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

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 August 6, 2021 | Deutsche Grammophon (DG)

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After the terrorist attacks in London in 2005 on Infra (2010), the war in Iraq on The Blue Notebooks (2003) and the conflict in Kosovo on Memoryhouse (2002), Max Richter places the migrant crisis at the heart of Exile, released in the middle of summer 2021. Even though his protean work alternates between film music, atypical re-readings of classical pieces, conceptual projects and unexpected collaborations, the German-British composer has always anchored some of his music in reality and in the evils of his time. Here, his commitment is bound up with an unprecedented formal approach. Exile brings together different materials. The central piece that gives the record its title is the ballet music written for the Nederlands Dans Theater company and its resident choreographers Sol León and Paul Lightfoot. Richter's virtuosity lies in the universality of the themes of this work, which is carried by the harrowing strings of the Baltic Sea Philharmonic conducted by Kristjan Järvi. Intensity as well as enchantment remain at the centre of this music, which is more influenced than ever by American minimalists like Philip Glass and Steve Reich but also by the Estonian composer Arvo Pärt, whom Richter visited during recording…Exile is rounded off by orchestral versions of some of the older chamber works which are typical of his output: On the Nature of Daylight from The Blue Notebooks, Infra 5 from Infra, The Haunted Ocean from the soundtrack to Waltz with Bashir and Sunlight from Songs from Before. In this symphonic context, Max Richter's music reveals new hues that the infinite repetition of the motif of the composition Exiles sharpens over the course of the record... Assembled in this way, all this apparently heterogeneous music succeeds in forming a whole. It mirrors the strong identity of this leading force in the contemporary neoclassical scene, a label that provokes much debate. But never mind the bottle, so long as we get drunk: Exile remains a fascinating recording. It offers a combination of sophistication, simplicity and beauty. © Marc Zisman / Qobuz
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Classical - Released September 3, 2012 | Deutsche Grammophon (DG)

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Antonio Vivaldi's Le Quattro Stagioni is one of the most beloved works in Baroque music, and even the most casual listener can recognize certain passages of Spring or Winter from frequent use in television commercials and films. Yet if these concertos have grown a little too familiar to experienced classical fans, Max Richter has disassembled them and fashioned a new composition from the deconstructed pieces. Using post-minimalist procedures to extract fertile fragments and reshape the materials into new music, Richter has created an album that speaks to a generation familiar with remixes, sampling, and sound collages, though his method transcends the manipulation of prerecorded music. Richter has actually rescored the Four Seasons and given the movements of Spring, Summer, Autumn, and Winter thorough makeovers that vary substantially from the originals. The new material is suggestive of a dream state, where drifting phrases and recombined textures blur into walls of sound, only to re-emerge with stark clarity and poignant immediacy. Violinist Daniel Hope is the brilliant soloist in these freshly elaborated pieces, and the Konzerthaus Kammerorchester Berlin is conducted with control and assurance by André de Ridder, so Richter's carefully calculated effects are handled with precision and subtlety. Deutsche Grammophon's stellar reproduction captures the music with great depth, breadth, and spaciousness, so everything Richter and de Ridder intended to be heard comes across. © Blair Sanderson /TiVo

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

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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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Classical - Released April 9, 2021 | Decca (UMO) (Classics)

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The Anglo-German pianist and composer delivers the second volume of his audiovisual project Voices, launched in 2020 with visual artist and director Yulia Mahr, who has been collaborating with Richter for the past 25 years. The concept of Voices, based on the aspirations of the Declaration of Human Rights, is eminently political, but its message is non-verbal: Voices contains no voices. It is through music that Max Richter tries to set the world to rights, introducing serenity and benevolence, as well as a whole procession of positive emotions in long tracks which move between ambient and neoclassical music. As a student of Brian Eno, one of his acknowledged references, Max Richter has built a series of absolutely fascinating meditative tracks, almost more therapeutic than musical, as if he had found the frequency of peace. Yulia Mahr is unambiguous: “For all its challenges, this moment also offers us an opportunity to build anew; rather than just restarting the old world, we can invent a new one. If we come together, we can create a kinder world.” Let's start by listening to this record. © Smaël Bouaici/Qobuz

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

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Classical - Released September 18, 2015 | Deutsche Grammophon (DG)

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An hour-long distillation of the eight-hour Sleep, From Sleep was designed by Max Richter to be listened to while awake (he intended the original to enhance a full night's rest and even consulted a neuroscientist about the different phases of sleep). Focusing on some of the work's most actively lovely moments, From Sleep still retains the feeling of an exquisite lullaby. These soft, gliding compositions for piano, strings, electronics and vocals encourage listeners to slow down and reflect in a hectic world, and do so with the same the same aching-yet-inspiring beauty that has graced Richter's work since The Blue Notebooks. © TiVo
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TV Series - Released December 2, 2014 | WaterTower Music

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

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Three Worlds – Music from Woolf Works presents music from Woolf Works, an award-winning ballet triptych that reunited Max Richter with his Infra collaborator, choreographer Wayne McGregor. Like Infra, which paid tribute to T.S. Eliot's The Waste Land and Schubert's Winterreise, Woolf Works is an homage to three of Virginia Woolf's greatest novels: Mrs. Dalloway, Orlando, and The Waves. And, like his previous collaboration with McGregor, Three Worlds is a striking testament to how eloquently Richter translates the work of an artist working in another medium into compelling music. As he captures the depth and breadth of the worlds Woolf created with her writing, he reflects on his own body of work. Following an excerpt of "Craftsmanship," the only surviving recording of Woolf's voice (and another reminder of how deftly Richter combines spoken word and found sounds into his music), Three Worlds begins with Dalloway-inspired pieces. The interplay of strings and piano on "Meeting Again" is quintessentially Richter, the tension between structure and aching emotions echoing his breakthrough The Blue Notebooks; meanwhile, the flowing sweetness of "In the Garden"is filled with as many poignant details as the novel that inspired it. Later, "War Anthem" evokes the novel's tragic World War I veteran Septimus Smith with its distant -- but still ominous -- drums. Richter's flair for incorporating electronics into his music comes to the fore on the Orlando portion of Three Worlds, arguably the album's most exciting stretch. He echoes the daring, unexpected life of the novel's gender-swapping protagonist with short, brisk pieces that move with too much purpose to be merely whimsical: "Modular Astronomy" sounds like it's streaking through time and space, while the arpeggios on "The Genesis of Poetry" trace clearly defined arcs. The Orlando pieces also show off Richter's impressive range, spanning the echoing drones of "Morphology" and the elegantly futuristic mesh of electronics and strings on "The Explorers." This part of Three Worlds could easily be an album in its own right, something that could also be said of its final section, The Waves. Prefaced by a reading of Woolf's suicide note by Gillian Anderson, "Tuesday" closes the album with slowly unfolding strings, brass, and vocals that are somehow unsettling in their steadiness, mirroring the concept of shared consciousness in the novel. While the album's finale may lose something without the ballet's visuals, it's still striking. Coming after the epic length and ambition of Sleep, Three Worlds could seem like a more minor work, but in its own right, it's another triumphant reminder of Richter's brilliance as a translator and creator. © Heather Phares /TiVo

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

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

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

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

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Film Soundtracks - Released June 5, 2020 | Deutsche Grammophon (DG)

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Miscellaneous - Released May 27, 2002 | Studio Richter

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Classical - Released October 2, 2020 | Deutsche Grammophon (DG)

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Classical - Released July 20, 2010 | Deutsche Grammophon (DG)

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

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Classical - Released July 21, 2008 | Deutsche Grammophon (DG)

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Max Richter in the magazine