Yale University Library


OHAM: William Waite on Hindemith


William Waite

with Caitriona Bolster

Calhoun College

Yale University

April 10, l975



Cassette Side a:                                                                                            pp. 1-14

Description of the graduate music department at Yale--Waite works with Hindemith and Schrade in the Collegium--anecdote about Waite's viola playing--Waite leaves for the army--changes in the situation at Yale School of Music after the war--falling out with Schrade over the nature of a Collegium Musicum--his positive influence on the Collegium--teaching presence within the school--devoted group of students--Waite begins teaching at Yale--Collegium newspaper--widespread popularity of Collegium concerts--use of audience participation in the concerts--casual social contact with Waite--personality--as a disciplinarian--as an inspiring teacher--his students as "Hindemith copies"--his presence at Yale creates a tension within the school--students' commitment to his track--as an organized person with definite goals--choice to leave teaching for a conducting career--relationship with Leo Schrade--personality clashes between the Schrades and the Hindemiths--Waite's interest in musicology--Schrade's influence on Waite--small music library--Waite copies parts for the Collegium--decisions regarding notational and performance matters--his knowledge of early music--lack of interest in the manuscript tradition behind present editions--as an excellent conductor--ideas about performance--disregard for his own suggested registrations in his organ sonatas--as a practical musician--markings in his scores have little to do with what he actually wanted--as a great composer who benefited other musicians by writing music for lesser known instruments and combinations--reticence to discuss Germany--happiness in Yale's academic environment--instituting his ideas about education--The Hochscule as a very structured school--Waite's view of his music--the beginning of his conducting career--being left behind as a composer in the 1950's--the New Haven Symphony in the 1930's, 40's, and 50's--objection to sharing the podium--attitude towards musicologists--conducting a concert in 1960.