Yale University Library

 

OHAM: Maurice Levine on Hindemith

OHAM Info

Hindemith Project                                        30/35

Maurice Levine

with Caitriona Bolster

15 West 72nd Street

New York, New York

June 24, 1975

TABLE OF CONTENTS

 

Cassette A (pp. 1-28)

Levine's studies at Yale--the New Haven Symphony's performance of Mathis der Maler conducted by Donovan--Levine's interest in Hindemith--his series of lectures at Yale in the late 1930's--his positive influence of Levine--opening up a new world for his students--his composition course--as a teacher--his musicological knowledge--his practical suggestions--his reasons for turning down a Met performance of Mathis--going through Mathis with his class--his devotion to teaching--Levine proves his theory that intervals have roots--his gift of an autographed copy of his violin concerto to Levine--his sense of humor--demonstration tape and script on his internal theory--his interest in acoustics--the Collegium Musicum--his performance of the Biber sonatas--his violin and viola playing--his approach to performance--Levine conducts his own composition for commencement--his one comment on Levine's conducting--his classes at Tanglewood--the suicide of a young composer at Tanglewood.

Cassette B (pp.28-54)

Memorial concert conducted by Koussevitzky--as an unrelenting teacher--his musical influence on Levine--the importance of "singability"--the importance of reexamining compositions after problems in performance--his student, Arthur Harris--the festival of lights in New York--his sense of form--his wide range of musical experiences--his inability to play cards--his Christmas cards--his gift of a tool kit to Levine--the variety in his classes--the influence on his students' compositional styles--the importance of seeing the whole structure of the composition--anecdote about "typical" sonata form--his friendship with Levine--his personality outside of the classroom--his love of comradery with his students--his personality changes in later years--his dedication to teaching--as adramatic composer--coaching Levine on his Sonata in E--his rides in Levine's jalopy--his sense of rhythmic drive--his conducting--the importance of forward motion in music--his interest in the theory of rhythm--his quartet playing--his energy--writing Traditional Harmony with his students--Elementary Training for Musicians--his feelings about the state of musical training in the USA--the narrow training of violinists.

Cassette C (pp.54-64)

Mrs. Hindemith's personality--their close relationship--Mrs. Hindemith's devotion to him--Levine's visit with him in Chicago--his lectures at the University of Chicago--his take-offs on conductors--anecdote about Koussevitzky--his view of conductors--his friendship with Piatagorsky--his train set--his uncontrollable anger with his mother over a train game--his references to Hitler--Ruth Vanitzsky as a possible reference.