Posts Tagged “Milton Babbitt”

   Babbitt8(This is an expansion of an earlier post for a concert ultimately postponed due to snowstorm Jonas in January)

Augustus Arnone performs a double bill of Milton Babbitt’s solo piano works including the complete Time Series, at Spectrum, Sunday March 6, at 12-5 pm (12 and 3:30)

This year marks the centenary of the legendary composer Milton Babbitt (1916-2011). To my ears, his extensive body of piano works especially channels his singular charm as a raconteur. Over the decades a number of pianists have championed some of his major piano works, for instance Robert Helps and Robert Miller performing and recording his Partitions (1957) and Post-Partitions (1966) in early days and much more recently Marilyn Nonken did as much with Allegro Penseroso (1999). Babbitt’s Reflections for piano and synthesized tape (1975) has been performed by the likes of Anthony de Mare, Martin Goldray, Aleck Karis, and Robert Taub, the latter two of whom also recorded it. Robert Taub and Martin Goldray recorded and released full-length CDs. Alan Feinberg too presented stellar renditions of Minute Waltz (1977), Partitions (1957), It Takes Twelve to Tango (1984), Playing for Time (1979), and About Time (1982) on a 1988 CRI CD.

AugustusAtPianoYet only one pianist has earned the distinction of presenting the entire oeuvre of Babbitt’s solo piano works in concert. And that is Augustus Arnone, who performed the entire set, spread over two concerts, in 2008. In honor of the Babbitt centenary, Arnone is performing the entire set again (this time spread over three concerts) at Spectrum on Ludlow in NYC. Due to a postponement caused by storm Jonas in January, Arnone is performing the second and third concerts in one afternoon this weekend!

The largest work on the program is Canonical Form (1983) which I’ve heard several Babbitt aficionados recently describe as their “favorite” and “most beautiful” Babbitt composition. The most recent work is The Old Order Changeth (1998). Arnone’s performance also presents a rare opportunity to hear the entire ‘The Time Series’ (Playing For Time (1977), About Time (1982), Overtime (1987)), the last part of which has never been released on a commercial recording. This much constitutes concert II, the first half of this Sunday’s double bill, which starts at 12 noon.

In the final concert (concert III) which starts at 3:30, Arnone presents a variety of works spanning nearly all of Babbitt’s professional career, from the mid 1940s through the remainder of the 20th century and beyond. Tutte Le Corde (1994) represents Babbitt’s most streamlined and ingratiating late style, which is a nice inclusion for the final recital of the series. On this recital we’ll also be treated to some of Babbitt’s wittiest and pithiest: Minute Waltz (1977) and It Takes Twelve to Tango (1984), which are perhaps the only Babbitt works to clearly project rhythms associated with a familiar genre. It Takes Twelve to Tango leaves us unsure whether to imagine a single 12-legged Argentinian dancing spider or a communal square dance gone dodecahedral! Either way, brilliant sparks fly from these eccentric collisions of tradition and avant garde.

Babbitt’s Three Compositions for Piano (1947), the earliest work in the series, is to my ears the closest Babbitt ever came to neo-classicism, its first movement being a clean perpetuum mobile and its second movement a veiled tribute to Schoenberg’s expressive piano textures. While Duet (1956) is the closest Babbitt ever came to a lullaby, his Semi-Simple Variations, of the same year, is perhaps his jazziest jaunt on the ivories, an adventure amusingly exploited in the Bad Plus and Mark Morris Dancers’ adaptation.

Of course the series wouldn’t be complete without Babbitt’s most uncompromising trailblazing Partitions (1957) and Post-partitions (1966). Nowhere is his engenius originality more startlingly on display than in these works. In Partitions in particular, the activation and deactivation of various high, low, and middle registers of the piano guides the listener through an uncanny but navigable maze of contrapuntal intricacy.

Between the two concerts, at 2:30, will be an interview-discussion between me and Indiana University composer-theorist Andrew Mead, a former student of Babbitt’s at Princeton and author of the acclaimed book An Introduction to the Music of Milton Babbitt (1994, Princeton University Press) and many articles. This will also be an opportunity for questions from the audience. Whether you’ve been merely curious about Milton Babbitt’s music and legacy, or are already a long-time follower, this is an opportunity to spend part of the afternoon in the good company of Babbitt’s music and its admirers.

Augustus Arnone: The Complete Piano Works Of Milton Babbitt, Concerts II & III

Sunday March 6, concert II at 12 pm; pre-concert discussion at 2:30; concert III at 3:30.

$20, $15 (Students/Seniors) for each concert or $30/20 for both concerts.

Spectrum, 121 Ludlow St, NYC.

