- Yurt (2013)
-
Rahilia Hasanova
for orchestra
ca. 8'46"
- First Symphony (1976)
-
Rahilia Hasanova
for orchestra
ca. 21'00"
- Ariadnemusic (1984)
-
Eleanor Hovda
for flute, clarinet in Bb, violin, viola, violoncello, piano, and percussion
ca. 14'42"
For the Boston Musica Viva, Richard Pittman, music director
Click here to view revised performance notes.
Click here to hear a recording by the Prism Players on the Eleanor Hovda Collection CD on Spotify.
- 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.
- Regions (1971, rev. 1997)
-
Eleanor Hovda
for flute, clarinet in Bb, violin, grand piano, and crotales
ca. 12'40"
Commissioned by the Atlanta Contemporary Chamber Ensemble, California EAR Unit, and Boston Musica Viva through the Meet the Composer/Readers Digest Commissioning Program
Click here to view an addendum related to pages 4 - 11.
Click here to hear a recording by the California EAR Unit 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.
- Journeymusic (1981)
-
Eleanor Hovda
for flute, clarinet in Bb, violin, contrabass, piano, and percussion
ca. 8'00"
Commisioned by the Jerome Foundation for the Orchestra of Our Time, Joel Thome, music director
Click here to view the performance notes.
- 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.