Yale University Library

 

OHAM: Thomas Frost on Hindemith

OHAM Info

 

Thomas Frost

with Caitriona Bolster

CBS Building

51 West 52nd St.

New York, New York

April 12, 1976

 

TABLE OF CONTENTS

 

Side a                                                                                                                          pp. 1—9

Frost’s early background-- Vienna Boys’ Choir-- move to New York-- violin study with John Rusa-- piano study with Charles Hobbs-- Brooklyn Polytech-- switch to music major-- University of Chattanooga-- reading The Craft of Musical Composition-- music major at Yale-- desire to study composition with Hindemith-- familiarity with Hindemith’s music--  fortune teller story-- auditing Hindemith’s class-- Hindemith’s composition class-- Hindemith’s ability at blackboard-- learning theory and analysis-- Collegium Musicum-- first performance of Concerto for Trumpet, Bassoon and Orchestra --Hindemith as conductor-- clarity, phrasing, balance-- playing viola in chamber music concerts——per­sonal relationship with Hindemith——incident with Hindemith and Amar Quartet-- Hindemith’s wit-- lack of sympathy for others’ problems-- criticism without regard for feelings.

Side b                                                                                                                          pp. 9—18

Hindemith’s anti-Romantic approach to teaching composition-- Hindemith’s harmonic system-- craft vs. inspiration-- Frost’s favorite Hindemith compositions-- Columbia recordings of sonatas for brass and piano-- Glenn Gould-- first version of Marienleben-- revision by Hindemith-- reasons for revision of Hindemith works-- the Collegium-- Hindemith as conductor of earlier music-- Gertrud Hindemith-- use of Hindemith’s music in classroom-- Hindemith happy in U.S.-- contact after Yale-- Hindemith’s current popularity-- requests for performances joint effort between record company and artists-- hope for Hindemith revival-- importance of performing for Hindemith-- Hindemith’s sensitivity to sound-- clarity and phrasing important as conductor.

Side c                                                                                                                          pp. 19—21

Hindemith like a Baroque conductor-- composition assignments-- abstract compositions--  advanced students- Boatwright, Kraehenbuehl, Sarasin, Blackwood-- Frost’s talent not in composing-- benefits derived from studying with Hindemith.