HINDEMITH PROJECT               Interview no. 30/6

George Jacobson

with Caitriona Bolster

Morse College

Yale University

New Haven, CT

April 19, 1973

Table of Contents

Tape A                                                                                                           pp. 1-14

Lectures in 1940--Jacobson’s studies at Yale School of Music--Mathis der Maler--Kleine Kammermusik--The Craft--questions at lectures--view of tonal analysis--Donovan’s baiting at lecture--performances of Biber sonatas on scordatura violin--Jacobson’s studies with Hindemith--tests--David Smith’s attitude towards Hindemith--conversations during class breaks--trip to Turkey--revelation on train about 1922 Suite--decision to take on different theoretical and compositional views--interest in Turkish music--equal temperament tuning chart--signing receipts--reorganization of Yale School of Music--Elementary Training for Musicians--work in Yale School of Music Preparatory Division-- view of Yale School of Music’s schedule--classes at Yale--Collegium Instrumentalis--music for fourteenth century miracle play--Jacobson’s view of Hindemith and Shrade‘s teaching.

Tape B                                                                                                           pp. 14-28

Performances of student compositions in class--playing baritone horn--sketching students’ pieces--a typical class--translation of The Craft Volume III-- study of The Craft Volume III in class--Symphony_Serena--copying music-- Mrs. Hindemith’s singing--Collegium performance for the American Musicological Society--as a conductor--admiration for Dmitri Mitropoulos and Leopold Stokowski--conducting at University of Illinois and University of Indiana--theory lesson to Stravinsky and Homer Schmidt at Wayne Brannigan’s cocktail party--talk at theorist’s symposium on teaching theory--harmony--antagonism at symposium-- view of Bartók--disdain for Ernst Krenek--view of Shostakovich and Quincy Porter--meeting with teacher, Arnold Mendelssohn--student, Mel Powell--critiques of performances of his music in class--Jacobson’s feelings about studying with Hindemith--The Sacred Madrigals--feelings about change in the music scene-- song cycle for alto, string quartet, flute, and clarinet.