Philip Lambert's Alec Wilder PDF

By Philip Lambert

 
The song of Alec Wilder (1907-1980) blends a number of American musical traditions, similar to jazz and the yankee well known tune, with classical eu varieties and methods. trendy and available, Wilder's musical oeuvre ranged from sonatas, suites, concertos, operas, ballets, and artwork songs to woodwind quintets, brass quintets, jazz suites, and 1000s of renowned songs. during this biography and significant research of Wilder's track, Philip Lambert chronicles Wilder's early paintings as a part-time pupil on the Eastman tuition of song, his ascent during the ranks of the industrial recording in long island urban within the Nineteen Thirties and Nineteen Forties, his flip towards live performance song from the Nineteen Fifties onward, and his devotion past due in his lifestyles to the learn of yank well known songs of the 1st 1/2 the 20 th century. The e-book discusses a few of his best-known song, resembling the innovative octets and songs similar to "I'll Be Around," "While we are Young," and "Blackberry Winter," and explains the original mix of cultivated and vernacular traditions in his singular musical language.

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In any case, for Wilder, the move to New York involved no major planning or strategizing. He lived out of a suitcase, and he simply took up permanent residence at the Algonquin Hotel on West Forty-fourth Street, where his family had always stayed when they visited during his childhood. ) The hotel staff knew him well and accommodated his eccentricities, and of course he always had the freedom to disappear into a passenger train on the spur of the moment. For the rest of his 11 a l e c w i l d e r | Awakenings 12 life, despite extended stays with friends from time to time, and extensive travels, he would consider the Algonquin his only real home.

As an arranger and as a composer, he had found his stride. Back to the Stage Wilder’s earlier flirtations with Broadway, his songs for Three’s a Crowd (1930) and Thumb’s Up! (1934), were just the beginning of a lifelong interest in writing music for the stage. It was an abiding passion that had begun in his youth: “Even in the early years after my family had moved to Park Avenue in New York City, I spent all my vacations from nightmarish boarding schools attending every Broadway show I could scrape up the money for.

E     22 XXX X XXX X XX X X X XX X & C XX XX X XX XX XXX XX XXX     Example 3: Excerpts from “Concerning Etchings” (pencil short score, TRO Archive) a. “refrain” b. tutti harmonic treatment c. main melody b. C ? X c. & ¥      Cw & E ¥ X X X X X E X X X X X. E XX X X # X X . XX b XX XX # X XX .. X # X nXX X . X ¥ X E X. E Xj E X. ¥ nj XX XX Xj X X X X # Xj X X X X # E the swinging single reeds refuse to let it happen. Later, when the clarinet and flute play the same tune, it sounds completely at home in jazz style.

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