BIO

American composer Richard Beaudoin [bōd-win] is the architect of the microtiming technique. Iconic recordings are slowed down and transcribed in minute detail, then treated as a palimpsest, forming a parchment over which the composer manipulates, reorganises and interweaves original material to create innovative compositions of startling beauty and originality. 

Born 10 October 1975 in North Attleborough, Massachusetts. Early studies at Amherst College, performed and coached chamber music at Greenwood Music Camp. Withdrew from college and moved to London to study privately with Michael Finnissy. At 23, became a fellow at the MacDowell Colony. Returned to Amherst College and in 1998 completed Bachelor's degree, summa cum laude

Moved to London to attend the Royal Academy of Music [MMus in Composition 2002]. Returned to America and worked in a violin-maker's shop. In 2005, while studying at Brandeis University [PhD Composition and Theory 2008], was invited by Amherst College to be the Joseph E. and Grace W. Visiting Professor of Music.

Taught at Harvard University for eight years [2008–2016] as faculty member in composition and analysis. During 2016–2017 holds the posts of Lecturer at Brandeis University and Visiting Research Fellow in Composition at the Royal Academy of Music, London. 

PERFORMERS
include Claire Chase, Roomful of Teeth, Boston Lyric Opera, the Kreutzer and Chiara String Quartets, Sound Icon, members of the Philharmonia Orchestra, Transient Canvas, Mark Knoop, Marilyn Nonken, Constantine Finehouse, Wolfram Rieger, Ulrich Naudé, and Philip Howard, Serge Vuille, Christopher Graham, Clive Driskill-Smith, Christian Wilson, Carl Rosman, Clio Gould and Neil Heyde.

VOCAL MUSIC
sung widely by artists including the eminent German soprano Annette Dasch, Joseph Kaiser, Annika Sophie Ritlewski, Frank Kelley, Kevin Burdette and Roomful of Teeth. Settings of Paul Griffiths, Christian Bök, Celan, Éluard, Empson, William Henry Fox Talbot, Seamus Heaney, Heine, Hölderlin, MacDiarmid, Melville, Muresan, Pushkin, Rilke, Rückert, Updike, William Carlos Williams, Christa Wolf and W. B. Yeats.  Nach-Fragen — the 30-minute commissioned song cycle commissioned by the Konzerthaus Dortmund on texts by the East German author Christa Wolf — garnered critical acclaim during two separate European tours by Annette Dasch.

PERFORMANCES
at the Amsterdam Concertgebouw, Wiener Konzerthaus, the Laeiszhalle in Hamburg, the Brucknerhaus in Linz, the Schwetzinger SWR Festspiele, The Kitchen, Weill Recital Hall, Boston's 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. Commissions from Konzerthaus Dortmund, Staatstheater Kassel, the President of Harvard University, Sound Icon and Boston Lyric Opera.

LECTURES
at the Centre for Music and Science at Cambridge University, The United States Consulate Shanghai Division, The Royal Academy of Music in London, The Shanghai Conservatory of Music, East China Normal University, 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.

TEACHERS
include Michael Finnissy, David Rakowski, Lewis Spratlan, Martin Boykan and Eric Chafe. 

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

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