Yale University Library


OHAM: Kurt Stone on Hindemith


Kurt Stone

with Caitriona Bolster

Lincoln Center Library

New York

June 4, 1975





Side A                                                                                                             (pp. 1—22)

Stone’s early interest in his music--Stone’s article in Danish--reprint business during the war--Stone’s work as Mendel ‘s assistant--Associated as publisher for stranded European composers--contact with Stone through Associated--brief history of Associated Music Publishers--catalog of his works--Stone edits new versions of Marienleben and Traditional Harmony Book TI--article in Dansk Musiktidsskrift -- personality--difficult exercises in Elementary Training for Musicians --as an inspiring teacher--anecdote about students at “George and Harry’s”--first Collegium concert--anecdote about trombonist--influence on his students--performance of St. John’s Passion in New York conducted by Mendel--as an uninspired violist-- Nazis at performance of Ploner Musiktag in Hamburg--Stern’s offer to play the sonata in E for his 50th birthday party--his preference for the sonata in C~ anecdote about the New Friends of Music--desire to be honored--dislike of com­pliments--dull performances of his music due to his lack of markings--sensuous performance of Herodiade at Juilliard--belief that a minimum of information should be supplied in a score--changes in his attitude towards performance during 1947-55-- ideas about notation--rarity of revisions--revision of Marienleben and Cardillac -- his neat scores--importance of accidentals--refusal to change his concept to suit notation--ideas about metronome markings--Stone’s copying for the Requiem -- working copy of Elementary Training for Musicians --as a bitter person--dislike of BMI management of Associated--love of Bruckner--dislike of twelve-tone music-- inflexibility in his later years--conducting Symphony of Psalms in New Haven-- interest in the harmonic connections and inner workings of a piece--lack of interest in instrumentation and rhythm--relationship between Hindemiths and Stravinskys-- his strange mixture of pride and humility--respect for Reger and Bruckner.

Side B                                                                                                             (pp. 22—48)

lack of interest in electronic music--as a very German person --Ondes Martenot -- open mindedness in his earlier days--speech, Sterbende Gewasser --doctoral thesis by V. Landen on Hindemith as a violator of his own rules--beliefs about musical theory and musical style--Elliot Carter’s system of composing--influence of old music on his composition--decisions about tempo in his performance of a Gabrieli piece--as a conductor of early music--Helen Boatwright’s positive influence on the Collegium--lack of interest in polished performances--the fusing of musical traditions in America--his exceptional performance of Herodiade--Mrs. Hindemith’s reaction to Martha Graham’s Herodiade--Balanchine’s Four Temperaments --

Kurt Stone

with Caitriona Bolster


relationship with Karl Bauer--Sarah Caldwell’s excellent performance of Mathis der Mahler --Gretel Urban and Leonard Feist as possible references--Mrs. Hindemith’s personality--relationships with Mendel and Stone--making the catalogue-- anecdote about mistakes in catalogue--duo for viola and cello written for blank side of recording--writing Trauermusik on the boat--his peculiar durations in the catalogue--looking at his music in retrospect--as a quick moving person--dislike for mixing English and German--his terrible accent--adjusting to life in America-- attitude towards his students--as a savage critic--view of himself as a musician-- competency in many areas--anecdote about manuscripts--his drawing of La Bataille --tape of him rehearsing with the audience--literary interests--conflict with Brecht--as an excellent writer--lack of interest in politics--interest in art-- as a well informed person--his wide variety of interests--his love of good food and drink--his fascination with the stage--The Long Christmas Dinner --his prosody--lack of feeling for the sound of a language--German translation of the Requiem--his command of the English language --Traditional Harmony Book II and Elementary Training --Two Part Exercises --the importance of “sing-ability”-- as a theorist.