Yale University Library

 

OHAM: Carl Miller on Hindemith

OHAM Info

 

Carl Miller

with Caitriona Bolster

Music Library

Yale University

New Haven, Ct.

February 4, 1975

 

Table of Contents

Side a                                                                                                             (pp. 1-19)

Miller’s studies with Hindemith student, Bernard Heiden-- Miller’s interest in studying with Hindemith at Yale-- V letter from Miller in New Guinea-- first class of GI students-- examinations-- Miller’s first year learning the basics-- the Collegium-- the male chorus--- old instruments from the Metropolitan Museum-- Miller’s strong connection with the Collegium-- autographed copy of Apparebit repetina sent to Miller-- anecdote about train trip-- ability to work out music in his head-- process of developing thematic ideas-- as a demanding hard working person-- works composed 1944-48-- composition students-- theory majors-- as a composer-- History of Theory lectures-- as a very complete teacher-- influence on student composers-- difficulty of composing for male chorus-- Demon of the Gibbet-- glee club concert with works by Cole Porter-- admiration for Schubert’s works for male chorus-- composition majors’ works for male chorus-- public concerts of student composer’s works-- playing in History of Theory class-- encouraging versatility at Yale School of Music-- Collegium concert in spring of 1948-- Norton lectures.

Side b                                                                                                                        (pp. 19-37)

Theory majors compose a violin concerto together-- Howard Boatwright dominates the theory class-- anti-Brahms attitude in the class-- Miller’s job at Schott’s Sohne in Mainz-- respect for Mendelssohn-- importance of a high intellectual level in composition-- enthusiasm for four hand piano music-- discussion of themes in class-- student’s inhibitions in class-- Traditional Harmony-- composing a theme using Mendelssohn as a model-- learning a French chasse in Collegium-- working without the keyboard-- use of Elementary Training in theory classes-- anecdote about students singing at George and Harry’s-- class corrects errors in Elementary Training-- Miller’s opinion of the class composing a collective concerto-- ideas about composing-- ideas about the purpose of music-- importance of accessibility-- lecture on Bach-- high moral purpose-- pettiness in personal contacts-- ideals govern musical ideas-- interest in the fugue-- Millers thoughts about music of a low caliber degrading mankind-- influence on students’ morals-- influenced by Greek concepts of music-- affinity with Bach, Josquin, Isaac, and Senfl-- use of older material in compositions; Schwanendreher and Mathis der Maler-- quote from Ce fut en Ma! in Nobilissima Visione-- encouraging students to use folk songs as cantus firmi-- analyzing folk songs-- view of himself as a composer-- as an heir of Max Reger-- commissions-- performances in the Library of Congress-- piece upon the death of George V-- performance of Trauermusik over the BBC-- dislike of Prokofiev-- popularity of Bartok in theory class-- attitude towards Schoenberg-- dislike of twelve tone music.

HINDEMITH PROJECT                30/16 c-f

 

 

 

                                                            TABLE OF CONTENTS

 

 

HINDEMITH PROJECT

Carl Miller

with Caitriona Bolster

New Haven, CT

February 4, 1975

[Cassette Side c]                                                                                             p. 46—60

Feelings about serial music--lack of audience for serial music--Miller’s ideas about Hindemith’ s music--importance of finding a natural basis for music--Craft of Musical Composition--criticism in article by Norman Cazden--Forte theoretical instruction at Yale--attempt to bring old fashioned harmony and counterpoint up to date--fondness for simple statements--anecdote about Strauss--meeting with Stravinsky--interest in Rite of Spring--lectures in Zurich in 1951--Miller’s German ability--recommendation that Miller see The Rake’s Progress in Zurich--Miller’s ideas about this opera--commanding personality--as a juror for string players--high regard for Casella--friendship with Milhaud--opinion of Michael Tippett--dislike of Orff--opinion of Fortner--Kurt Weill as a parlor communist.

[Cassette Side d]                                                                                            p. 60—64

Attempt to collaborate with Weill--dislike of Brecht’s politics--Lindbergsflucht--opinion of Weill--tower home in Berlin--reticence on subject of Hitler and the Nazis--admiration for Feuermann--opinion of Casals--siblings.

[Cassette Side e]                                                                                             p. 64—87

Helping Miller to find a job--Miller is hired by Associated Music Publishers as an educational representative--Miller helps to sell Hindemith’s books--Elementary Training--helping Miller get hired by Schott in Mainz--job at Schott--popularity of his music in Germany--performances of Mathis der Maler--demands on Associated Music Publishers--Variations on uber em  altenglisches Kinderlied for cello and piano--quartet written for Mrs. Hindemith--die Herstellung in the Schott plant--publishing of Variations for cello--Willy Strecker’ s responsibility for Schott’s excellent publications--Strecker’ s art collection--limitations of common notation--minimal indications to performer--as an excellent conductor of singing groups--idea about music indicating dynamics--love of early music--theory about performing a canon--l2th century chasse as an example of his theory--common impression of Hindemith--Miller’s opinion of Boulez’ conducting--Ormandy’s superficial performances of Hindmith’s music-- perfect performances of chamber works coached by Hindemith--45th or 50th birthday eelebration--sensitive performance by Budapest Quartet--excellent performances of piano music by woman who audited classes--as a conductor--discussions about Weber ‘s Euryanthe Overture in composition class--Weber themes in Symphonic Metamorphoses-- ruthlessnes with the New Haven Symphony--terrible temper--Hindemith Festivals

at the University of Illinois--disappointment with cellist in the Walden Quartet-- Clare Richard’s performance of Four Temperaments--Lukas Foss’ performance of same piece--disagreements with Foss.

[Cassette Side f]                                                                                             p. 87—94

Alice Ditson concerts at Columbia University--Meyer Rosen’s performance of Concerto for Winds, Harp, and Orchestra--anecdote about harpist--use of Mendelssohn’s Wedding March in the concerto--anniversary gift of this concerto to Mrs. Hindemith--quoting other themes in his work--importance of knowing a composer’s attitude towards her/his work--view of Marienleben--Miller’ s speculation about Hindemith’ s views of his own compositions--performance of Apparebit repetina dies in Illinois.