Yale University Library

 

OHAM: John Woldt on Hindemith

OHAM Info

 

John Woldt

with Caitriona Bolster

Music Department

Texas Christian University

Forth Worth, Texas

October 13, 1976

 

TABLE OF CONTENTS

Side a                                                                                                             (pp. 1-22)

 

Woldt’s study with Hindemith--composition class--personality--Ulysses Kay--Hindemith’ s rewriting of student compositions--teaching how to compose--bringing works in progress to class--seeing his mind work--willingness to see student work--cleverness in music--no encouragement for writing in “American” style--”march” music--text setting and accentuation in English vs. French--arguments in class--background in traditional theory necessary for composition--Woldt’s use of Traditional Harmony to teach theory--Traditional Harmony as a study in lack of rules--lack of directives concerning more complicated material--type of student at Texas Christian University--theory course as part history and part practice--study of earlier theory books--Hindemith’s theory book written with class--theory training essential--writing counterpoint exercises--enthusiasm--person-oriented--Eastman vs. Yale--Woldt’s meeting Hindemith at New York birthday concert--Woldt’s attendance at Symphonia Serena in Dallas--Hindemith’s recognizing and greeting Woldt in Vienna--meeting Hindemith at performance of Orpheus--seeing Hindemith in Munich at second performance of Harmonie der Welt.

Side b                                                                                                                        (pp. 22-43)

 

Harmonie der Welt--Collegium Musicum and “old” music--conducting technique--encouragement of musicians at rehearsals--effectiveness as conductor--Europeans’ opinion of Hindemith--larger audience for contemporary music in Europe during Hindemith’s lifetime--more American interest in contemporary music now--Szell and Cleveland Orchestra--Hindemith’ s press release reputation in America--comparison of Stravinsky and Hindemith press--Stravinsky recordings--Woldt’s opinion of Hindemith compared to Stravinsky--Woldt’s familiarity with Hindemith’s music before Yale--recommendation of Yale School of Music by colleague--anecdote about practicing Hindemith’s horn sonata--Hindemith’s performance of four-hand piano sonata and Biber sonata--feeling for instruments’ and performers ‘ capabilities--sensitivity to performers--bringing works in progress to class--compositional process--repetition of melody--clarity--more contrapuntist than harmonist--mind over heart--humor--enjoyment of life and people--using time to best advantage--entertaining students--Gertrud Hindemith protective--singing the Six Chansons for Hindemith’s birthday party--anecdote about photo with Bach picture--reverence for Bach--Symphonic Metamorphosis.

Side c                                                                                                             (pp. 43-62)

 

Opinion of Stravinsky and Schoenberg--diary kept by student--George Jacobson--Jean Moran--anecdote about Music School Christmas party--Hindemith and Schrade--contemporary music holdings at Yale Music Library--evaluation of Yale as musical environment--wealthy patrons-American music--anecdote about money hidden in attic--hiding money in books--political situation--form in music--markings for performers--as theoretician--ability to “hear”--expectations for his students--theory is logic.

Side d                                                                                                                        (pp. 63-66)

 

Influence on Woldt.