Mrs. Ruth Seckel

with Caitriona Bolster

Yale Music Library

New Haven, CT

January 21, 1974

Table of Contents

Tape a                                                                                                pp. 1-18

Appointment with Mrs. Seckel in Mexico--Mrs. Seckel receives a scholarship to Yale--criticism of Blas Galindo’s compositions--Mrs. Seckel’s musical background--Mrs. Seckel as accompanist for Mrs. Hindemith on Marienleben--history of theory course--as a composition teacher--Craft of Composition--Mrs. Seckel’s initial difficulties as a Hindemith student--Picasso exhibit helps to clarify ideas for Mrs. Seckel--as a teacher of an “esthetic of music“--ideas about a good melody--use of harmony to increase and decrease tension--danger of students becoming Hindemith copies--future careers of composition students--as an inspiring person--influence in Mrs. Seckel’s present compositions--Mrs. Seckel’s lyrical talent--as a composition teacher--Gebrauchsmusik--modesty about his own music--attitude towards his contemporaries--rapport with Mrs. Seckel--Mrs. Seckel’s educational background--Mrs. Hindemith as over-protective--importance of discipline--acceptance of Mrs. Seckel as a composer--Collegium concerts--history of theory course--as a banging pianist--demand that students have ability to play what they write--composition classes--at Tanglewood--necessity for students to start over--as an influential teacher--influence on composition--masterpieces; Noblissima Visione--Mathis der Maler, Variations, quartets, viola concerto, sonatas for two pianos, Marienleben--feelings about his position in the musical world--jealousy of Stravinsky’s popularity--last concert in New York.