Yale University Library


OHAM: Ward Davenny on Hindemith


Ward Davenny

with Caitriona Bolster

Stoeckel Hall

Yale University

New Haven, CT.

June 3, 1975





Side a                                                                                                              pp. 1—12


Description of the Yale School of Music in the 1930’s--changes in the curriculum-- demonstration/lecture on Biber’s violin sonatas at Jonathon Edwards College--­Davenny’s first impression of him---performance of Mathis der Mahler in New Haven-- Donovan’s interest in hiring him at Yale--performing his piano sonata for four hands in Italy--Alfredo Casella’ s interest in him--conflict with Dr. Schrade-- Collegium Musicum--his influence on the curriculum--work in Turkey--ideas about teaching composers and performers--Applied Analysis course--as a versatile musician-- mastery of all orchestral instruments--Musik Abend with Davenny-- playing the “Trout” Quintet--strong discussions at faculty meetings--experimental use of his classes at Yale while writing the Craft of Composition --conflicts with student, Alvin Etler--as a composition teacher--feelings against him in the 1960’s--dislike of Schoenberg--as a disciplined composer--personality--vulnerability after some performances.

Side b                                                                                                              pp. 12—25

Helping Davenny and Edwards with his cello sonata--characteristics of his earlier music--impact on Davenny--fondness for Schubert and Bartók--lack of information on his opinions of the American music scene --A Composer and his World --Davenny’s speculations about his reasons for abandoning solo performance--his writing for winds and percussion--lack of interest in composing for piano trio and harpsichord-- organ sonatas written for Woolsey Hall organ--Davenny’ s opinion of his piano writing--Mrs. Hindemith--Davenny’ s respect for his compositions--as a person-- stages in his music--ideas for the two piano sonata.