An exceptional composer, pianist, producer, remixer and teammate Max Richter defies definition. He may be a mystery, but undeniably he is one of the most prolific artists of his generation.
Equally inspired by the Beatles and Bach, from punk rock and ambient, merges Richter Baroque beauty with minimalist methodology, classical orchestration with modern technology.
His vast body of work includes concert music, opera, ballet, art and video installations, include music for film, theater and television as well as a number of highly acclaimed solo albums, poetry and literature.
His recent challenges it belonged, one of the most famous works from the classical standard repertoire - Vivaldi Four Seasons - To take and for the 21st Century "to re-compose".
Born in Germany and as a small boy to Britain Moved, Max Richter received early piano lessons. Its rapidly growing knowledge of classical music was cushioned by his discovery of punk rock: a journey that took her further course over Stockhausen and the American minimalists.
He studied at the University of Edinburgh, then went to the Royal Academy of Music and graduated in Florence in the influential avant-garde composer Luciano Berio from.
"I had a very classical musical training, but I was interested enormously for what was around me early 1980s in the UK - and were Electronica and punk," he reported. "The first gig that I visited were The Clash and Kraftwerk when I was 14th I liked the original energy of punk, but at the same time I was studying classical music seriously and built in my room using the soldering iron analog synthesizers. FOr me flowed all these things together always. "
These are the different influences in Richter's music: the minimalist aesthetic, leads the trail of the composer of the early 1960s (Reich, Glass) to punk rock and Brian Eno's Ambient invention of the 1970s; a formal classical training and the experiments of the avant-garde; the collage techniques of electronic dance music and the current cannibalistic remix culture.
Richter began his career as a founding member of Piano Circus, a modern classic based group that works by Steve Reich, Arvo Pärt, Philip Glass and Brian Eno played and was also in order. He remained there for 10 years, in which the group brought out FüNF albums. He gradually led an electronic elements and discovered sounds - building blocks for one of his later trademark.
There followed a period of cooperation with the two electronica musicians The Future Sound of London(1996-98) and the winners of the Mercury Music Prize Roni Size and Reprazent (2000).
But the work began judges then to a project that his first "solo" album should be: the orchestral work Memory House (2002), the einbezog electronic sounds, images and human voices. It later became the soundtrack of the BBC documentary Auschwitz - The Nazis And The Final Solution (2005) used the concert premiere took place early 2014 at the Barbican Centre.
His next album, The Blue Notebooks (2004), was his first fOr Fat Cat Records. The actress Tilda Swinton reads in texts by Kafka. "I sent my demo Fat Cat among others, because I had heard the first album from Sigur Ros, and it sounded to me like Arvo Pärt with guitars," he explains. "So I knew I would be in good hands."
This was followed by the album Songs From Before (2006), in which Robert Wyatt reads texts by Haruki Murakami, and an album of ringtones: 24 Postcards in Full Colour (2008).
On his latest solo album, Infra (2010), that of T. S. Eliot The Waste Land inspired, piano, electronic sounds and a string quartet can be heard. It is an expanded version of the judge's own work fOr an arisen on behalf of the Royal Ballet project with dancer Wayne McGregor and visual artist Julian Opie at the Royal Opera House, Covent Garden.
Judge music was the basis for many other dance projects, including pieces by Lucinda Childs, Nederlands Dans Theater, Ballet du Rhin, American Ballet Theatre, Dresden Semperoper, Het Nationale Ballet in Amsterdam and Den Norske Opera Ballet in Oslo.
His commissioned works of recent years include the chamber opera Sum after the successful book by David Eagleman fOr the Royal Opera House, Covent Garden and Mercy, Hilary Hahn was in order.
In the world of fine arts judge has the Soundscape The Anthropocene fOr Darren Almond's film installation at London's White Cube gallery composed (2010) and worked on two projects of the studio for digital art rAndom International music for installations Future Self (Berlin 2012) and Rainroom (London 2012 / New York 2013).
Soundtrack he wrote for the award winning documentary Waltz With Bashir (2007) by Israeli director Ari Folman, and his compositions were used in over 30 other films and trailers of directors like Martin Scorsese (shutter Island, 2010), Clint Eastwood (J. Edgar, 2011), André Téchiné (Impardonnables, 2011), Ridley Scott (Prometheus, 2012) and Terrence Malick (To The Wonder, 2012).
He has also produced two folk albums: the comeback album Lookaftering (2005) of Vashti Bunyan, the legendary singer from the 1960s, and Rocking Horse (2008) of the former singer of Sneaker Pimps, Kelli Ali.
Max Richter has received numerous awards, including the European Film Award in the category "Best Film Score" (fOr Waltz With Bashir) And other awards for his music truck and The stranger.
In addition, he has recently received the prestigious ECHO Klassik Award for the album as part of the invitation of German Grammophon, Vivaldi Four Seasons "To re-compose" was: a successful project that was broadly welcomed and was just released again only with additional remixes and ambient interpretations, referred to by judges as "shadows", as well as on DVD concert recording.
Richter took his favorite passages from the original and redesigned it as a "new items" by arranging familiar fragments in layers and loops to revitalize a business that had lost its effect due to excessive use in elevators, television advertising and Hold the phone. "I have only about 25 percent of the notes Inherited, but Vivaldi DNA is everywhere present," says Richter. "I kept the gestures and shapes, the structures and dynamics. There is a bit of Vivaldi and a bit of my fantasizing about the original, a loud think about it. "
Richter is convinced that the composer would have liked what he did with his 300 year old plant. "Vivaldi was himself like a rock star: a fascinating violinist with long, red hair, who led an orchestra of young women, who played his music, and his concerts were some listeners fainted. Composers have always designed works of colleagues and new loan, Vivaldi himself well, and I therefore believe that it with some benevolence considered this project would have. "
As a result of its successful collaboration with the yellow label Max Richter signed in March 2014 an exclusive agreement with German Grammophon. Now the next chapter of his remarkable career can begin ...
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