MUS 7703

Liduino Pitombeira
02/22/06

Milton Babbitt (b.1916): Three Compositions for Piano

1916 – born in Philadelphia. His family moved to Jackson, Mississippi at an

early age. He studied violin, clarinet, and saxophone as a child. Early
in his life, he showed ability in jazz and popular music.
1931 – Entered the University of Pennsylvania to study mathematics. He soon
left, and went to New York University to study music with Marion Bauer
and Philip James.
1935 – BA in Music. After graduation he studied privately with Roger Sessions,
wrote criticism for the Musical Leader, and then enrolled for graduate
work at Princeton University.
1938 – Joined the Princeton music faculty.
1942 – Received one of Princeton’s first MFA in music (Master of Fine Arts).
1943 – Until the end of WWII (1945) divided his time between Washington,
D.C., where he was engaged in mathematical research, and Princeton,
as a member of the mathematics faculty.
1946 – Wrote The Function of Set Structure in the Twelve-Tone System,
the first formal and systematic investigation of Schoenberg’s
compositional method. The paper remained unpublished but finally
gained Babbitt the PhD in 1992. Between 1946-48 he one again
directed his energies to composition: some film scores and an
unsuccessful Broadway musical.
1947 – First Compositional Period. Trichordal arrays. The first works in
which linear succession, harmonic simultaneity, dynamics, duration,
articulation, register, and timbre were all derived from a single, all-
inclusive premise were written by Babbitt.
1948 – Rejoined the music faculty at Princeton.
1959 – Helped found the Columbia-Princeton Electronic Music Center.
1964 – Second Compositional Period. All-Partition Arrays.
1973 – Composition faculty at Julliard School of Music. Also taught at the
Salzburg Seminar in American Studies, the Berkshire Music Center, the
New England Conservatory, and Darmstadt Summer Courses.
1981 – Third Compositional Period. Superarrays and all-trichord row.
1982 – Received a Pulitzer Prize Citation for his life’s work.
1986 – Elected member of the American Academy of Arts and Letters.

1
The starting point

Babbitt’s technique represents a synthesis and expansion of Schoenberg’s inversional

hexachordal combinatoriality and Webern’s derivation.

COMBINATORIALITY

A Bb Eb B E F# C C# G Ab D F
Ab A D Bb Eb F B C F# G C# E
Eb E A F Bb C F# G C# D Ab B
G Ab C# A D E Bb B F F# C Eb
D Eb Ab E A B F F# C C# G Bb
C C# F# D G A Eb E Bb B F Ab
F# G C Ab C# Eb A Bb E F B D
F F# B G C D Ab A Eb E Bb C#
B C F C# F# Ab D Eb A Bb E G
Bb B E C F G C# D Ab A Eb F#
E F Bb F# B C# G Ab D Eb A C
C# D G Eb Ab Bb E F B C F# A

9T3E46
PRIME FORM = 012578. Does this hexachord have inversional combinatoriality?
Which form of the row can be combined with P0 to produce aggregate?

If a hexachord equals its complement
Inversional Combinatoriality (Exception: 013458,

which is the only non all-combinatorial hexachord that is P-combinatorial)

2
 P9H1 P9H2 Array

I2H1 I2H2

Schoenberg’s Violin Concerto Op.36

DERIVATION

Webern’s music has a high degree of motivic concentration by employing derived series. The
row below is used Webern’s Concerto for Nine Instruments, Op.24

G B Bb D# D F# E F C# C Ab A
What kind of combinatoriality this row has?
D# G F# B Bb D C C# A Ab E F
E Ab G C B D# C# D Bb A F F# ____________________
B D# D G F# Bb Ab A F E C C#
C E D# Ab G B A Bb F# F C# D Prime form of H1 = 014589
Ab C B E D# G F F# D C# A Bb
Bb D C# F# F A G Ab E D# B C
A C# C F E Ab F# G D# D Bb B
C# F E A Ab C Bb B G F# D D#
D F# F Bb A C# B C Ab G D# E
F# Bb A D C# F D# E C B G Ab
F A Ab C# C E D D# B Bb F# G

3
014 is called generator of the series. Any trichord (except 036) can be a generator.
Any tetrachord that excludes interval class 4 can also be a generator.

