thank you for writing this amazing piece of music! (anyway - the whole album is really brillant!)

Max Richter

Movie Night – The Greatest Film Themes

Richter: On the Nature of Daylight

The Blue Notebooks

Richter: Shadow Journal

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

HOW TO DIE IN OREGON / Peter Richardson - Endings

Dans la forêt il y a des pins qui brûlent
Dans a forêt il y a des pins qui se font dévorer par le scolyte
Dans la forêt il y a des gens qui se battent pour finir de les arracher
Dans la forêt il y en a des gens qui luttent pour les en empêcher

La forêt usagère de La Teste-de-Buch dans les Landes a brûlé ainsi qu'une bonne partie des pinèdes aux alentours durant les incendies de l'été 2022. Depuis, tout est chamboulé pour les habitants, car c'est un lieu qu'ils arpentent depuis des centaines d'années, dont ils utilisent les ressources et prennent soin comme un membre de leur communauté, en regard des droits ancestraux qu'ils ont dessus. Mais les grands forestiers procèdent à des coupes rases, et la lutte administrative et sociale s'organise. Le documentaire d'Alexandre Cartigny retrace cette histoire contemporaine aux travers du portrait et des témoignages des habitants.

La BO que nous avons composé à cette occasion, Thomas Baudoin et moi même, tire sa matière des instruments des Landes, comme la boha, les rhombes, la conque et les tulhères (sortes de trompes en écorce), mais aussi du son du feu, des vibrations des tronçonneuses, et des pépiements des oiseaux. L'énergie de la musique a pris naissance dans ce que nous ont inspiré les images et la BO du film Sirāt, où le désert qui y figure fait écho à cette forêt landaise en péril. Une question de temps ? une seule certitude au bout du compte, ici la forêt reviendra.

" Aci la seuva tornarà" est le thème principal de cette BO, thème dont on a décliné ensuite tous les éléments pour fabriquer la musique du documentaire.

Thomas Baudoin : chant, boha, rhombes, tuyau harmonique, bols, poutres
Matèu Baudoin : chant, clarinette, Arp 2600, programmations, synthés, drones

Enregistré par Matèu et Thomas Baudoin en octobre / novembre 2025
Mixé et masterisé par Matèu Baudoin en novembre 2025

Plaidoyer pour la Forêt

Late Night Tales: Jon Hopkins

I Remember

Encores 1

The Dane

Loon

Four

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)

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.

Richter: Shadow Journal

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