In Memoriam M. B.

- 225 Violin mp poco f f mp Lento q = 60 Vln. f Vln. p f Vln. mf Vln. mp f Vln. mf    In Memoriam M. B. Andrew Mead                                                                                                                                                                                                                                                                                                                                         - 226 Vln . p pp p Vln. pp p poco f Vln. pp mp Vln. f Vln. p mf p poco f Vln. p pp  3 3 3 3  3 3 3 3 3 3 3 3  3 3 3 3 3 3       3 3 3 3 3 3 3 3 3 3                        February 26, 2011 Brooklyn, MI                                                                                                                                                                                                                                                                                                                                                                                  2 - 227 Andrew Mead: In Memoriam M. B. In Memoriam M. B. is the sixth and final movement of my third Sonata for solo violin, written in February, 2011, shortly after Babbitt’s death. While I had not consciously set out to write a memorial to Babbitt, his life and music were very much on my mind as I wrote this piece, and its finale’s extremely slow dance, a kind of serene departure from the tumult of the rest of the Sonata, seemed utterly appropriate as a response to this project’s call for music in his memory. I am indebted to Maria Sampen, who undertook this recording at very short notice. Her artistry needed no prompting from me to get to the heart of the music. -Andrew Mead ...