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Published in U.S. 1 Newspaper on March 15, 2000. All rights reserved.

`Distinctive Voices, Visions’

Celebrating its 20th subscription season with an all-20th-century

music series, the Princeton Chamber Symphony hosts one of the nation’s

and our town’s most influential and esteemed composers, Milton Babbitt,

in its concert presentation, Sunday, March 19, at 4 p.m. in Richardson

Auditorium. Babbitt’s "Composition for 12 Instruments" is

featured on a program of "Distinctive Voices and Musical Visions,"

together with works by Prokofiev, Ravel, Charles Ives, and Aaron Copland.

Babbitt will join artistic director Mark Laycock in a brief conversation

onstage before the performance.

U.S. 1’s Elaine Strauss interviewed Milton Babbitt at his Princeton

office last year prior to the performance of one of his choral works

by Princeton Pro Musica. Below are some excerpts from their talk.

A man of smooth movements and an open face, Babbitt

gives little evidence of being a living legend, except for the fact

that he seems to know just about everybody in the field of music.

He seems to have all the time in the world, and to be endowed with

enormous patience.

The oldest of three brothers, Babbitt was born in 1916 in Philadelphia,

where his family summered. His father’s university appointment was

in Lincoln, Nebraska. "My father was a mathematician," Babbitt

says. "He was a great planner and we were always born in the summer."

Babbitt’s mother was descended from Prince Potemkin, the ingenious

advisor to Catherine the Great of Russia. In 1904 Babbitt’s mother

returned to ancestral properties in Russia. "At a Christmas party,

in a dacha outside of Moscow, she met my father," Babbitt explains.

"He was a graduate student in Zurich. My mother brought him to

the United States."

"My father, who was a distinguished mathematician, went periodically

to Omaha, to consult with Bankers’ Life on actuarial work," Babbitt

says. "During one of his visits, Eudora Welty’s father offered

him a job at his company, in Jackson, Mississippi, as an actuary,

and my father became a vice president. We were well off during the

Depression."

"When I grew up there was only live music," says Babbitt.

"At Jefferson Davis School, a public school, we were taught that

we were the last custodians of high culture. We all got a classical

education. I started as a violinist, and switched to clarinet."

Summers he would spend time with an uncle who was associated with

Philadelphia’s Curtis Institute. "My uncle played Schoenberg at

me when I was 19," Babbitt remembers. "Of course, I couldn’t

make much out of it, but my uncle, whom I respected, took it seriously,

and he had a tremendous influence on me." In the 1940s, Babbitt

became a pioneer, known for refining Arnold Schoenberg’s avant-garde

compositional principles of the 1920s.

During the 1950s, Babbitt turned his attention to electronic music.

He and Vladimir Ussachevsky of Columbia University acquired the sound

synthesizer developed at RCA as a birthday present for RCA’s General

Sarnoff and installed it at Columbia.

"You had to specify everything and the machine made the sounds,"

he says. "It was a very slow process. It was an input device,

not a computer; it couldn’t deal with numbers. It had 1,800 vacuum

tubes, not because they didn’t know about transistors, but because

vacuum tubes produce the best sound at high frequencies. The synthesizer

was in sections, and went around two corners. It was bigger than my

office. The complexity of the machine can’t be exaggerated. I worked

on it until 1975, when the studio was broken into and ravaged. Since

then I’ve done no more electronic music. I didn’t want to start with

computers."

The prolific Babbitt has produced almost 70 compositions since the

time he gave up electronic music. They include orchestral compositions

and concerti, chamber music for brasses, and for strings, solo pieces

for a variety of instruments, songs, piano music, spoken word pieces,

and material that defies classification.

Babbitt continues to teach composition at New York’s Juilliard School,

as he has done since 1971. At Princeton University, where his teaching

career began in 1938, his office is well used. He is warm and responsive,

and, at 83, shows no signs of wear. To what does Babbitt attribute

his vigor? "I don’t do a damn thing except get up late and go

to bed late and work the whole time," he says. "In my generation,

the war had a big effect. We all have the feeling that we’re always

catching up."

— Elaine Strauss

Distinctive Voices, Musical Visions, Princeton Chamber

Symphony , Richardson Auditorium, 609-497-0020. Soloist Meng-Chieh

Liu is featured in Ravel’s G Major Piano Concerto. Lecture at 3 p.m.

by musicologist Laurence Taylor. $25 & $28. Sunday, March 19, 4

p.m.


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