Example: 015

Tn TnI Build a twelve-tone row

015 0E7 consisting of 015 only.
126 108
237 219
348 32T
459 43E
56T 540
67E 651
780 762
891 873
9T2 984
TE3 T95
E04 ET6

Is it possible to build a derived series with tetrachord 0125?______________

Example: 0127

Tn TnI Build a twelve-tone row

0127 0ET5 consisting of 0127 only.
1238 10E6
2349 2107
345T 3218
456E 4329
5670 543T
6781 654E
7892 7650
89T3 8761
9TE4 9872
TE05 T983
E016 ET94

G – B, the first two notes

of P7, are 4 semitones
apart.

T8(G) = B

T8(P7)=P3

……

T6I(G)=B

T6I(P7)=I11

Webern’s Concerto for Nine Instruments, Op.24 – Segmentation I

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 Webern’s Concerto for Nine Instruments, Op.24 – Segmentation II

In the segmentation below the notes of the violin and viola create 014. Also the highest notes of viola,
violin and flute create 014

Webern’s Concerto for Nine Instruments, Op.24 – Segmentation III

Babbitt was quick to realize that despite its surface similarities to tonal forms, Schoenberg’s
twelve-tone music represented a syntactic and perceptual shift from tonal composition. He
saw that although twelve-tone syntax can support the dramatic strategies of tonal forms, it
may also lead to entirely new compositional strategies vibrant and musically compelling in
themselves. (MEAD, 9)
See in the example above how the derived series shaped form, register, and pitch
distribution.

5
First Compositional Period
Trichordal Arrays (1947-1960)

By combining two pairs of hexachordally combinatorial rows, it is possible, given certain

restrictions, to construct an array in which aggregates may be found over three different
kinds of time spans:

1. The rows themselves (horizontal)

2. The paired hexachords
3. Columns of Trichords

Example: The row D-Eb-Db-E-F-C-Bb-G-B-F#-G#-A

D Eb Db E F C Bb G B F# G# A
Db D C Eb E B A F# Bb F G G#
Eb E D F F# Db B G# C G A Bb
C Db B D Eb Bb G# F A E F# G
B C Bb Db D A G E G# Eb F F#
E F Eb F# G D C A Db G# Bb B
F# G F G# A E D B Eb Bb C Db
A Bb G# B C G F D F# Db Eb E
F F# E G G# Eb Db Bb D A B C
Bb B A C Db G# F# Eb G D E F
G# A G Bb B F# E Db F C D Eb
G G# F# A Bb F Eb C E B Db D

The first hexachord has the prime form 012345, which is an all-combinatorial hexachord.

P2 D Eb Db E F C Bb G B F# G# A
R2 A G# F# B G Bb C F E Db Eb D
I11 B Bb C A G# Db Eb F# D G F E
RI11 E F G D F# Eb Db G A C Bb B
From Schoenberg, he is using the principle of combinatoriality; from Webern, he is using
the principle of trichordal partition of the row. The trichords are not the same, as in
Webern’s example showed before, but they are related by a very interesting type of
transformation.

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These trichords are also subsets of the hexachord 012345:

[012] (3-1): [012] [123] [234] [345]

[013] (3-2): [013] [023] [124] [134] [235] [245]
[014] (3-3): [014] [034] [125] [145]
[015] (3-4): [015] [045]
[024] (3-6): [024] [135]
[025] (3-7): [025] [035]

But Babbitt wanted to go beyond that, creating even more associations.

