Yale University Library


OHAM: Keith Wilson on Hindemith


Keith Wilson

with Caitriona Bolster

Stoeckel Hall

Yale University

March 20, 1975


Cassette Side a:                                                                                            pp. 1-12

Length of association with Wilson--Wilson's acquaintance with his music--Wilson's appreciation of the Opus 11 Viola Sonata and the Woodwind Quintet--Wilson's decision to join the Yale faculty is influenced by the presence of Hindemith and Porter--Wilson as the youngest person on the faculty--Wilson's teaching--coaching performances of his music--suggestion that brass piece, Plöner Musiktag be played freely--discrepancies between the rental score of Metamorphosis on Weber Themes and the miniature score--his ideas about Metamorphosis--additions to the miniature scores--concerto commissioned by the Connecticut Academy of Arts and Sciences--this concerto, for trumpet, bassoon, and strings, is composed for two Yale students to play, and for Wilson to conduct--his conception of the concerto--contemporary festival in Saratoga Springs--Dean Dixon as a meticulous conductor--Dixon's influence on Wilson--impatience with Wilson's overly meticulous interpretation of his septet for winds--his concept of the role of tempo markings in his music--Romantic elements in his music--conducting his own music--importance of shape--reasons for his drop in popularity in the 1950's and 1960's--performer's problems in interpreting his indications--working with Käbi Laretei on Ludus Tonalis--changes made in his second editions--working with Howard Boatwright--Band Symphony composed for the US Army Band--playing many wind instruments--anecdote about Mrs. Hindemith's compliment to Wilson--personality--intolerance for nonchalance--anecdote about his quarrel with David Kraehenbuehl--Kraehenbuehl eventually becomes a worshipping disciple--Kraehenbuehl's arrangement of Pop Goes the Weasel for string quartet--lack of individuality in his composition students--Mrs. Hindemith's anecdotal comment at composition students' recital.

Cassette Side b:                                                                                           pp. 12-23

Request for information from Wilson when he was composing Symphony for Band--differences between German and American bands--differences between European and American trumpet playing--piece for band, Variations Opus 41--interest in the American band tradition--as an excellent composer for wind instruments--conducting the Collegium--free approach towards medieval music--Mrs. Hindemith as a protector--Wilson's band arrangement of Metamorphosis--problems between Associated and Schott--letters between Wilson and Schott about the arrangement of Metamorphosis--performance of the piece on the 1962 European tour--Wilson's payment from Associated--Belwin Mills publishes the last movement--mistakes in their edition--popularity of the piece--dislike for a particular recording of Metamorphosis--belief that conductors were over-idolized--assumption that musicians should do a good job without expecting praise--dislike for Britten's Serenade for tenor horn and strings--initial dislike of Stravinsky--conducting Symphony of Psalms in a concert in 1960--dislike for twelve tone music--speech at a symposium in 1951 from Composer's World--Wilson's special liking for his early works--lack of respect for American composers--Howard Boatwright as a reference.