MILTON BABBITT – A Devout Serialist – SQ No. 3

American Contemporary Modern composer Milton Byron Babbitt [1916–2011] wrote six string quartets. The first was withdrawn and has never been published, played or recorded. Babbitt studied mathematics and then went on to study the serial works of Schoenberg, Berg and Webern before constructing his own systems for creating music, based on serialism. These systems contain rules for melodic, rhythmic and textural methods of organising serial musical material – an approach which leads to highly abstract, unusual sounds. He has worked in both the Mathematics and Music faculties of various universities and I believe that this combination of disciplines has led to his unique approach to music. I intend to discuss the Third Quartet, written 1969–70 and in one movement, in my usual, non-technical manner. However, it just happens to be one of the most avante-garde pieces of music that I have enjoyed. Having said that, avant-garde is not really a style, but more a blanket term for new and experimental music.

The work commences in an apparently unstructured manner featuring some flute-like violin sounds, with prominent pizzicato accompaniment. This is followed by a passage of sparse, long tones, together with pizzicato interjections. A solo violin expresses a short interlude before the sporadic texture resumes – there is now a constant sense of pizzicato. The music has a high level of entropy as it edges forward with random assertions from all instruments. Melodies jump to unusual intervals and there is a certain feeling of austerity projected, the composer doesn’t give much away. Eventually a violin melodic line emerges with the second violin offering melodic support. There is some cooperation between instruments but no harmonic development.

This music has been suggested by some to contain elements of pointillism, which is a style of painting in small multicoloured dots that merge when viewed from a distance. Strangely, the dynamic level remains remarkably consistent throughout.

The violins are now more assertive and occasionally move into a higher register, producing swooping phrases. Long tones appear in the violins and cello and a sense of relaxed peace is initiated. This leads to a return of large melodic leaps which emphasise the abstract nature of the work and some unusual articulation of notes also contributes to this feeling. There are many instrumental interjections, and various sections feature the sound of muted strings. Further constant changes in melodic, rhythmic and textural patterns finally bring the piece to an abrupt conclusion

This is not music to be understood, unless you have a comprehensive musical education – even then, I believe you would need access to the score. There is a brief analysis of this piece on Wikipedia, but I could not fathom its description of the structure, I just enjoy the total abstract nature of the piece. I realise that my limited discussion will probably give you no idea as to the sound of the music. For that, you will have to experience it for yourself.

Babbitt’s quartets are not readily available on CD. However, there is a recently recorded version of Quartets Nos. 2-6, by The Ars Combinatoria String Quartet which is available at a website here. There are recordings of all quartets for listening and the works can be purchased as downloads, both in MP3 and FLAC formats. The FLAC files are CD quality and can be burned onto audio CDs. I have been in contact with the Ars Combinatoria and was advised that they have no plans to release the works on CD.

Several quartets are on Spotify and Youtube, although not the reviewed versions.

Listenability: I shall leave you with a quote from Babbitt – Listen, don’t worry about whether or not the music sounds coherent to you the first time you hear it. What about the first time you hear a sentence in Hungarian? – assuming you’re interested in listening to and learning Hungarian.