Example: F#-A-F-G#-E-G-Db-Bb-D-B-Eb-C
The hexachords are also 012345 like the previous example, i.e., all-combinatorial.
Like in Webern’s, this row is a derived series built upon 014. A trichordal array, like the one
in the previous example, is not possible if all four lynes are members of the same row.

F# A F G# E G Db Bb D B Eb C G# E G F# A F B Eb C Db Bb D
Eb F# D F Db E Bb G B G# C A C G# B Bb Db A Eb G E F D F#
G Bb F# A F G# D B Eb C E Db A F G# G Bb F# C E Db D B Eb
E G Eb F# D F B G# C A Db Bb Bb F# A G# B G Db F D Eb C E
G# B G Bb F# A Eb C E Db F D G Eb F# F G# E Bb D B C A Db
F G# E G Eb F# C A Db Bb D B B G Bb A C G# D F# Eb E Db F
B D Bb Db A C F# Eb G E G# F F Db E Eb F# D G# C A Bb G B
D F Db E C Eb A F# Bb G B G# Db A C B D Bb E G# F F# Eb G
Bb Db A C G# B F D F# Eb G E E C Eb D F Db G B G# A F# Bb
Db E C Eb B D G# F A F# Bb G Eb B D Db E C F# Bb G G# F A
A C G# B G Bb E Db F D F# Eb F# D F E G Eb A Db Bb B G# C
C Eb B D Bb Db G E G# F A F# D Bb Db C Eb B F A F# G E G#

Original row Row created by trichordal redistribution

By moving around the trichords, in order to produce trichordal arrays, Babbitt creates another
row, not related to the original one.

P6 F# A F G# E G Db Bb D B Eb C
I1 Db Bb D B Eb C F# A F G# E G
TP8 G# E G F# A F B Eb C Db Bb D
TI11 B Eb C Db Bb D G# E G F# A F

RI1 G E G# F A F# C Eb B D Bb Db
R6 C Eb B D Bb Db G E G# F A F#
TRI11 F A F# G E G# D Bb Db C Eb B
TR8 D Bb Db C Eb B F A F# G E G#

7
The trichordal transformations in the trichordal array are (the tables above side by side):

a b c d b a d c
c d a b d c b a
b a d c a b c d
d c b a c d a b

In order to create more variety when using these arrays in an actual composition, Babbitt
devised another kind of distribution inspired by the subsets of a set of four elements. As we
know from basic set theory, a set of four elements has 16 subsets. For example the set
{a,b,c,d} has the following subsets:

{ }, {a},{b},{c},{d},{a,b},{a,c},{a,d},{b,c},{b,d},{c,d},{a,b,c},{a,b,d},{a,c,d},{b,c,d},
{a,b,c,d}

Therefore the same trichordal array show in the table above can be rearranged in the
following way:

In this distribution one can find 15 vertical combinations of the 16 possible subsets of a four-
element set:

Column Sets
If we associate this table with four instruments, for
1. ABC D
example, it could mean:
2. CD AB
3. BCD A 4 solos
4. BC AD 6 duets
5. ACD B 4 trios
6. AC BD 1 complete ensemble
7. C ABD
8. ABCD

This is the way Babbitt distributes the instruments in his Composition for Four
Instruments, which is the second piece written in the First Compositional Period.

8
 Distribution of Ensembles

P6 F# A F G# E G Db Bb D B Eb C
I1 Db Bb D B Eb C F# A F G# E G
TP8 G# E G F# A F B Eb C Db Bb D
TI11 B Eb C Db Bb D G# E G F# A F

Trichordal array

See how Babbitt used the trichords in the opening solo of the piece (layers of register). Also,
the first trichord is alone and the other three overlapped. This microstructure follows the
same model used in the distribution of ensembles (see the next aggregate)

Opening solo (Clarinet) showing registral distribution – 1st aggregate

Opening solo (Clarinet) showing registral distribution – 2nd aggregate

9
But Babbitt does not use only the trichord 014 and the partitions above for the entire piece.
If we take a look in the cello solo (m.139) and apply the same principle of registral
distribution shown in the top of the previous page, it only works if the trichord is different
from 014. Look the example above (cello solo) and identify the trichord he is using in the
cello solo.

