Yale University Library

 

OHAM: John Strauss on Hindemith

OHAM Info

John Strauss

with Caitriona Bolster

465 West End Avenue

New York, New York

June 24, 1975  

TABLE OF CONTENTS

Cassette Side a:                                                                                            pp. 1-23

Strauss' musical background--the Dalcroze method--Strauss' interest in studying with Hindemith--his composition classes--as a teacher--his negativity--the three main guideposts--the importance of the structure of a piece--his interest in the theory of rhythm--Strauss' paper on tuning systems--his opinion of twelve-tone music--his love for early music--as conductor of the Collegium--Collegium performances--The Craft of Composition--his preparation for classes--Strauss' class in Dalcroze--his sense of humor--class involvement in preparing his books--as a composer--Mathis der Maler--his personality--his attitude towards other composers--discussions with Easley Blackwood--his early Sonata for Viola and piano--the spiritual quality in his music--his influence on Strauss--his humanist approach to music--the attitudes of different audiences--Strauss' appreciation of his teaching--his emphasis on craftsmanship--Strauss' interest in film--speculations about his attitude towards different mediums.

Cassette Side b:                                                                                           pp. 23-45

Material covered in his classes--Mrs. Hindemith as a singer--Charlotte Strauss' impressions of singers--instilling a sense of responsibility in his students--working on the three-part writing book with his students--his lack of personal interest in his students--conducting the Collegium--anecdote about Collegium concert at the Cloisters--his illustrations in programs--use of plainchant in his teaching--music education--the small revival of interest in his music--attitude towards twelve-tone music--his philosophic differences with other composers--his clarinet sonata--his uncanny sense of form--last visit with Strauss--his dramatic works--Quincy Porter as a teacher--composition assignments--his keyboard writing--Strauss' paper on meter--his work in musical theory--his method of weeding out composers.