More info: http://www.facebook.com/events/185521401798997/

or http://www.augustusarnone.com/concerts.html

Joshua Banks Mailman

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POSTPONED DUE TO WEATHER!

AugustusAtPiano

 

Thanks to Joshua Banks Mailman for this post about Augustus Arnone’s Babbitt recitals. 

Augustus Arnone performs Milton Babbitt’s Time Series and other solo piano works at Spectrum, Sunday January 24, at 2pm

This year marks the centenary of the legendary composer Milton Babbitt (1916-2011). To my ears, his extensive body of piano works especially channels his singular charm as a raconteur. Over the decades a number of pianists have championed some of Babbitt’s major  piano works, for instance Robert Helps and Robert Miller performing and recording his Partitions (1957) and Post-Partitions (1966) in early days and much more recently Marilyn Nonken did as much with Allegro Penseroso (1999). Babbitt’s Reflections for piano and synthesized tape (1975) has been performed by the likes of Anthony de Mare, Martin Goldray, Aleck Karis, and Robert Taub, the latter two of whom also recorded it. Robert Taub and Martin Goldray recorded and released full-length CDs. Alan Feinberg too presented stellar renditions of Minute Waltz (1977), Partitions (1957), It Takes Twelve to Tango (1984), Playing for Time (1979), and About Time (1982) on a 1988 CRI CD.

Yet only one pianist has earned the distinction of presenting the entire oeuvre of Babbitt’s solo piano works in concert. And that is Augustus Arnone, who performed the entire set, spread over two concerts, in 2007. In honor of the Babbitt centenary, Arnone is performing the entire set again (this time spread of three concerts) at Spectrum on Ludlow in NYC. The largest work on the program is Canonical Form (1983) which I’ve heard several Babbitt aficionados recently describe as their “favorite” and “most beautiful” Babbitt composition. The most recent work is The Old Order Changeth (1998). The concert also presents a rare opportunity to hear the entire ‘The Time Series’ (Playing For Time (1977), About Time (1982), Overtime (1987)), the last part of which has never been released on a commercial recording.

Arnone’s performance begins at 3pm, but prior to that, at 2pm, will be an interview-discussion between me and the composer-theorist Robert Morris, who, in parallel with the latter half of Babbitt’s career, developed his own independent approach to serial and post-serial composition. Morris has also been an avid listener of and writer on Babbitt’s compositions over several decades. The event should be worth the trek through any rain, sleet, and slush.

Augustus Arnone: The Complete Piano Works Of Milton Babbitt, Concert II

Sunday Jan 24, at 3pm (pre-concert discussion at 2pm) $20, $15 (Students/Seniors).

Spectrum, 121 Ludlow St, NYC.

 

Those interested in still more Babbitt can check out the Focus Festival at Juilliard, which begins tonight and goes through next Friday. I’ll be writing about that more next week. 

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Photo Credit: Janette Beckmann Caption: Members of the Da Capo Chamber Players (Left to Right:) Curtis Macomber, violin, Patricia Spencer, flute, Jay Campbell, cello, Meighan Stoops, clarinet, Blair McMillen, piano

Photo Credit: Janette Beckmann
Members of the Da Capo Chamber Players
(Left to Right:) Curtis Macomber, violin, Patricia Spencer, flute, Jay Campbell, cello, Meighan Stoops, clarinet, Blair McMillen, piano

On Thursday October 1st, the Da Capo Chamber Players commemorate the hundredth anniversaries of two recently deceased American modernists: Milton Babbitt and George Perle. They will perform Babbitt’s When Shall We Meet Again and two works by Perle: Sonata a Quattro and Nightsong. David Fulmer, a Babbitt student, contributes the world premiere of Cadenza, a piece built out of his violin concerto’s hyper-virtuosic solo part. Rounding out the program are Jason Eckardt’s After Serra and Fred Lerdahl’s Times 3.

Though it is more modest in scope than other centennial tributes one can hear this season – particularly Juilliard’s Focus Festival, devoted entirely to Babbitt – the Da Capo event features several players who collaborated closely with Babbitt and Perle. Indeed, both of the Perle works were written for the ensemble. It promises to be an intimate evening filled with finely honed performances.

Thursday, October 1st at 8 PM
Merkin Concert Hall,
129 West 67th Street, NYC, NY

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A few people asked me which works would I would recommend to serve as a starter course for Milton Babbitt’s work. That’s a tricky one: I’d say

String Quartets Nos. 2 & 6
Partitions
Around the Horn
Piano Concerti
Philomel
All Set.

Any other suggested Babbitt samplers out there?

Here’s a wonderful essay in remembrance of Milton by David Rakowski.

Over at my blog File Under ? , I’ve shared some of my own memories of Milton.


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