Yale University Library


OHAM: John Colman on Hindemith


HINDEMITH PROJECT                  Interview no. 30/70

John Colman

with Caitriona Bolster

1070 Park Ave.

New York, New York

November 21, 1976


Side A:                                                                                                           pp. 1-22

The Dalcroze school--Jooss Ballet--Colman’s piano studies and composition--connection between music and movement--Colman’s playing piano for dancing--writing for the Jooss Ballet in England--study with Hindemith at the Berlin Hochschule--first meeting with Hindemith--writing short stories--Colman’s viola piece--gift of Hindemith’s theory book--Hindemith’s refusal to permit Colman to study with Boulanger--Hindemith’s hatred of laziness--wonderful sense of construction--Hindemith’s room at the Hochschule--teaching while brass band plays--Hindemith’s personality--discussion of Hindemith’s music in class--Schoenberg--Wagner.

Side B:                                                                                                            pp. 23-46

Strauss--Berlin opera--difficulties with performance of Hindemith’s music--Hochschule faculty--Hochschule library--use of folk melodies--learning to play all instruments--flute sonata--practical approach--rhythm--Hindemith’s inquiry about travelling on an ocean liner--performance of Hindemith works by Boepple--Boulanger--Hindemith as violist--Tanglewood--Hindemith’s refusal to teach Colman--Colman’s recommendation to Dello Joio to study with Hindemith at Tanglewood--Koussevitzky--Bernstein--Fiedler--suicide of student--Shapero, Foss--The Four Temperaments--Balanchine--reaction to Four Temperaments--study with Hindemith at Yale--Dello Joio.

Side C:                                                                                                            pp. 48-60

Hindemith as composer for ballet--movement--Hindemith’s ballets--Colman’s translation of Hindemith lecture--Hérodiade--text-setting--Tovey--When Lilacs Last in the Dooryard Bloom’d--George London--American “laziness"--interest in American musical scene--Stravinsky--Hindemith as conductor--comparison of Hindemith and Verdi.

Side D:                                                                                                           pp. 61-70

Performance of Hindemith’s music by Musicum Vocare--The Long Christmas Dinner--Hindemith as writer for stage--sound not the most important thing in music--discussion of lack of challenge in America--some composers as poseurs--Hindemith’s influence on Colman’s development as musician.