Can't add much to the Babbitt brethren here,except merely to comment on 'ex cathedra' the 'Three Compositions',has still a compelling fascination, it's loose,high convulsive energy wonderful for a post war piece, 1947-1948.
Can't say enough about the threadbare 'Duet', a mere 36 seconds duration a gestural bon-bon,arpeggiated mildly atonaly chords, to his daughter.
'Semi-Simple Variations' from 1956 continued from the earlier excursions into violently controlled energy. I suppose we will listen to violent import in music differently with the new age terror permeating our consciousness now.
Like wise 'Tableaux' and 'Canonical Form' are seminal works encompassing relatively longer durational frames, where Babbitt learned to layer the registers of piano timbre frequently writing on four separate lines.The beauty I think is the focus on particular tones, with dynamic indication as far as a fffff, as loud as possibly to barely perceptible. Elegance is the result as opposed to coldy wrought spatial distributions of tones as Stockhausen so successfully accomplished in his early "klavierstuck" 1 to 5 in particualr.
Robert Taub simply comprehends this music wonderfully, a high level of precision mixed with profound muscianship renders great synergistic processes.