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Additional resources for Alec Wilder
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.