_________________

Cello solo showing registral distribution – compare with the table of ensemble distribution

So, what is the connection between these two trichords?

Or the row presented on page 4 is not really the row for the entire piece and the story is a
little bit more complicated?

The row, in which the piece is based, is actually the one shown below. This row appears for
the first time only in the last system of the piece (score page 20):

G E Ab Gb F A Eb D C B C# Bb
014 014 013 013

10
The rhythm in this piece is also determined by serial procedures. Babbitt takes the series
1432 and applies the four basic serial transformations:

How do you invert the row 1432?________________________________

In addition, these four duration patterns are each expanded into longer duration patterns by
multiplying each member of a given pattern by its own successive members.

Example: 1 4 3 2 - 4 16 12 8 - 3 12 9 6 - 2 8 6 4

The figure below shows the rhythmic patterns of the opening solo:

Other pieces of the first period:

• Three Composition for Piano, the first piece he wrote in his First Compositional
Period. We will describe some of the techniques he used in this piece.
• String Quartet No.2
• Semi-Simple Variations
• All Set, for jazz ensemble

Three Compositions for Piano – Analytical Comments

The row for this piece is:

Bb Eb F D C Db G B F# A Ab E
027 012 015 015

The first hexachord has a prime form of 023457, which is all-combinatorial. Look the table on
page 2. Therefore it is possible to produce aggregates using all four transformations of the
row. See the matrix below.

11
 Bb Eb F D C Db G B F# A Ab E
F Bb C A G Ab D F# Db E Eb B
Eb Ab Bb G F F# C E B D Db A
F# B Db Bb Ab A Eb G D F E C
Ab Db Eb C Bb B F A E G F# D
G C D B A Bb E Ab Eb F# F Db
Db F# Ab F Eb E Bb D A C B G
A D E Db B C F# Bb F Ab G Eb
D G A F# E F B Eb Bb Db C Ab
B E F# Eb Db D Ab C G Bb A F
C F G E D Eb A Db Ab B Bb F#
E A B Ab F# G Db F C Eb D Bb

The table below provides the combinatorial transformations for each form of the row. The
forms indicated with arrows are the only ones used in the piece.

P10 P4 I11 R10 RI5 R10 P10 I5 R4 RI11

P9 P3 I10 R9 RI4 R9 P9 I4 R3 RI10
P8 P2 I9 R8 RI 3 R8 P8 I3 R2 RI9
P7 P1 I8 R7 RI 2 R7 P7 I2 R1 RI8
P6 P0 I7 R6 RI 1 R6 P6 I1 R0 RI7
P5 P11 I6 R5 RI 0 R5 P5 I0 R11 RI6
P4 P10 I5 R4 RI11 R4 P4 I11 R10 RI5
P3 P9 I4 R3 RI10 R3 P3 I10 R9 RI4
P2 P8 I3 R2 RI9 R2 P2 I9 R8 RI 3
P1 P7 I2 R1 RI8 R1 P1 I8 R7 RI 2
P0 P6 I1 R0 RI7 R0 P0 I7 R6 RI 1
P11 P5 I0 R11 RI6 R11 P11 I6 R5 RI 0

