Time, proportion, resemblance, memory : The music of Richard Beaudoin (American, b. 1975)
Work includes instrumental music performed by the Kreutzer and Chiara String Quartets, Sound Icon, members of the Philharmonia Orchestra, pianists Mark Knoop, Marilyn Nonken, Constantine Finehouse, Wolfram Rieger and Philip Howard, violinist Clio Gould, percussionist Serge Vuille, organist Clive Driskill-Smith and clarinetist Carl Rosman; performances & premieres at the Amsterdam Concertgebouw, Wiener Konzerthaus, the Laeiszhalle in Hamburg, the Brucknerhaus in Linz, the Schwetzinger SWR Festspiele, New York’s Weill Recital Hall, in Boston at The Institute for Contemporary Art, Calderwood Pavilion, Sanders Theatre and Jordan Hall, and in London at the Royal Festival Hall, Duke’s Hall, The Forge, The Arcola Theatre, Wilton’s Music Hall and King’s Place; more than fifty songs performed by such artists as Annette Dasch, Joseph Kaiser, Annika Sophie Ritlewski, Frank Kelley and Kevin Burdette; commissions for opera and vocal works from the Konzerthaus Dortmund, Staatstheater Kassel, the President of Harvard University and Boston Lyric Opera.
Invited to give composition lectures at The Centre for Music and Science at Cambridge University, The Royal Academy of Music in London, The Steinhardt School at New York University, The New England Conservatory, Dartmouth College, Harvard University, Yale University, Boston University, Berklee College of Music, The University of York and the Schweizerische Musikforschende Gesellschaft at the Hochscule, Luzern, Switzerland; published writings in Perspectives of New Music, The Journal of Music Theory, Organised Sound, Divergence Press, Journal of the CeReNeM, and The Journal of Aesthetics and Art Criticism; and developed of a new compositional approach based on micro-temporal measurements of recorded performances, in collaboration with Professor Olivier Senn of the Hochschule, Luzern. Recordings of the inaugural works, including from the series Études d’un prelude and The Artist and his Model, were released in New York on the 2-CD set, Microtimings.
Richard Beaudoin teaches composition and theory at Harvard University.
NEW BOOK – The Artist and his Model
Handbound by Daniel Kelm and his assistants Erin Clay Nelson and Elias Sideris
in Easthampton, Massachusetts using the sewn boards binding;
92 pages; open dimensions: 21.6 x 55.9 cm (8.5 x 22 in)
Includes full scores of all six compositions in the series The Artist and his Model 2010–2012
as well as a reproduction of Glenn Brown’s Drawing No 9 (Greuze-Rubens) 2013*
Limited edition of twelve books
Click here to inquire
* GLENN BROWN Drawing No 9 (Greuze–Rubens) ink on paper and polypropylene, 28 x 19 cm,
©2013 by Glenn Brown. Details from the drawing appear on the covers and endleaves.
photographs: Stephen Petegorsky – high resolution photographs are available
Music Involving Microtiming
Latest Work: EBENBILD
Ebenbild: the physical or visual equivalent of something that cannot be seen;
an "exemplar"; colloquially used to mean "spitting image":
Die Tochter ist ein Ebenbild der Mutter.
This new work for 14 musicians (including three percussionists) is based on a microtiming of
Pablo Casals' 1936 recording of the Sarabande from Bach's Suite in D minor for solo violoncello, BWV 1008.
Commissioned by Sound Icon, Ebenbild will be premiered in Boston on 4 October 2014.
The work will be conducted by Jeffrey Means and performed alongside music
by Georg Friedrich Haas, Robin Hoffmann and Hanspeter Kyburz.
Perception of an object costs
Precise the Object's loss —
THE ARTIST AND HIS MODEL
Lineage: Robert Burns’ 18th-century poem “Lassie w’ the lint-white locks” inspired Charles Marie René Leconte de Lisle’s 19th-century poem “La fille aux cheveux de lin”, which Claude Debussy set to music in an unpublished 1882 song. Debussy later borrowed the title of Leconte de Lisle’s poem (and the key of his early song) for his piano prélude “... La fille aux cheveux de lin”, published in 1910 as No. 8 from Book 1 of his Préludes. Alfred Cortot recorded the work in London on 2 July 1931, and in 1991 this recording was re-issued on compact disc as Biddulph LHW 006. The Artist and his Model I-VI are all based on precise micro-temporal measurements of Cortot's recording. These measurements were carried out by the composer, graciously assisted by Olivier Senn, at Harvard University during the summer months of 2010.
