Understanding the technological processes and their enactment within one of his works is about as integral to the experience of that work as understanding the chemical composition of tungsten is integral to experiencing the electric light. - Augustus Arnone(1)Milton Babbitt (1916 - 2011) explored innovative techniques in a series of works for solo instruments and small ensembles, and works for accompanied voice spanning his entire career. Performance of Babbitt's works is a challenge which is enthusiastically met by dedicated individual performers and small ensembles. The larger orchestral works have proved more difficult with conductors canceling commissioned works, last-minute withdrawals, etc. James Levine has been an exception and a consistent champion.
From the Three Compositions for Piano (1947) to A Gloss on 'Round Midnight for piano (2002) Babbitt composed a number of interesting works for piano solo and piano four hands. To the attentive listener these works are full of unexpected twists and turns creating an ever-changing sound world. You can listen to Augustus Arnone's complete recordings here.
Strangely enough, even though this music 'maximizes' structure in a highly mathematical way, it at times sounds more like improvisational jazz rather than classical music. Some hear in it a 'morse code' effect, which could be closer to the truth given Babbitt's mathematical skills. He did teach math and was involved in secret research in Washington during World War II. (2)
Here are a few videos from YouTube featuring Babbitt's piano works:
Three Compositions for Piano (1947).
In view of Babbitt's attitude towards how mathematics affects twelve-tone procedures, the term "composition" in the titles of these early works probably is meant to suggest its algebraic meaning, that is, as one of the fundamental concepts of group theory.(3)
Duet for Piano (1956) performed beautifully by a very young pianist. We will see time and again how Babbitt liked to coin catchy titles for his works. The term 'Duet' here refers to the structure of the piece as it is obviously for solo piano.
Semi-Simple Variations for piano (1956), consisting of a theme and five variations, performed by another wonderful young pianist.
Partitions (1957) and Post-Partitions (1966) for piano. Babbitt's music is divided into three periods based on evolving techniques: (1) First period (1935-1964), dominated by trichordal array, with a few new aggregate partitions, (2) Second period (1964-1980): all-partition arrays, and (3) Third period (1981-2006), super-array structures. (4) With this video we can compare works from the first and second period and see whether we get any wiser.
Tableaux for piano (1972/73)
In Tableaux (1973), compositional virtuosity is matched by uncompromising demands on the pianist to project intricate and rapidly unfolding contrapuntal lines over the entire range of the keyboard.(5)
Minute Waltz for piano (1977), @ 7:37 in the video.
Canonical Form, for piano (1983).
It Takes Twelve to Tango for piano (1984), part of the collection of 127 tangos by 127 composers commissioned by Yvar Mikhashoff between 1983 and 1991.
Lagniappe for piano (1985)
Emblems (Ars Emblematica), for piano (1989).
Envoi for four hands, piano (1990).
Tutte le corde for piano (1994).
This was the first piece of Babbitt’s I ever studied, a few weeks after performing it for the first time I firmly decided to devote the next year(s) of my life solely to studying Babbitt’s music.(6)
Allegro Penseroso for piano (1999).
A Gloss on 'Round Midnight for piano (2002)
_____________________________________________________________
(1) Augustus Arnone, "Milton Babbitt – Never mind great composer or great theorist…great neuro-ecologist!" Journal post, 07/06/2008. (http://augustusarnone.com/journal/?p=26 (04/05/2016))
(2) Allan Kozinn, "Milton Babbitt, a Composer Who Gloried in Complexity, Dies at 94." Obituary, New York Times, 01/29/2011. (http://www.nytimes.com/2011/01/30/arts/music/30babbitt.html?_r=0 (03/05/2016))
(3) CHIU Chau-ming, "Composition Tactics in Milton Babbitt's Three Soli e Duettini." Master's Thesis, Chinese University of Hong Kong, June 2003. This approach toward Babbitt's music is prevalent and was promoted by Milton Babbitt himself in his own prolific writings, sheltered as he was at Princeton.
(4) For a better idea on how Milton Babbitt put his music together see Paul Riker, "The Serialism of Milton Babbitt." Unpublished paper. (http://paulriker.com/words/The_Serialism_of_Milton_Babbitt.pdf (03/05/2016))
(5) pelodelperro, "Milton Babbitt - Tableaux." Notes to YouTube video, 07/06/2014. (https://www.youtube.com/watch?v=pPhQnOBHMzM (03/05/2016))
(6) Augustus Arnone, "Tutte Le Corde (Complete Babbitt)." Journal post, 05/15/2008. (http://augustusarnone.com/journal/?p=13 (03/05/2016))