Alec Wilder Centennial Concert

A little delayed, but I wanted to mention Andi Smela and I are performing a few art songs at the upcoming Wilder Centennial Concert at Merkin Concert Hall (129 West 67th Street). We're doing 3 songs, "Have You Ever Crossed Over To Sneden's", "Vocalise #1", and "Blackberry Winter" (this one is arranged by yours truly). They are all really, really lovely songs, and Andi sings them beauuuutifully. Here's Judy's press release for those interested:

2007 IS ALEC WILDER CENTENNIAL YEAR

FOR IMMEDIATE RELEASE
February 1, 2007

For more information contact
Judy Bell (212-594-9795)

NEW YORK, NY - The year 2007 commemorates the centennial of composer, Alec Wilder, an American original, and is already being celebrated worldwide with entire concerts and performances of Wilder’s music at colleges and universities planned throughout the United States, England, Italy and Australia. For information on how to present a Wilder centennial program or to learn more about this amazing man and his music, please go on-line to: www.alecwildercentennial.com

While tribute concerts have taken place in New York City for more than twenty consecutive years, Sunday, April 29th will be a special Centennial program honoring Mr. Wilder’s substantial music contributions at 6:30 pm in Merkin Hall, 67th St. west of Broadway. The concert is being organized by a small but intensely devoted following, known collectively as the Friends of Alec Wilder, dedicated to perpetuating the memory and life's work of this uncommon American composer.

Co- Honorary hosts for the program will be Rex Reed, legendary writer and critic and Harvey Phillips, former tuba virtuoso and founding member of the New York Brass Quintet. The program will include the Sonata No. 1 for Flute and Piano performed by Virginia Nanzetta and Suite No. 1 for Horn, Tuba and Piano played by David Jolley and Morris Kainuma as well as selected octets and art songs. Jackie Cain, vocalist, Gene Bertoncini, guitarist, and Bill Mays, pianist will represent Wilder’s jazz repertoire.

Alexander Lafayette Chew Wilder (1907-1980) was born in Rochester, New York. He studied composition and counterpoint privately at the Eastman School of Music, but as a composer was primarily self-taught. As a young man he moved to New York City and made the Algonquin Hotel – the renowned enclave of America’s brightest names in literature and art – his permanent residence, while traveling widely and often.

Uncompromising and always original, Wilder was a prolific writer who incorporated a unique blend of American musical traditions – among them jazz and the American popular song – and basic "classical" European forms and techniques in many forms: sonatas, suites, concertos, operas, ballets, art songs, woodwind quintets, brass quintets, jazz suites – and hundreds of popular songs. A member of the Songwriters’ Hall of Fame and author of American Popular Song 1900-1950, Wilder is remembered for his absolute independence and incorruptible integrity as a composer.

Mitch Miller and Frank Sinatra were initially responsible for introducing Wilder’s work to the public. It was Miller who organized the historic recordings of Wilder's octets beginning in 1939. Combining elements of classical chamber music, popular melodies and a jazz rhythm section, the octets became popular and eventually legendary – through these recordings. Wilder wrote over twenty octets, giving them whimsical titles such as "Neurotic Goldfish," "The Amorous Poltergeist," and "It’s Silk, Feel It."
Frank Sinatra, an early fan of Wilder's music and an avid supporter, persuaded Columbia Records to record some of Wilder's solo wind works with string orchestra for an album in 1945, with Sinatra conducting. The two men became life-long friends and Sinatra recorded many of Wilder's popular songs.

Wilder’s work enjoys broad appeal with a wide range of artists from classical to jazz musicians as well as popular singers by successfully appealing to their diverse styles and conceptions.

Our society likes to “label” or place composers in a category, but with Wilder this has always been a problem. Many times his music wasn't jazz enough for the "jazzers," or "highbrow," "classical" or "avant-garde" enough for the classical establishment. In essence, Wilder's music was so original that it didn't fit in any of the preordained musical slots and stylistic pigeonholes. His music was never out of vogue because, in effect, it was never in vogue, its non-stereotypical character virtually precluding any widespread acceptance. Most of his chamber music was unpublished until near the end of his life. A whole new generation of performers and audiences are now hearing many of his chamber works and songs for the first time as dozens of new CDs are continually being released.

No one will ever be sure just how much music Alec Wilder wrote. Sketches of music-sometimes entire pieces- have shown up in friends’ private collections now preserved in the Sibley Library, Eastman School of Music; many never reached performance or publication. Wilder’s printed music is available from his publishers: TRO The Richmond Organization (212-594-9795) and Shawnee Press, Inc. through its Margun Music catalog (800-962-8584). The abovementioned website provides a selected list of Wilder’s printed music and recordings.