HINDEMITH PROJECT               Interview no. 30/64

Lukas Foss

with Caitriona Bolster

17 E. 96th St.

New York, New York

November 11, 1976

Table of Contents

Tape A                                                                                                           pp. 1-24

Foss’ acquaintance with his music--conflicts with Foss at Tanglewood--letter to Foss--his teaching--Foss’ rebelliousness in class--performance of The Four Temperaments--visits with Foss before his death--his reaction to Time Cycle--anecdote about Max Reger--classes at Tanglewood--his approach to composition--attitude towards Stravinsky and Schoenberg--rational ideas about music--Foss’ article in Perspectives of New Music--composition assignments--Foss’ lion aria--class at Tanglewood--death of Tanglewood student--relationships with Koussevitzky and Copland--anecdotes from Foss’ conversations with Copland and Schoenberg--influence of his style on Foss--description of his style--performance of Mathis in Rome--Lehrstück --the Gebrauchsmusik period--collaboration with Brecht--Foss performances of his works--Balanchine’s dislike of his ballet--recording of the Sinfonietta--orchestration of Lehrstück--feelings about Germany--the Nazi attitude towards his music--bold statement to Goering--his fearless anti-Nazi talk in Berlin--Richard Burgin as a possible reference--Mrs. Hindemith as a German wife--lack of interest in American culture--dislike of Schoenbergian style--as an uncompromising person--the Collegium--his conducting--opinion of Foss’ Song of Songs--composition classes at Yale--dislike of Mahler and anything Viennese--love for Bruckner--his belief in himself--impact on composition--the future of his music.