I10 P9 I4 R3 RI10 RI10 P3 I10 R9 RI4

I9 P8 I3 R2 RI9 RI9 P2 I9 R8 RI 3
I8 P7 I2 R1 RI8 RI8 P1 I8 R7 RI 2
I7 P6 I1 R0 RI7 RI7 P0 I7 R6 RI 1
I6 P5 I0 R11 RI6 RI6 P11 I6 R5 RI 0
I5 P4 I11 R10 RI5 RI5 P10 I5 R4 RI11
I4 P3 I10 R9 RI4 RI4 P9 I4 R3 RI10
I3 P2 I9 R8 RI 3 RI 3 P8 I3 R2 RI9
I2 P1 I8 R7 RI 2 RI 2 P7 I2 R1 RI8
I1 P0 I7 R6 RI 1 RI 1 P6 I1 R0 RI7
I0 P11 I6 R5 RI 0 RI 0 P5 I0 R11 RI6
I11 P10 I5 R4 RI11 RI11 P4 I11 R10 RI5

12
13
14
Formal Structure:

The piece can be divided into five sections: A B C B’ A’

In section A the combinatorial rows are presented each two measures in a linear format.
In section B the combinatorial rows are presented each measure in a chain of combinatoriality
(see diagram below for the B section) and in both chordal and linear formats.
In section C the combinatorial rows are displaced by one hexachord in such a way that the
combinatoriality is calculated in an inversional manner. Also, cumulative clusters are used.
Section B’ is a palindrome of section B using complementary transformations.
Section A’ has the same characteristics of section A. It has the same rows organized in a
different way.

The only forms of the row used in the piece are shown above. See also that the index
numbers of the forms of the same type are a tritone apart (P4 – P10,…). The diagram below
shows the chain of combinatorial row in the B section.

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The dynamics are serialized by attachment, i.e., for each transformation of the row there are
two dynamics associated. These associations change only in the final section (49-end).

P
mp (pp)
R
mf (p)
I
f (mp)
RI
p (ppp)

Register appears to be left open except in the voicing of the trichords. When Babbitt
segments the pitch series into vertical trichords, he voices them in relation to the row in the
following way:

1-3 4-6 7-9 10-12

P Up Down Up Down
I Down Up Down Up
R Up Up Down Down
RI Down Down Up Up

See for example the voicing of:

R10 (m.10) –

I11 (m.11) –

The rhythm is based on the series 5 – 1 – 4 – 2, which sums 12.

To invert the row each number is subtracted from 6.

P = 5142 R = 2415
I = 1524 RI = 4251

Each number equals the number of sixteenth notes. The blocks of sixteenth notes are
separated by rests or long notes, or indicated by accents or slurs.

Other works of the first period: All Set, String Quartet No.2

16
Second Compositional Period
All-partition Arrays (1964-1980)

The major change between Babbitt’s first and second periods is the use of all-partition arrays,
i.e., arrays in which the partitions are not only trichords. As in Babbitt’s first period, each
array is made up of hexachordally combinatorial lyne pairs, but unlike most trichordal arrays,
all the lyne pairs employ members of a given row class. Like his earlier practice, Babbitt has
restricted himself to the all-combinatorial hexachord in constructing his row classes.

The time point system

It is another technique that Babbitt uses to serialize rhythm. The basic structure is called
time point modulus and consists of twelve equal divisions of each measure.

The series 0 9 1 8 5 4 2 6 7 3 t e would be represented rhythmically in the following way:

All the transformations used for pitch rows also apply to rhythmic rows. Rhythmic aggregates
can also be used:

17
Below is the beginning of Tableaux:

Write down the pitch classes for each of the five registers:

2 2 2 3 3 partition

18
In his Post-Partitions the serialization is even more complex:

Other works of the second period:

Arie da Capo
String Quartet No.3
String Quartet No.4
My Complements to Roger

19
Third Compositional Period
Superarrays and all-trichord rows (1981- )

Babbitt’s last period is marked by the use of superarrays, consisting of all-partition and
trichordal arrays assembled into larger contrapuntal networks. For example, in his Ars
Combinatoria he takes four arrays, each one with four transformations, and builds a network
based on the 15 possibilities of grouping 4 elements together (16 minus null set):

In Overtime he used the following superarray structure:

Other works of the third period:

Play it Again, Sam

Around the Horn

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 Catalog of Compositions by Milton Babbitt

