The music of both Johannes Brahms and Richard Beaudoin glances back at the old masters. Brahms re-shaped classical forms with his progressive harmony and phraseology; Beaudoin re-casts romantic lines, often layering quotes from the old masters while creating decidedly modern forms. Constantine Finehouse’s new recording weaves these two composers together, illustrating the vitality and interconnectivity within classical tradition.
Johannes BRAHMS (1833-1897)
1. Intermezzo in A Major, Op. 118 No. 2—Andante teneramente
Richard BEAUDOIN (b. 1975)
Qui Tollis
2. I. Serenade—Adagio malinconico
3. II. Movement
4. III. Serenade—Andantino cantando
Johannes BRAHMS (1833-1897)
Sonata No. 3 in F minor, Op. 5
5. I. Allegro maestoso
6. II. Andante espressivo—Andante molto
7. III. Scherzo—Allegro energico
8. IV. Intermezzo [Rückblick]—Andante molto
9. V. Finale—Allegro moderato ma rubato
Richard BEAUDOIN (b. 1975)
10. Les signes de ma faiblesse
Animé—Très lent—Animé—Calme—Modéré et mélancholique—mouvement-retenu—Rapide et incisif— Modéré et mélancholique—au mouvement, tempo giusto—Modéré et lumineux—Décidé et très rude—Modéré et lumineux—Lent et simple—Lent et voluptueusement—Andante, tempo giusto
Richard Beaudoin is a composer born in North Attleboro, Massachusetts. He studied composition and theory in America at Brandeis University and Amherst College, and in London at the Royal Academy of Music. This summer, the first act of his opera-in-progress based on Herman Melville’s PIERRE was staged at London’s Arcola Theatre, directed by Andrew Steggall.
Visit Richard Beaudoin's website for more information,