Yale University Library


OHAM: Joseph Iadone on Hindemith


Joseph Iadone

with Caitriona Bolster

215 Salem St.

Bridgeport, Ct.

April 13, 1975



Table of Contents

Side a                                                                                                                         pp. 1—19

Iadone’s friendship with George Lam-- Iadone’s lack of a general educational background-- Iadone’s excellent background in music-- harmony book-- meeting with Iadone-- request that Iadone attend Yale-- as an excellent teacher-- similarities between his background and Iadone’s-- Iadone’s struggles in his classes at Yale-- as a self-taught person-- Iadone’s lack of respect for other teachers at Yale-- love for early music-- as a genius-- close friendship with Iadone-- his family-- his first experiences with music-- using colors for sounds-- teaching his brother Rudolf to play the cello-- early music as the music of the future-- over emphasis on the mechanics of playing-- encouraging Iadone to play the lute-- Iadone performs on the lute with the Collegium-- Iadone’ s lute studies-- Iadone’s recordings with Russell Oberlin-- Iadone works for a master’s in theory and composition-- doing transcriptions for the Collegium-- belief in the importance of playing musically-- the differences between musicologists and musicians-- conducting early music-- ideas about the similarities of early music and the music of today-- Iadone’s ideas about musical style-- importance of being a good musician before approaching early music-- excellent Collegium performances-- concert of works by Gesualdo-- contrapuntalists of the 15th and 16th centuries-- respect for Morley and Gibbons-- love for Monteverdi-- working on Orfeo with the Collegium-- dissatisfaction with Yale-- Mrs. Hindemith as a good wife-- lack of respect for American composers-- fondness for Bartók.

Side b                                                                                                                        pp. 19—42

Opinion of Stravinsky and Schoenberg-- article in the Saturday Review on 20th century music that ignores Hindemith-- the eclipse of his music-- as a composition teacher, personality-- Iadone’s respect for him-- attitude towards his work-- the lack of great teachers-- the lack of sincere, dedicated musicians-- the problem of students faking instead of learning-- as a disciplinarian-- feedback to Iadone-- dislike of grading-- Mrs. Hindemith’s jealousy of Iadone-- Mrs. Hindemith’s prejudices-- Mrs. Hindemith as a supportive wife-- reticence about his compositional procedure-- Iadone gives him the idea for Elementary Training for Musicians -- dislike for solfeggio-- students’ bringing in examples to class-- Nadia Boulanger’s respect for Elementary Training-- old-timer’s resentment when he became concertmaster of the Frankfurt Opera at a young age-- working with the Amar Quartet-- trio with Feuermann and Goldberg-- quartet with Casals-- Amar Quartet’s concert for the Queen of England-- concertizing with the Boston Symphony-- his first job in the USA-- Donovan arranges a lecture for him at Yale-- no longer caring for a performer’s lifestyle-- anecdote about the Budapest Quartet and exercises from Elementary Training-- Milhaud’s visit to his class-- visits from the Trapp family-- friendship with Joseph Schuster, the cellist-- Joseph Iadone with Caitriona Bolster-- friction between Hindemith and his brother Rudolf-- playing with electric trains-- making his own wine-- German living habits-- lack of interest in socializing-- festival for him at Colorado College-- love for walking-- love of reading-- varied interests-- as a religious person-- facility with languages-- excellent English-- as a very good orchestral conductor-- dry performances of his music today-- responsibility of the conductor to make music live-- Aldo Parisot’s performance of the cello concerto-- Parisot takes too many liberties with the piece-- musicians’ lack of ability in finding the inner workings of a piece-- markings in his scores-- problems with a soloist in Four Temperaments-- dissatisfaction with performances of his music-- love for Jésus Mariá Sanromà-- beautiful performance of the viola sonata by Sanromà.

Side c                                                                                                                         pp. 42—49

Love for Verdi-- love for opera-- Rossini’s laziness-- Iadone’s love for opera-- ideas about the learning process-- Cardillac and Mathis-- as a stage composer-- revising his own works-- versions of The Three Part Writing Book-- as a person who was constantly learning-- being open to the unpredictable-- importance of having more than technique-- the mysteries of a great artist-- ballet pieces, Nobilissima Visione and Hérodiade-- reticence to speak about his works-- as a very moral person-- Iadone’s adoration of him-- positive influence on Iadone.