Eckhart Richter

with Caitriona Bolster

Atlanta American Hotel

Atlanta, Georgia

December 29, 1975

Table of Contents

Side a                                                                                                 (pp. 1-17)

Lectures at the University of Chicago--his former student, Remy Gassman--Richter’s interest in composition--lecture on Boethius--meeting with Richter--as a reserved person--premiere of Ludus Tonalis--his reconstruction of Monteverdi’s Orfeo--respect for Stravinsky--his opinion of Shostakovich--as a very honest teacher--Richter’s impressions of his music--Richter’s decision to attend Yale--as an energetic person--description of his home on Alden Avenue--derogatory remarks about the poor physical condition of his students at Yale--his entrance exams--description of his History of Theory course--the influence of his Latin studies on his outlook--relating theories to music--his sense of humor.

Side b                                                                                                            (pp. 17-33)

As a composition teacher--the criticism of his tendency to rewrite students’ compositions--his students’ attitude towards him--his sachlichkeit--his reaction to criticism--his magnetic personality--Richter’s enjoyment of Elementary Training class--his mischievous streak--encouraging students to help each other--his interest in music education--his interest in the publishing business--friendship with Mendel--his respect for craftspersonship--request that Richter play gamba with the Collegium--Collegium performances--relationship with Schrade--as conductor of the Collegium--his approach to a piece of music--performance of The Four Temperaments with the New Haven Symphony--his free approach to his own music--his interest in clarity of texture and overall form--his ability to make a piece of music live.

Side c                                                                                                 (pp. 33-45)

His ideas about what a score should contain--including cues in his chamber music--working on Part III of The Craft--in class--Richter’s translations--as a theorist--his perception of the rhythmic problem--feelings about electronic music--Richter’s friendship with Mrs. Hindemith--reticence about discussing his personal life--Mrs. Hindemith’s personality--anecdote about Collegium rehearsal--relationship with Quincy Porter--Porter’s opinion of Hindemith’s second String Trio.

Side d                                                                                                            (pp. 45-54)

His attitude towards America--his disillusionment with teaching--as an apolitical person--love of Switzerland--his widely publicized remarks about the deficiencies of musical life in Germany--distortions in the German press--episode with a German student in his history of theory class--positive influence on Richter--his place in the 20th Century music world--his hostility towards twelve-tone music--respect for Mendelssohn.