The Artist and his Model I — La fille floutée, for solo piano (2010, 9')
The Artist and his Model II — La durée sans contacts s'affaiblit, after Paul Valéry, for string quartet (2010, ca. 23')
The Artist and his Model III — La fille rythmée, for solo percussion (2011, 6')
The Artist and his Model IV — La tradition française, for clarinet and piano (2011, 8')
The Artist and his Model V — Brûlage, 3 versions: solo soprano saxophone, solo clarinet, solo oboe (2011-12, 10')
The Artist and his Model VI — La fille dérivée, sextet (2012, 11')
Now anything can hang at any angle, for solo piano (2011, 2')
based on a fragment of an improvisation by Thelonious Monk
Ladies and Gentlemen, for piano four-hands (2014, 7')
after Der Zeichner des liegenden Weibes by Dürer, ca. 1527
dedicated to Glenn Brown
NACH WEBERN, NACH POLLINI
nach Webern, nach Pollini, for solo piano (2010-11, 9')
based on Maurizio Pollini's 1976 recording of Webern's Variationen, Op. 27
I. Neuordnung nach Dauern (Reorganization according to Duration)
II. Bewegungen in Zeitlupe (Movements on Slow-motion, or Magnified Time)
III. Neuordnung nach Lautstärken (Reorganization according to Volume)
ÉTUDES D'UN PRÉLUDE
The new approach was inaugurated by Études d’un prélude [Studies of a prelude], which engage with Martha Argerich’s 1975 recording of Chopin’s Prélude Op. 28/4, published in 1839. These works commemorate the 200th anniversary of Chopin’s birth. Completed works in this series include:
Étude d'un prélude I — Chopin desséché, for solo piano (2009, 7’30”)
Étude d'un prélude II — Flutter echoes, for string quartet (2009, 8’30”)
Étude d'un prélude III — Wehmut, for voice and piano (2009, 3’)
Étude d'un prélude IV —Black Wires, for solo piano (2009, 7’)
Étude d'un prélude V — Photorealism, for orchestra (2009, 12’30”)
Étude d'un prélude VI — The Real Thing, for string quartet (2009, 5’)
Étude d'un prélude VII — Latticed Window, for solo piano (2009, 1’51”)
Étude d'un prélude VIII — Kertész Distortion, for string quartet (2009, 7’30”)
Étude d'un prélude IX — And they talked about Chopin again (2009, 10’)
Étude d'un prélude X — Second String Quartet (2009, ca. 38’)
Étude d'un prélude XI — four28, for solo piano (2009, 22’15”)
Étude d'un prélude XII — The After-Image, for two voices and ensemble (2010, ca. 20')
Opéra en deux actes d'après « Sarrasine » de Balzac (1830) et « Délie » de Maurice Scève (1544)
Livret de Maria Rusanda Muresan d'après Balzac et Scève
Microtiming as a Compositional Material
The composition of newly-composed, acoustic works involving micro-temporal measurements of recorded interpretations. Labeled variously as 'temporalism' and 'musical photorealism', this methodology has links to both photography and the musical tradition of cantus firmus. Developed in collaboration with Dr. Olivier Senn of the Hochschule Luzern in Switzerland. Performances of these works began in 2009 and will continue during the 2014-15 season; eleven of these works were released in 2012 on the 2-CD set, Microtimings (New Focus Recordings, New York).
Invited to give lectures on these works at Cambridge University's Centre for Music and Science (23 March 2010), The Royal Academy of Music, London (19 March 2010), The Steinhardt School at New York University (4 Feb 2010), The New England Conservatory (16 April 2010), Harvard University (20 September 2010 & 27 April 2015), Dartmouth College (6 October 2011), The Hochschule, Luzern (3 May 2012), Yale University (12 December 2012 and 10 April 2014), The University of York (4 June 2014), Boston University (4 November 2014), and Berklee College of Music (8 April 2015).
Microtimings cover image: Glenn Brown, The Real Thing, 2000, Oil on panel, 82 x 66.5 cm, © 2012 Glenn Brown
MICROTIMINGS – Mark Knoop and Kreutzer Quartet
This 2-CD set, recorded in England, includes the first recordings of music based on microtiming. The discs present eleven of the earliest works, which are based on micro-temporal measurements of Martha Argerich playing Chopin, Alfred Cortot playing Debussy, and Maurizio Pollini playing Webern. The accompanying full-color, 20-page booklet which includes photographs, an essay on the pieces, and miniature reproductions of pages from the scores.
Disc One includes six piano pieces played by Mark Knoop. These include works in the Étude d'un prélude series (Chopin desséché, Black Wires, Latticed Window and four28), as well as The Artist and his Model I — La fille floutée and nach Webern, nach Pollini.
Disc Two includes five string quartet works played by the Kreuzter Quartet. These include Étude d'un prélude X — Second String Quartet (comprised of Flutter echoes, The Real Thing, Kertész Distortion and 28four) and The Artist and his Model II — la durée sans contacts s'affaiblit.
Released on 24 April 2012 by New Focus Recordings in New York, and distributed by Naxos of America. Available internationally, including at Amazon (US), Amazon (UK), Amazon (Germany), Amazon (France), Amazon (Japan), Archiv, iTunes, New Focus Recordings.