Unpublished works
1935 Generatrix for orchestra (unfinished) MS - withdrawn
1940 Composition for String Orchestra (unfinished) MS - withdrawn
1940 Music for the Mass I for mixed chorus MS
1941 Music for the Mass II MS
1941 Symphony (unfinished) MS - withdrawn
1941 String Trio MS
1946 Three Theatrical Songs for voice and piano CF Peters
1948 String Quartet No. 1 MS - withdrawn
1949 Film Music for Into the Good Ground MS - withdrawn
1954 Vision and Prayer for soprano and piano MS

Published works

1946 Three Theatrical Songs for voice and piano CF Peters

First Period

1947 Three Compositions for Piano Boelke-Bomart

1948 Composition for Four Instruments Presser
1948; 54 Composition for Twelve Instruments AMP
1950 Composition for Viola and Piano CF Peters
1951 The Widow’s Lament in Springtime for soprano and piano Boelke-Bomart
1951 Du for soprano and piano Boelke-Bomart
1953 Woodwind Quartet AMP
1954 String Quartet No. 2 AMP
1955 Two Sonnets for baritone, clarinet, viola, and ‘cello CF Peters
1956 Duet for piano EB Marks
1956 Semi-Simple Variations for piano Presser
1957 All Set for alto saxophone, tenor saxophone, trumpet, trombone, AMP
contrabass, piano, vibraphone, percussion
1957 Partitions for piano Lawson-Gould
1960 Sounds and Words for soprano and piano EB Marks
1960 Composition for Tenor and Six Instruments AMP
1961 Composition for Synthesizer AMP
1961 Vision and Prayer for soprano and synthesized tape AMP

Second Period

1964 Philomel for soprano, recorded soprano, synthesized tape AMP

1964 Ensembles for Synthesizer AMP
1965 Relata I for orchestra AMP
1966 Post-Partitions for piano CF Peter
1966 Sextets for violin and piano CF Peters
1967 Correspondences for string orchestra, synthesized tape AMP
1968 Relata II for orchestra AMP
1968 Four Canons for SA Broude Bros.
1969 Phonemena for soprano and piano CF Peters
1970 String Quartet No. 3 CF Peters
1970 String Quartet No. 4 CF Peters
1971 Occasional Variations for synthesized tape CF Peters
1972 Tableaux for piano CF Peters
1974 Arie Da Capo for five instrumentalists CF Peters
1975 Reflections for piano and synthesized tape CF Peters
1975 Phonemena for soprano and synthesized tape CF Peters
1976 Concerti for violin, small orchestra, synthesized tape CF Peters
1977 A Solo Requiem for soprano and two pianos CF Peters
1977 Minute Waltz (or 3/4 - 1/8) for piano CF Peters
1977 Playing for Time for piano Hinshaw
1978 My Ends Are My Beginnings for solo clarinetist CF Peters
1978 My Complements to Roger for piano PNM, Spring/Summer1978
1978 More Phonemena for twelve-part chorus CF Peters
1979 An Elizabethan Sextette for six-part women’s chorus CF Peters
1979 Images for saxophonist and synthesized tape CF Peters
1979 Paraphrases for ten instrumentalists CF Peters
1980 Dual for ‘cello and piano CF Peters

