Customer Reviews

Milton Babbitt: Occasional Variations

5 star:		(4)
4 star:		(0)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

That Milton Babbitt is a composer I should hear I figured out several years ago when I became interested in contemporary classical music. Babbitt was an American pioneer, taking the 12-tone music of Schoenberg and Webern further into total, or integral, serialism. Now I finally have, thanks to this superb Tzadik release of his music. The problem has been finding a recording that appeared promising -- Babbitt has certainly not been over-recorded, and I was not enticed by works for soprano or piano (ie, the ubiquitous PHILOMEL on New World).

I love string quartets, and so when I belatedly realized that OCCASIONAL VARIATIONS features two of Babbitt's string quartets, I knew his time had come. As it turns out, this is the premiere recording of String Quartet No. 6, written in 1993. The performers are the Sherry Quartet, named after the intrepid cellist Fred Sherry, who worked with the players in mastering the (need I say?) fiendishly complex score, and served as producer. The disc leads with No. 6, which is 25'45 long. String Quartet No. 2 (13'03) is programmed third. A 1952 composition, it sounds less daunting by comparison, more sparse, performed by the Composers Quartet. Both are fantastic works, which require, and compel, repeated listening to appreciate. Where are the recordings of Babbitt's other quartets? They stand beside Elliott Carter's quartets as pinnacles of the late 20th century (see my review of the Juilliard Quartet's recording of the Carter quartets).

The other two works serve as variations with the string quartet form -- "Occasional Variations," a 9'54 work for synthesizer from 1968-71, and "Composition for Guitar" (1984 -- 7'27), both fascinating works which provide contrast in terms of texture as well as solo lines versus the complexity of four interweaving lines. I am particularly struck by the guitar work, performed by William Anderson, which incorporates Babbitt's affinity for jazz.

Tzadik's liner notes are frustratingly minimal. Tzadik discs always *look* good, and this one is no exception -- the black-and-white cover photo of Babbitt sitting in front of the synthesizer at the Columbia Princeton Electronic Music Center in 1960 is a nice touch. But you have to look on the Tzadik website to learn that this is the first recording of the 6th Quartet, and only the fine print reveals that the other three recordings were all previously released, in 1973 (Quartet No. 2), and the other two in 1990. I'm not sure why the disc's title is not STRING QUARTET NO. 6, or STRING QUARTETS -- perhaps Zorn & Co. thought Babbitt's reputation as an electronic composer would be a better selling point with young hipsters, or just thought OCCASIONAL VARIATIONS made a catchier title.

This disc definitely provides an excellent introduction to a great American composer. Many thanks to John Zorn and Tzadik!

There's a classic Babbitt moment 1 minute into the 6th Quartet where out of all the animated atonal chatter emerges a blatantly tonal (eb major)motif.Almost Ivesian in it's sense of being all embracing,this jarring incident seems to provoke some hysterical pizzicato which proceeds in a most forceful manner.The architecture of this 26 minute piece becomes easier to discern on repeated hearings.

Occasional Variations is the most graceful,charming and delicate of electronic pieces and the second quartet is amusingly punctuated by octaves.A cooler discourse than the later 6th quartet.Not so immediately likeable.

Babbitt has a special affinity for the guitar and the 1984 Composition on this disc leaves me dumbstruck in its wistful musings punctuated by tremolandos.I definitely prefer this to Babbitt's Soli and Duetti which also feature guitar.

In terms of look,this is the most lovingly thought out of albums ,but the poor listener is only provided an unintelligble piece of writing by Babbitt on his Occasional Variations so not much help on that front!

Milton Babbitt wrote some wonderful pieces earlier in his career, but over time he has grown into transcendent mastery. The pieces on this album illustrate the point magnificently.

Here's a teriffic CD, a fine selection of works by Milton Babbitt, who deserves greater exposure in the CD bins. This disc fills a real need and features works never before recorded. Two of his string quartets (no.'s 2 and 6) are kept good company with a work for organ, a work for guitar duo, and one of his rare electronic works done on the RCA synthesizer. Aside from some inherent sonic limitations in the electronic work the recording is impeccable and the performances in the instrumental works are first-rate.

Milton Babbitt (1916- ) is an American composer of serial and electronic "music." I put the word "music" in quotes, because what he produced is not what most people think of as music. If you enjoy random noise, then you will like his work. If not, you are well advised to look for something a bit more...well, musical.

Atonalism, serialism, and electronic music that incorporates both these approaches, appeals to certain people--especially a certain segment of academic musicians. But you won't find beauty here, only a collection of sounds inspired by the idea that the universe is meaningless, and, in the case of "Occasional Variations," something that sounds like R2D2 on crack.

The recording quality here is fine, which is why I gave it three stars. But I only purchased it for my husband, so he could show the students in a university history course just how awful some of the "music" from the mid-20th c. was, and how mixed up some of us have gotten about what constitutes music. Sir Kingsley Amis overstated his case when he wrote in 1982 that "twentieth-century music is like pedophilia. No matter how persuasively and persistently its champions urge their cause, it will never be accepted by the public at large, who will continue to regard it with incomprehension, outrage and repugnance." Rachmaninoff's Piano Concerto No. 3 in D minor, Barber's Adagio for Strings, Poulenc's Organ Concerto in G minor, and Hovhaness' many symphonies, just to pick a few examples, were all written in the 20th c., so this is not entirely fair. But Sir Kingsley's remark applies with full force to the "music" (or if you prefer, "random noise") on this recording, and I suspect it was this sort of thing he was thinking about when he made it.

So caveat emptor.