Yale University Library

 

OHAM: Martin Boykan on Hindemith

OHAM Info

Martin Boykan

with Caitriona Bolster

155 Sumner St.

Newton Center, Mass.

April 25, 1976

TABLE OF CONTENTS

 

Cassette Side a:                                                                                            pp. 1-21

 

Boykan's musical background--Copland on Hindemith--knowledge of Hindemith's music--study with Hindemith in Zurich--first meeting--theory course given at Harvard--first impression--Norton Lectures at Harvard--Lamb Lectures, Schnabel--reception of Norton Lectures--singing in class--Apparebit--the Collegium--impression of older music on Boykan--teaching of composition--technique vs. good music--possibility for dialogue--writing "mood pieces"--competitive games in theory teaching--taking more time with counterpoint exercises--valuable example of speed--critique of Hindemith's music--Boykan's appreciation for learning how to write music--Hindemith's revision of Boykan pieces--dropping out of school--comparison of Mozart and Bach--Boykan's writing of music cynically--Boykan's opinion of Hindemith as troubled and tragic man--demolishing music teacher at prison.

 

Cassette Side b:                                                                                           pp. 21-41

 

Philosophical need to direct music into certain channels--ethical responsibility--Boykan's rejection of this concept--style of Boykan's writing at Yale--Hindemith's handling of physical sound--Mathis--inspiration--concert of Hindemith music at Harvard--Stravinsky--Bartók--Schoenberg--role of texts--pre-composition--Unterweisung--writing "mood pieces"--Cardillac--emotional connotations of chords--ethical music--handling of rhythm--form--earlier composers--Bruckner--Machaut--revision--Verdi--not attending concerts--as dramatic composer--Cardillac as theatre piece--what the performer has to bring to Hindemith's music--notations on score.

 

Cassette Side c:                                                                                            pp. 41-58

 

Influence on Boykan--setting texts--Mrs. Hindemith--interests besides music--the social Hindemith--anecdotes about Feuermann--critics--professional jealousy--anecdotes--his place in 20th century music--frequency of performances--Boykan's use of blackboard and improvisation in teaching--discussion of Hindemith works in class--uncertainty about his becoming Catholic--conducting--assignment to write saddest line--his need for piano--use of notation--amnesia seizure.