Yale University Library

 

OHAM: Henry Kaufmann on Hindemith

OHAM Info

HINDEMITH PROJECT               Interview no. 30/69

 

Henry Kaufmann

with Caitriona Bolster

Rutgers University

New Brunswick, New Jersey

November 19, 1976

 

TABLE OF CONTENTS

 

Side A                                                                                                                        pp. 1-22

Study with Hindemith at Yale while in Army--musical background--acquaintance with Hindemith's music--Yale degrees--Hindemith theory and composition classes-- Hindemith’s method of teaching composition--style of "baby Hindemith"-­Hindemith as demanding teacher--singing with the Collegium--Schrade and Hindemith--Collegium as exciting musical experience--anecdote about canon--Hindemith’s ability to penetrate a style--his versatility on instruments--visits to Hindemith home--devotion of Mrs. Hindemith--inscribed copy of Ludus Tonalis-- party game involving drawing--Hindemith's knowledge of train schedules-- anecdote about composing on streetcar--anecdote about janitor’s evaluation of student’s composition--anecdotes about student works--Hindemith as dominant but not domineering--his opinion of women composers--Ruth Seckel--entourage of Stravinsky--misspellings of Hindemith’s name--Sarah Caldwell’s production of Mathis--speaking German with Hindemith--Hindemith’s revision of music instruction in Turkey--anecdote about Hindemith told by Walter Piston--comparison of Piston and Hindemith.

 

Side B                                                                                                                        pp. 22-40

Comparison of Piston and Hindemith as teachers of composition--enthusiasm and inspiration of Boulanger--Kaufmann's love of writing articles--Krenek--Schrade-­possibility of Hindemith’s becoming Dean of Yale School of Music--teaching techniques--Hindemith as theoretician--letter from Hindemith in support of Kaufmann’s teaching his method at Milton Academy--Kaufmann’s favorite Hindemith works--Kaufmann’s opinion of Hindemith as 20th century Brahms--Kolisch--Hindemith editions prepared by Kaufmann--research into beginning of orchestral song--Opus 9 as settings of expressionist poems--Hindemith's sketcbes in Switzerland-­Hindemith notebooks--editorial format for Kaufmann editions--biographies of Hindemith--Hindemith letters--Hindemith “tagebuch"--Hindemith’s reputation in Europe and in U.S.A.--Henahan review of Hindemith work--present-day return to tonality.

Side C                                                                                                                        pp. 40-54

 

Kaufmann’s appreciation of Schoenberg and 20th century music--his opinion of Hindemith’s place in 20th century music--Hindemith’s religion--as private person--strawberry and champagne parties--Hindemith’s treatment in U.S.--attitude toward European musicians who emigrated to U.S.--pretentious entourage of Stravinsky--Hindemith as conductor--notes on organ sonatas--influence of Hindemith on Kaufmann’s teaching--use of humor in class--Collegium repertory--Hindemith musicologically oriented--his use of audience participation--his theory about Gregorian chant.

Side D                                                                                                                        pp. 54-59

Anecdote about fire in organ at Christ Church--Hindemith’s command of repertory--sense of humor of Hindemith and Piston--Hindemith’s influence on Kaufmann.