Difference between revisions of "Alvin Etler" - New World Encyclopedia

Revision as of 19:54, 7 February 2007

Alvin Derald Etler (February 19, 1913 - June 13, 1973) was an American composer and oboist.

A student of Paul Hindemith, Etler is noted for his highly rhythmic, harmonically and texturally complex compositional style, taking inspiration from the works of Bartók and Copland as well as the dissonant and accented styles of jazz.

Though Etler's later works are the progenies of serialisam, these works tend to have distinct tonal references. Like his mentor Paul Hindemith he embraced the "neo-Baraoque" concepts of form and polyphonic writing.

Etler's views on the creative process also reflects that of Hindemith when he states: "A composer creates music because it is a function of the whole person similar to other spiritual and physical functions. If he is compelled to perform this function with sufficient intensity, and is likewise endowed with certain requisite sensibilities and intellectual vigor, then his work is apt in turn to perform its own function relative to society and to the development of the art he practices.

Though he played with the Indianapolis Symphony in 1938, he abandoned his orchestral life shortly thereafter to focus on his increasingly successful compositional career (which earned him two Guggenheim Fellowships during this period). In 1942 he joined the faculty at Yale University as conductor of the university band and instructor of wind instruments, where he began his studies with Hindemith. He also taught at Cornell University and University of Illinois before accepting a position at Smith College, which he held until his death.

Etler received several important commisions and had his works premiered by preeminent conductors including Fritz Reiner, who conducted the premeire of his the Symphonietta in 1941, and his Passacaglia and Fugue in 1947 with the Pittsburgh Symphony Orchestra, and George Szell, who commissioned the Concerto in One Movement for the Cleveland Orchestra in 1957. His Concerto for Wind Quintet and Orchestra was premiered by the Japan Philharmonic in 1960 and was subsequently performed in 1962 by both the New York Philharmonic, under the baton of Leonard Bernstein, and the Boston Symphony Orchestra, under the direction of Erich Leinsdorf.

His Concerto for Brass Quintet, String Orchestra and Percussion and his Sonic Sequence for Brass (both composed in 1967), were recorded by the National Orchestra Association under conductor John Barnett for CRI.

Other notablechamber and solo works include his two woodwind quintets (from 1955 and 1957), a bassoon sonata, the 1963 "Quintet for Brass Instruments", and "Fragments" for woodwind quartet.

Etler is also the author of Making Music: An Introduction to Theory, an introductory-level theory text published posthumously in 1974.

Reference

Grove Dictionary of Music and Musicians, "Alvin Etler"

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 A student of [[Paul Hindemith]], Etler is noted for his highly rhythmic, harmonically and texturally complex compositional style, taking inspiration from the works of [[Béla Bartók|Bartók]] and [[Aaron Copland|Copland]] as well as the [[Consonance and dissonance|dissonant]] and accented styles of [[jazz]].
+Though Etler's later works are the progenies of serialisam, these works tend to have distinct tonal references. Like his mentor Paul Hindemith he embraced the "neo-Baraoque" concepts of form and polyphonic writing.
+Etler's views on the creative process also reflects that of Hindemith when he states: "A composer creates music because it is a function of the whole person similar to other spiritual and physical functions. If he is compelled to perform this function with sufficient intensity, and is likewise endowed with certain requisite sensibilities and intellectual vigor, then his work is apt in turn to perform its own function relative to society and to the development of the art he practices.
 Though he played with the [[Indianapolis Symphony]] in 1938, he abandoned his orchestral life shortly thereafter to focus on his increasingly successful compositional career (which earned him two [[Guggenheim Fellowship]]s during this period). In [[1942]] he joined the faculty at [[Yale University]] as conductor of the university band and instructor of wind instruments, where he began his studies with Hindemith. He also taught at [[Cornell University]] and [[University of Illinois]] before accepting a position at [[Smith College]], which he held until his death.
-Notable works include his two [[wind quintet|woodwind quintet]]s (from 1955 and 1957), a bassoon sonata, the 1963 "Quintet for Brass Instruments", and "Fragments" for woodwind quartet.
+Etler received several important commisions and had his works premiered by preeminent conductors including [[Fritz Reiner,]] who conducted the premeire of his the Symphonietta in 1941, and his ''Passacaglia and Fugue'' in 1947 with the Pittsburgh Symphony Orchestra, and [[George Szell,]] who commissioned the ''Concerto in One Movement'' for the Cleveland Orchestra in 1957. His Concerto for Wind Quintet and Orchestra was premiered by the Japan Philharmonic in 1960 and was subsequently performed in 1962 by both the New York Philharmonic, under the baton of [[Leonard Bernstein,]] and the Boston Symphony Orchestra, under the direction of [[Erich Leinsdorf.]]
+His ''Concerto for Brass Quintet, String Orchestra and Percussion'' and his ''Sonic Sequence for Brass'' (both composed in 1967), were recorded by the National Orchestra Association under conductor John Barnett for CRI.
+Other notablechamber and solo works include his two [[wind quintet|woodwind quintet]]s (from 1955 and 1957), a bassoon sonata, the 1963 "Quintet for Brass Instruments", and "Fragments" for woodwind quartet.
 Etler is also the author of ''Making Music: An Introduction to Theory'', an introductory-level theory text published posthumously in 1974.