String Quartet No. 3 is the third of six chamber-music works in the string quartet medium by the American composer Milton Babbitt.
Contents
History
Babbitt’s Third Quartet was written in 1969–70 on commission by Mr. and Mrs. Lee A. Freeman for the Fine Arts Quartet, to whom it is dedicated (Sir 1974, 608). The world premiere performances were on May 4–5, 1970 by the Fine Arts Quartet, who subsequently recorded it under a subsidy from the Recording Publication Program of the Ford Foundation (Babbitt 1972).
Analysis
The Quartet is in a single movement lasting over 18 minutes. On first acquaintance the quartet may seem to consist of a welter of unrelated detail, with few if any short-term patterns. However, contrasting speeds and articulations (arco and pizzicato) gradually bring the shifting relationships of the details and the connected aspects of the larger sections into clear focus, and the composition begins to assume a shape of intricacy and beauty (Griffiths 1975). It falls into four large sections, created by the pitch structure, each of which is divided into eight subsections. The subsections are set off by alternate arco and pizzicato playing, while the use of mutes also helps to undeline the sectional structure: the first section is played by all of the instruments con sordini; in the second and third sections, subsections are defined by various combinations of muted and unmuted playing; and in the final section only the first violin plays con sordino (Sir 1974, 608). Unlike the Second and Fourth Quartets, the Third makes no further use of coloristic effects (Griffiths 1975).
Although a single tempo is used throughout the entire work ( = ca. 72), subdivision of the basic unit into 2, 3, 4, 5, 6, 7, 8, and 12 subunits produces eight "subtempos", each of which defines a subsection of each rhythmic section. A time-point set analogous to the pitch-class set is projected in association with eight dynamic levels (from ppp to fff), each of which articulates a particular layer of the time-point structure throughout the composition (Sir 1974, 608; Barkin and Brody 2001).