Yale University Library


OHAM: Robert Shaw on Hindemith


Robert Shaw

with Caitriona Bolster

3707 Randal Mill Road

Atlanta, Georgia

April 3, 1976

Table of Contents

Tape a                                                                                                (pp. 1-12)

Performance of Mathis der Maler by the Philadelphia Orchestra--involvement in Carnegie Hall performance of the St. John Passion--stories about the preparation and performance of When Lilacs Last in the Dooryard Bloom’d--George Burnstein’ s problems with his part in Lilacs--his honesty--his attendance at the premiere of Lilacs--positive influence on Shaw--as a composer--balance problems in the central fugue of Lilacs--his compositional expertise--the relationship between the text and his music--his attitude towards performance--comparison of Lilacs and Mathis--performance of Lilacs and Janacek’s Festival Mass in 1971 with University of Kentucky students.

Tape b                                                                                               (pp. 12-22)

Reception of Lilacs as a requiem--Britten’s War Requiem--technical problems in Apparebit Repentina Dies--performance of Apparebit with the Collegiate Chorale--information in his scores--his excellent sense of balance--harmonic sense--his cadences--Six Chansons--Shaw’s performances and RCA recording of Six Chansons--Hindemiths’ friend, Bill Brown--Mrs. Hindemith’s personality--his personality--attitude towards American conductors.

Tape c                                                                                                            (pp. 22-30)

Bill Brown as a possible reference--lack of current performances of his orchestral works--Unaufhörliche--the state of choral music in the USA in the 1940’s--choral works composed in the 1930’s-40’s--the Collegiate Chorale--quick changes in choral life in the USA--Shaw’ s musical background--the Robert Shaw Chorale.