Yale University Library

 

OHAM: Fenno Heath on Hindemith

OHAM Info

 

 

Fenno Heath

with Caitriona Bolster

Hendrie Hall

Yale University

New Haven, CT.

January 16, 1975

 

Table of Contents

 

Side a                                                                                                             pp. 1—27

History of music course-- Heath’s work with Hindemith in the Yale School of Music-- as a versatile musician-- personality-- as a stern taskmaster-- as a conductor-- performances on early instruments-- audience participation in Collegium con­certs-- stimulating interest in early instruments-- using manuscripts-- demand that students learn many clefs-- Heath’s participation in Collegium concerts-- Collegium repertory-- a cappella mass (1963)-- Mrs.Hindemith’s Catholicism-- Mrs. Hindemith as a protector-- marriage-- friendship between Luther Noss and Hindemith-- electric trains-- hand made Christmas cards-- as a lover of life-- Bach as his model-- other interests-- The Craft of Composition --attitude towards teaching composition-- danger of students becoming copies-- Heath’s criticism of aspects of Hindemith’s composition style-- Mathis der Mahler -- sonatas for every instrument-- discussions with Heath on choral performance-- as a history teacher-- mathematical emphasis in history of music class-- Hindemith students-- conducting the New Haven Symphony-- as a domineer­ing teacher-- popularity of singing in second term of history class-- tyrant poten­tial-- changes with age-- attitude towards Schoenberg, Stravinsky, Berg-- dislike of twelve tone music-- lectures at Harvard-- influence over the entire Yale School of Music-- attitudes of composition students in the 1970’s towards Hindemith’s music-- special style-- Heath’s speculations on the future of Hindemith’s music-- leaving Germany-- Heath’s appreciation of his influence-- performance of Buxtehude cantata in 1961

-- A Composer’s World-- as a very complete musician-- Requiem For Those We Love -- Glee Club piece, “The Demon of the Gibbet"-- attitude towards the Glee Club-- formulaic style-- as a choral composer-- Six Chansons-- Requiem-- twelve five part madrigals-- Mass-- how choral music is faring presently-- performance of Requiem at Yale.

Side b                                                                                                            pp. 27- 32

Present popularity of instrumental music-- Mathis der Mahler -- as a voracious reader-- appreciation for Walt Whitman and Rilke-- as a lively, playful person-- fondness for children-- spells of amnesia-- stroke-- overworking-- concert in 1961 at Yale-- adapting to life in the United States-- excellent English.