restricted access B
In lieu of an abstract, here is a brief excerpt of the content:

41 B Kees van Baaren (1906–1970) The Netherlands Van Baaren studied with Pijper at the Amsterdam Conversatory. Sonatina in memoriam Willem Pijper 1948 (B&VP 1523 1950). No.5 in the set Hommage à Willem Pijper. Allegretto; Lento non troppo; Vivo e leggier. Serial style with mixed meters. Intense and uncompromising. M-D. Arno Babadjanian (1921–1983) Armenia Poem 1966 (USSR). Composed for the 1966 Tchaikowsky Piano Competition. A splashy, technically-oriented showpiece. Style fits somewhere between Anton Rubinstein and Aram Khachaturian. Proficient and inventive. D. Milton Babbitt (1916–2011) USA Babbitt’s pioneering work in the development of twelve-tone compositional techniques and electronic music in the United States has already entered the realm of legend. Allan Kozinn called Babbitt “a composer who gloried in complexity,” an apt description (New York Times, January 30, 2011). Three Compositions 1947–48 (Bomart) 19pp. 7 min. Contains the earliest piece considered to be totally serial in all elements. M-D. See: H. Wiley Hitchcock, Music in the United States (New York: Prentice -Hall, 1969), pp.232–35 for an analysis of this set. Semi-Simple Variations 1956 (TP). Although this piece seems to be a theme followed by five variations in twelve-tone technique, it is actually six variations on a twelve-tone set. Explanatory notes. M-D. See: Elaine Barkin, “A Simple Approach to Milton Babbitt’s Semi-Simple Variations,” MR 28/4 (November 1967): 316–22. Christopher Wintle, “Milton Babbitt’s Semi-Simple Variations,” PNM 14–15 (1976): 111–54. Partitions 1963 (LG). See album New Music for the Piano. Serial, pointillistic, subtle use of sostenuto pedal, complex rhythms. D. Post-Partitions 1966 (CFP 1973) 29pp. 4 min. To be performed immediately after Partitions or independently. Pitch, rhythm, and dynamics are serial, the latter ranging from ppppp to fffff. Atonal, complex. D. Tableaux 1973 (CFP 66560) 30pp. 91/2 min. Pointillistic, complex rhythms, constant dynamic changes, proportional rhythmic notation. Virtuoso technique required. D. See: Dora A. Hanninen, A General Theory for Context-Sensitive Music Analysis : Applications to Four Works for Piano by Contemporary American Composers (PhD diss., University of Rochester, 1996), 760pp. Includes analysis of Tableaux. 42   babin Reflections 1975 (CFP) for piano and tape. 91/2 min. Based on a scale of twelve dynamic values ranging from ppppp to fffff plus mf and mp. Three separate sections; in the first two the piano and tape exchange places, while in the third the basic musical and sonorous materials are superimposed on each other. The title refers to the structure and content of the work, which is composed of reflections and interchanges between the piano and the loudspeakers , as well as to the organization of twelve-tone material. D. See: Contemporary Music Newsletter, May–June 1975, for a thorough analysis of this complex and highly sensitive piece. Playing for Time 1977 (in Twelve by Eleven, Alfred). 12pp. 22 min. Employs characteristically unfamiliar rhythmic notation in a simple context (3/4 meter). The underlying “set” finally evolves and appears explicitly in (among other places) the final four measures. Highly organized musical syntax, pointillistic . Falls into place remarkably fast when read through even a few times. Contains some unique pianistic sonorities. D. My Compliments to Roger (on yet another birthyear) 1978 (Smith/Sonic Art 1991) 9pp. In 3/4 meter with each measure stretching across the page. Complicated rhythms, as might be expected. See: James M. Keller, “Conversation with Robert Taub,” PQ 159 (Fall 1992): 29–32, 34. Touches on Babbitt’s piano works. Jerome George Kuderna, Analysis and Performance of Selected Piano Works of Milton Babbitt (1916–– ) (PhD diss., New York University, 1982), 179pp. Stanley Babin (1932–2010) Israel, born Latvia Babin received his musical training in Israel and at the Curtis Institute of Music. Dance around the World (MCA 1969). Twenty countries represented by characteristic dances. Mood of each nation cleverly captured. Int. Three Piano Pieces (MCA 1968). Musette: ostinato in 7/8 meter. Fugue: modal subject, Hindemithian treatment. Presto: dramatic closing, Prokofieff-inspired . A mildly modern triptych. M-D. Two Sonatinas (MCA). No.1 (1965). Comodo; Lento; Allegro molto. Requires span of ninth. Int. No.2 (published separately). Int. to M-D. Victor Babin (1908–1972) USA, born Russia Babin studied with Artur Schnabel and performed as a duo with his wife, Vitya Vronsky. He was director of the Cleveland Institute of Music. Variations on a Theme of Beethoven (Augener 1960). Five variations, closing with a fugue and a coda. Contains some brilliant idiomatic writing. D. Vytautas Bacevičius (1905–1970) Poland...


pdf