Max Richter trained in composition and piano at Edinburgh University, at the Royal Academy of Music, and with Luciano Berio in Florence.

On completing his studies, Max co-founded the iconoclastic classical ensemble Piano Circus, where he stayed for ten years, commissioning and performing works by Arvo Pärt, Brian Eno, Philip Glass, Julia Wolfe and Steve Reich.

In the late 90s he worked with a number of electronic artists, notably Future Sound of London on their album 'Dead Cities". He subsequently collaborated with FSOL over a period of two years, also contributing to the albums "The Isness" and "The Peppermint Tree and Seeds of Superconsciousness". Max also collaborated with Mercury Prize winner Roni Size, on "In the Mode".

In June 2002, Max released his debut solo album, "memoryhouse", recorded with The BBC Philharmonic Orchestra. This was followed in March 2004 by FatCat's release of "The Blue Notebooks", with featured readings by Tilda Swinton.

In 2005 Max produced Vashti Bunyan's outstanding comeback album "Lookaftering".

2006 saw the release of "Songs From Before" based on Haruki Murakami texts read by Robert Wyatt. That same year, Max began performing "from The Art of Mirrors", an evolving score to previously unseen Super 8mm films of Derek Jarman.

Max's more recent work continues to stretch the notions of what Classical music is.  ‘24 Postcards In Full Colour’, released in August 2008, is an experimental work made up of 24 composed ringtones.

Max works widely in film music, installation and the theatre, most recently on INFRA, made with Wayne MacGregor and Julian Opie for The Royal Ballet, London. The Ballet was the subject of a BBC 'making of' documentary.

Max was named 2008 European Composer Of The Year for his score to Ari Folman's Waltz With Bashir, for which he was also nominated for the Prix France Musique.

Born in Paris from a Greek family, Clio inherited much love for the arts, for ancient cultures, and oriental melodies. She started studying harp at the age of seven in Paris, and developed a fluid technique on this instrument.   Later, as she was in her final course of classical harp studies at the Conservatoire Jean Phillippe Rameau in Paris, she discovered improvisation, thanks to her teacher, well-known harpist Helene Breschand. The urge to improvise took her away from Western classical music, and oriented her towards contemporary improvised music, free jazz, and traditional folk music. 

The search for her own style on the harp drove her towards music of oral traditions. She studied seven years with Talip Ozkan, master of the Turkish saz, and derived much inspiration from his artistry. In a quest to understand music of all societies, Clio completed her Masters Degree in Ethnomusicology from Sorbonne Paris 4. Clio’s musical journey took a remarkable turn when she started interacting with  musicians of India. The richness of improvisation and jumping rhythms fascinated her, and reminded her of traditional Greek and Turkish genres. Clio spent two years in the India, where she developed an understanding of Indian melodic and rhythmic systems. She studied dhrupad music from the master vocalist Uday Bhawalkar, in order to amalgamate the dhrupad style with her compositional ideas on the harp.  

Clio has played for theater ( ‘Theatre du Peuple’ of Bussang and at the ‘Festival de l’Imaginaire’ in Paris). She has also played for several world music festivals in Europe, on solo harp, and with the world music band Srishtii that she created with sitar player Hindol Deb. She played for Jazz flutist Magic Malik in Paris, and recently, with the Raghu Dixit Project. In India, she has performed extensively, notably at the Fireflies Festival and at several French Cultural Centers. She has also toured with Srishtii for Suvarna Karnataka, and recorded for the Indian composer AR Rahman in Madras. 

 After 25 years of playing the harp, Clio has developed a style and sound in her compositions and improvisations which sublimates the classical harp. In the confluence of free jazz, classical contemporary music and oriental music, she incorporate all her influences a unique musical language. She plays on an Camac electric Celtic harp, and a Budin Pandora pedal harp, but always prefers to play on her Lyon and Healy concert harp, which is a challenge to transport around the world.  Clio plays solo harp, in duet with a percussion instrument or drum-set, and is enthusiastic about combining her music with any other traditional instruments



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