Yale University Library


OHAM: Sanuel Adler on Hindemith


Interview no. 30/37 a-b


Samuel Adler

With Caitriona Bolster

Fort Worth, Texas

Hilton Inn

November 11, 1975

Table of Contents

Tape A and B                                                                                                p. 1-18

Norton lectures in 1948-49—his energy—his courses at Harvard—as a composition teacher—his strong influence on students’ compositional style—Piston as a composition teacher—dislike of twelve tone music—the prevalent compositional style in the 1940’s—as an overwhelming teacher—Copland’s refusal to teach Adler—anecdote about insolent American students—rapport with Adler—the Harvard Collegium Musicum—his arthritis—Mrs. Hindermith’s note taking—history of theory course—The Craft of Musical Composition—Schnabel’s insulting remark during his lecture at Sanders Theater—dichotomy between his theoretical studies and his compositions—the evolution of the strongest interval—Piston’s story about the old tracker organ—relationships with his fellow composers—as an overpowering teacher—as a gardener—lack of interest in the American musical scene—his limited interest in his students—relationship with Herbert Fromm—his opinion of American education—his facility with languages—his “Renaissance” education—moving to Switzerland because of the McCarthy era—as an anti-Fascist—his religious convictions—Mathis der Maler and Nobilissima Visione—interest in Gregorian chant—his reticence to discuss his music—his interest in the Medieval period—history of theory class—as a composition teacher—the detrimental effects of his teaching—his expectations of his students—his conservative orchestration—his ideas about music education—influence in Turkey—his position in the framework of the 20th century music.