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 Third Period

1981 Ars Combinatoria for small orchestra CF Peters

1981 Don for four-hand piano CF Peters
1982 The Head of the Bed for soprano and four instruments CF Peters
1982 Fifth String Quartet CF Peters
1982 Melismata for solo violin CF Peters
1982 About Time for piano CF Peters
1983 Canonical Form for piano CF Peters
1983 Groupwise for flautist and four instruments CF Peters
1984 Four Play for four players CF Peters
1984 It Takes Twelve to Tango for piano CF Peters
1984 Sheer Pluck (composition for guitar) CF Peters
1985 Concerto for piano and orchestra CF Peters
1985 Lagniappe, for piano CF Peters
1986 Transfigured Notes, for string orchestra CF Peters
1986 The Joy of More Sextets, for piano and violin CF Peters
1987 Three Cultivated Choruses for four-part chorus U.of Michigan
1987 Fanfare for double brass sextet CF Peters
1987 Overtime for piano CF Peters
1987 Souper for speaker and ensemble
1987 Homily for snare drum Smith Publ.
1987 Whirled Series for saxophone and piano CF Peters
1988 In His Own Words for speaker and piano Aperiodical
1988 The Virginal Book, for contralto and piano Smith Publ.
1988 Beaten Paths, for solo marimba Smith Publ.
1988 Glosses, for Boys’ Choir CF Peters
1988 The Crowded Air, for eleven instruments CF Peters
1989 Consortini, for five players CF Peters
1989 Play It Again, Sam for solo viola CF Peters
1989 Emblems (Ars Emblematica), for piano CF Peters
1989 Soli e Duettini, for two guitars Smith Publ.
1989 Soli e Duettini, for flute and guitar Oxford
1990 Soli e Duettini, for violin and viola CF Peters
1990 Envoi, for four hands, piano CF Peters
1991 Preludes, Interludes, and Postlude, for piano CF Peters
1991 Four Cavalier Settings, for tenor and guitar CF Peters
1991 Mehr “Du”, for soprano, viola and piano CF Peters
1991 None But The Lonely Flute, for solo flute CF Peters
1992 Septet, But Equal CF Peters
1992 Counterparts, for brass quintet CF Peters
1993 Around the Horn, for solo horn CF Peters
1993 Quatrains, for soprano and two clarinets (text: John Hollander) CF Peters
1993 Fanfare For All, for brass quintet CF Peters
1993 String Quartet No. 6 CF Peters
1994 Triad, for viola, clarinet, and piano CF Peters
1994 No Longer Very Clear, for soprano and four instruments CF Peters
1994 Tutte Le Corde, for piano CF Peters
1994 Arrivals and Departures, for two violins CF Peters
1994 Accompanied Recitative, for soprano sax and piano CF Peters
1995 Manifold Music, for organ CF Peters
1995 Bicenguinguagenary Fanfare, for brass quintet CF Peters
1995 Quartet, for piano and strings CF Peters
1996 Quintet, for clarinet and string quartet CF Peters
1996 When Shall We Three Meet Again? for flute, clarinet and vibraphone CF Peters
1998 Piano Concerto, No. 2 CF Peters
1998 The Old Order Changeth Boosey&Hawkes
1999 Composition For One Instrument (Celesta) CF Peters
1999 Allegro Penseroso, for piano CF Peters
1999 Concerto Piccolino, for vibraphone CF Peters
2000 Little Goes a Long Way, for violin and piano CF Peters
2000 Pantuns for soprano and piano (text: John Hollander) Boosey&Hawkes
2002 From the Psalter soprano and string orchestra (text: Sir Philip Sidney CF Peters
2002 Now evening after evening for soprano and piano (text: Derek Walcott) CF Peters
2003 Swan Song No. 1 for 6 players (fl, ob, gtr, mandolin, vln, vc) CF Peters
2003 The Waltzer in the House for soprano and vibraphone (text: Stanley CF Peters
Kunitz)
2004 Autobiography of the Eye, for soprano and cello (text: Paul Auster CF Peters
2004 Concerti for Orchestra, for James Levine and the BSO CF Peters
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Bibliography

Lester, Joel. Analytic Approaches to Twentieth-Century Music. New York: W.W. Norton, 1989.

Mead, Andrew. An Introduction to the Music of Milton Babbitt. Princeton: Princeton University
Press, 1994.

Straus, Joseph. Introduction to Post-Tonal Theory, 2nd Ed. Upper Saddle River: Prentice Hall,
2000.

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