). I also wanted to work with the idea of excavating sounds from the bone and sinew of wind instruments: the expansions of single pitches, either fingered or otherwise altered, which can happen when extremes of breath control, additions of auxilllary keys and alternatve fingerings are used. I imagine the energy of watching the flames and then swiftly snatching at the raisins. I imagine the energy of both participating in the game and watching the action.
**a Victorian-era game played during the winter, particularly on Christmas eve
Click here to hear a recording by the Prism Players on the Eleanor Hovda Collection CD (Spotify).
- Fields (1987)
-
Eleanor Hovda
for orchestra
ca. 16'00"
This piece was performed by the BBC Scottish Symphony Orchestra with Principal Guest Conductor Ilan Volkov on Thursday 21 October 2021 at the Glasgow Royal Concert Hall.
Click here to view the score and listen to the recording.
- Traces (1990)
-
Eleanor Hovda
for english horn/oboe and electric bass
- Cheetah (1992)
-
Eleanor Hovda
for flute, oboe, Bb clarinet, bassoon, viola, electric bass, percussion
Cheetah is written for Relache, and was completed on December 24, 1992. I have used the image of cheetahs for several reasons. I wanted to work with extremes of energy (from relaxed to intense-but-inward to most extroverted, flung energy). I also wanted to work with the idea of excavating sounds from the bone and sinew of acoustic instruments: the expansions of single pitches, either fingered or bowed, which can happen when extremes of breath control, additions of auxillary keys and alternative fingerings (winds) and larger spectra of bowing techniques and placements (strings) are used. Cheetahs are said to be the fastest animals on earth when they run, but their sprints are very short. The rest of the time they spend recovering from their runs or preparing for the next dash by scoping out the landscape with intense focus, from stationary positions or by prowling. I imagine an enormous amount of energy and motion in the stillness flowing from them during these periods of intense focus.
- Borealis Music (1987)
-
Eleanor Hovda
for flute, oboe, bassoon, piano
ca. 10'30"
For the Sylmar Chamber Ensemble
Commissioned by the MCF/CCP Program funded by the Jerome Foundation
Borealis Music suggests energy which moves but doesn't go anywhere. The Aurora Borealis is seen as curtains or ribbons of active energy, but not a travelling form. There is also the perception of the aurora being a series of super-imposed "after-images" – the idea that what is seen is the resultant of a field of reflected/refracted electrical impulses.
The energy fields are achieved by introspective probings of the "sound around the sound" of strings and winds. Sonic ribbons emerge, and lengths of time taken to excavate and articulate resonance fields.
An important aspect of performance is to be able to work with very soft dynamic levels with intense concentration and energy. A theatrical metaphor is the Noh drama of Japan, where the slow unfolding of infinitesimally distilled material serves to heighten and sustain focus and attention.
- Onyx (1991)
-
Eleanor Hovda
for chamber orchestra
ca. 13'45"
This piece was commissioned by the Lake Superior Chamber Orchestra.
This project was supported in part through funding from the Minnesota State Arts Board and the National Endowment for the Arts.
Click here to view the score with composer's notes.
Click here to view the score with conductor's notes.
- Hollows (1985)
-
Eleanor Hovda
for flute, oboe, bassoon, violin, and cello
For the Sylmar Chamber Ensemble, with gratitude to the McKnight Foundation
This piece is a very introspective probing of "the secret life" of the winds and strings. It resonates hollow places and takes long lengths of time to excavate and articulate the "sound around the sound."