Yale University Library

 

OHAM: Mitch Leigh on Hindemith

OHAM Info

Mitch Leigh

with Caitriona Bolster

200 Central Park South

New York, N.Y.

November 17, 1976

TABLE OF CONTENTS

 

Side a                                                                                                                         (pp. 1-17)

 

Effect of first hearing Hindemith's music--decision to study with Hindemith at Yale--Leigh as bassoonist at School of Music--as performer no responsibility for being worthy to be a composer--reluctance to sign compositions as result of winning contest as teenager--influence of Hindemith and Keith Wilson-- Hindemith's lack of concern for feelings when composing--playing in the Collegium Musicum--Winternitz-- Hindemith as conductor--lack of awareness of performance when conducting his own music--no misgivings about recorded sound--less  haughty, more gentle than generally acknowledged--Stravinsky, Milhaud--Milhaud's admiration for Hindemith--Stravinsky--Leigh's preference for Stravinsky's music--opinion of Hindemith in terms of musical history.

Side b                                                                                                                        (pp. 17-36)

 

Close relationship to Hindemith-- Hindemith's bassoon-- Hindemith's ability to get Leigh to write music--communal existence at School of Music--Leigh's dislike of Mrs. Hindemith--reason Hindemiths left Germany--argument with Mrs. Hindemith about photo for record cover--severing of [[personal]] relationship between Leigh and Hindemith--Leigh's choice of career--bassoon recital attended by Hindemith-- Hindemith's gentleness on a personal level--intimidation caused by Leigh's respect of Hindemith-- Hindemith's prided in Leigh's performance-- Hindemith's love of jazz--Mel Powell-- Hindemith's resentment of self-serving aspect of American musical scene.

Side c                                                                                                                                     (pp. 36-44)

Problems getting first performances- Hindemith's patriotism--determination never to return to Germany-- Hindemith's opinion that rhythm was the area that required extension--Leigh's preference for Hindemith's earlier works--Leigh's disappointment in change at Yale-- Hindemith's opinion of Schoenberg--The Elementary Training for Musicians--Howard Boatwright--Leigh's opinion of Hindemith's place in music history.