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Classical - Released March 16, 2018 | Deutsche Grammophon Classics

Though the eight-hour work Sleep is one of the longest single pieces of classical music ever composed and the audience at its premiere were given beds instead of seats, Max Richter's intentions for the work were anything but sensational. Describing it as “an eight-hour personal lullaby for a frenetic world and a manifesto for a slower pace of existence," he consulted neuroscientist David Eagleman as he worked on these soft, gliding compositions for piano, strings, electronics and vocals, taking into account the nuances of dreaming sleep and deep sleep. Designed to be listened to while asleep, the low drones that wind through the work encourage a phase of sleep that consolidates memory and learning -- a process that might seem as thrilling as defragmenting a hard drive, but in Richter's hands, has the same aching-yet-inspiring beauty that has graced his work since The Blue Notebooks. © TiVo
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Classical - Released January 1, 2014 | Deutsche Grammophon (DG)

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Classical - Released September 4, 2015 | Deutsche Grammophon Classics

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Though the eight-hour work Sleep is one of the longest single pieces of classical music ever composed and the audience at its premiere were given beds instead of seats, Max Richter's intentions for the work were anything but sensational. Describing it as “an eight-hour personal lullaby for a frenetic world and a manifesto for a slower pace of existence," he consulted neuroscientist David Eagleman as he worked on these soft, gliding compositions for piano, strings, electronics and vocals, taking into account the nuances of dreaming sleep and deep sleep. Designed to be listened to while asleep, the low drones that wind through the work encourage a phase of sleep that consolidates memory and learning -- a process that might seem as thrilling as defragmenting a hard drive, but in Richter's hands, has the same aching-yet-inspiring beauty that has graced his work since The Blue Notebooks. © TiVo
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Classical - Released May 11, 2018 | Deutsche Grammophon (DG)

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Deutsche Grammophon presents expanded new editions of The Blue Notebooks by Max Richter, which are released in celebration of its 15th anniversary. Originally written in 2003 and remarkably recorded in just three hours, The Blue Notebooks was released in 2004 to minimal fanfare. Since then the world has caught up, with the album steadily growing from cult classic, to trend-setting influencer, to cannon-defining masterpiece that’s paved the way for a generation of successful young composers. New features include brand new artwork, a previously unreleased track and new arrangements of compositions written at the same time as the album. © Deutsche Grammophon
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Film Soundtracks - Released June 5, 2020 | Deutsche Grammophon (DG)

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Film Soundtracks - Released October 18, 2019 | Deutsche Grammophon (DG)

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Experimental - Released January 27, 2017 | Deutsche Grammophon (DG)

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Classical - Released July 31, 2020 | Decca (UMO) (Classics)

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Classical - Released October 4, 2019 | Deutsche Grammophon (DG)

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TV Series - Released December 2, 2014 | WaterTower Music

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Classical - Released September 4, 2015 | Deutsche Grammophon (DG)

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Film Soundtracks - Released May 1, 2020 | Deutsche Grammophon (DG)

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Film Soundtracks - Released December 7, 2018 | Deutsche Grammophon (DG)

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Film Soundtracks - Released December 7, 2018 | Deutsche Grammophon (DG)

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TV Series - Released February 19, 2016 | WaterTower Music

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Classical - Released February 19, 2016 | Deutsche Grammophon (DG)

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Classical - Released January 1, 2014 | Deutsche Grammophon (DG)

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Film Soundtracks - Released September 15, 2017 | Deutsche Grammophon (DG)

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Classical - Released January 1, 2014 | Deutsche Grammophon (DG)

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Classical - Released January 1, 2014 | Deutsche Grammophon (DG)

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Max Richter embarks on many scoring projects -- most prominently, his music for the award-winning Israeli film Waltz with Bashir -- and it’s easy to hear why: albums such as The Blue Notebooks and Memoryhouse feel like, as the cliché about instrumental music goes, soundtracks for films that haven’t been made yet (though a piece from The Blue Notebooks was even used in the soundtrack to Martin Scorsese's Shutter Island). Like Bashir, an animated documentary about the 1982 Lebanon war, Infra is another high-concept project, a ballet inspired by T.S. Eliot's classic poem of yearning and regret, The Waste Land. In turn, Richter's score, which was originally 25 minutes but is expanded to 32 here, was influenced by Schubert's Winterreise. Even in its longer form, many of Infra's pieces are brief, recalling the brilliant miniatures of Richter's ringtone album 24 Postcards in Full Colour. Infra's palette is classic Richter, blending piano, brass, and a string quartet with electronic textures that span luminous washes to ghostly static that lends an alien quality, almost as if the listener is tuning into the score’s frequencies. Like The Waste Land, this music is subtle, its open-ended glimpses adding to its poignancy. Richter shows once again that he’s a master of conveying the maximum amount of emotions with the minimum amount of music: “Journey 4”'s melody teeters between despair and reassurance with almost every note. Despite -- or perhaps because of -- Infra's subtlety, it offers a wide-open backdrop for dancing. “Infra 8”'s tender swirls and “Infra 2”'s complementary arcs of strings and electronics suggest steps that flow or scuttle like a pair of ragged claws. Whether Richter explores abstract drones as on “Journey 3,” reminds listeners of what a sensitive player he is on piano-driven pieces such as “Journey 1” and “Infra 3,” or unites the work’s elements on major pieces like “Infra 5” and “Infra 7,” he does so with a masterful restraint that gives Infra's slate-gray moods maximum impact. This may be the most subdued of Richter's Fat Cat releases, but every nuance shows the care with which he crafts all of his music. © Heather Phares /TiVo

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Max Richter in the magazine