classical

Noveau 13

thequietbehindmyeyes

Classical Ambient

Piano - Contemporary Classical

Max Richter

A collection of Max's recent filmscore work, together with some tracks from the albums which have recently been featured in the cinema.

The list includes music from

Waltz With Bashir - dir. Ari Folman
Shutter Island - dir. Martin Scorsese
Sarah's Key - dir. Gilles Paquet-Brenner
How To DIe In Oregon - dir. Peter Richardson
Die Fremde - dir. Feo Aladag
Perfect Sense - dir. David Mackenzie
Impardonnables - dir. Andre Techine
LA Prima Linea - dir. Renato Da Maria
Stranger Than Fiction - dir. Marc Forster
Elegy - dir. Isabel Croixet

Trailers can be seen on Max's Youtube channel 

http://www.youtube.com/user/maxrichtermusic#p/c/FF3D3011F7C48FE5



FILM MUSIC

Join the official newsletter for your free download: http://po.st/EinSoundCFD

Islands: Essential Einaudi is the first time that all of Einaudi's best known music appears in a single collection. It’s available as both a single disc and special double disc version. Islands also includes new tracks The Earth Prelude and High Heels as well as two new remixes of Lady Labyrinth and Eros.

Available to order now:
iTunes: http://po.st/EinSoundCIiT
Google Play: http://po.st/EinSoundCIGP
Spotify: http://po.st/EinSoundCISpot

Divenire

Monday

Movie Night – The Greatest Film Themes

Richter: On the Nature of Daylight

Una Mattina

Nuvole Bianche

A collection of Max's recent filmscore work, together with some tracks from the albums which have recently been featured in various feature films.

STRANGER THAN FICTION / Marc Forster - On the nature of daylight

WALTZ WITH BASHIR / Ari Folman - The Haunted Ocean 1

WALTZ WITH BASHIR / Ari Folman - I Swam Out To Sea   Return

WALTZ WITH BASHIR / Ari Folman - Andante   Reflection (End Title)

HOW TO DIE IN OREGON / Peter Richardson - Endings

Buffalo Killers - Get It

Drake - Take Care Cover - Hobbie Stuart

#32: Gymnopedie No. 1 - Erik Satie

http://facebook.com/SOHN
http://twitter.com/SOHN
http://sohnmusic.com

Tremors

The Wheel

Stop Talking

So Strange

#39: Adagio - Bach/Marcello

Red Lines

Go Play Week #41 - Gnossienne No. 3 by Satie

#41: Gnossienne No 3 - Satie

For more information visit: http://www.klassikakzente.de/recomposed/home 

Some works are so familiar that it is almost impossible to hear them afresh, but that is what Max Richter has achieved with Vivaldi “Recomposed”. This is no mere arrangement; instead Richter has absorbed Vivaldi’s The Four Seasons into his own musical bloodstream. At first Richter followed the example of other works in the “Recomposed” series, which re-mix existing recordings, but, he says, “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.”Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do withthe bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.” Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.”Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”


Spring One - Vivaldi Recomposed - The Four Seasons

Spring 1 (2012)

Download

Eine Klassik für Sich 2012

Richter: Recomposed By Max Richter: Vivaldi, The Four Seasons: Summer 3 (2012)

Recomposed By Max Richter: Vivaldi, The Four Seasons

Richter: Recomposed By Max Richter: Vivaldi, The Four Seasons: Winter 1 (2012)

Go Play Week #45: Milonga by Alberta Ginastera

#45: Milonga - Alberto Ginastera

"Line of Fire", from upcoming self-titled Junip album, out this Spring on City Slang in Europe and Mute Records in North America.

Buy the track on Amazon: http://glnk.it/1v4
or on iTunes: http://glnk.it/1v5

http://www.junip.net
http://www.mute.com
http://www.cityslang.com

Lyrics:

What would you do
If it all came back to you
Each crest of each wave
Bright as lightning
What would you say
If you had to leave today
Leave everything behind
Even though for once you're shining

Standing on higher ground
But when you hear the sounds
You realise it's just a whim (/the wind)
And you notice it matters
Who and what you let under your skin

If put to the test
Would you step back from the line of fire
Hold everything back
All emotions and desires

Convince yourself to be someone else
And hold back from the world
Your lack of confidence
What you choose to believe in
Dictates your rise or your fall

With no one else around you
No one to understand you
No one to hear your calls
Look through all your dark corners
When you're backed up against the wall
Step back from the line of fire

I'd do the same as you would
Would do the same as you
Step back from the line of fire

Buy on iTunes

Junip - Line Of Fire

when I composed this piece by the end of last summer I felt like gazing into the sun through the trees feeling the warmth of the sparkling sun and in mind travelling down memory lane....

please follow me at spotify: http://open.spotify.com/artist/758yIKdhJhWL6oTuTSFVV6

http://www.maassen-music.com

If you like my music please give me a smile and like my Facebook page :-): www.facebook.com/Dirk.Maassen.Music

watch my piano video clips at youtube: www.youtube.com/user/ascoltadi?feature

Dirk Maassen - Solstice d'été  (pls. find me on spotify)

Die lange Version unseres Pianostückes aus der TV-Werbung

Travel Dreams - HRS Long

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.

STRANGER THAN FICTION / Marc Forster - On the nature of daylight

max richter