The Music Room > Composer Discussion

Max Richter (1966 -)

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--- Quote from: Jo498 on August 08, 2016, 10:04:19 PM ---I listened to some that Vivaldi "remix" a few years ago and I find it quite horrible. Not sure why an apparently otherwise serious composer would do something like that (except that it probably sells well...).

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I'm not sure why he did this either. Doesn't make a lot of sense, but I'm sure his bank account thanks him for it. ;) I prefer to hear his own music.

vandermolen:
I have Songs from Before as well. I heard a track from it on the radio ('Sunlight') which I liked. Including the soundtrack from 'Sarah's Key' which first drew the composer to my attention I now have four albums by him.

If you like this John you might also like Clint Mansell's score for 'Noah' and of course the Max Richter soundtrack mentioned above.

Mirror Image:

--- Quote from: vandermolen on August 11, 2016, 02:52:18 AM ---I have Songs from Before as well. I heard a track from it on the radio ('Sunlight') which I liked. Including the soundtrack from 'Sarah's Key' which first drew the composer to my attention I now have four albums by him.

If you like this John you might also like Clint Mansell's score for 'Noah' and of course the Max Richter soundtrack mentioned above.

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Very cool, Jeffrey. 8) I'll check those out at some point. Right now, I have 12 recordings of Richter's music to listen to, so this will keep me busy for awhile. :)

Monsieur Croche:

--- Quote from: jessop on August 09, 2016, 02:49:41 AM ---I have heard some of his music, but it was for film/tv rather than classical music. I was a little bit disappointed to find out that his non-soundtrack compositions come in pretty much the same style as his other stuff. The few excerpts I heard from 'Sleep' were particularly enjoyable for me but nothing I would listen to on a regular basis.

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The rhapsodic and glowing article at the top of this thread is a perfect storm of mega-hype PR typical of our times.

I agree with you, Jessop. While M. Richter's skills/chops are solid, his sensibility, whether straight ahead classical or film score, lies mostly if not all in that realm of classical pops -- as does many a popular film score. This is contrary to the inflated praise that tries to make him out as a masterly composer who is a jack of all trades and a master of all genres, lol.

His Vivaldi re-write was fun, slight, while he consistently destroyed the whole effort by writing in an uber schmaltzy Hollywoodesque sentimental style in each of the middle movements, those even further marred by a hyper vibrato brought to the recording by the violin soloist.

Some of the ambient pieces from his film scores are as effective as they are unpretentious -- the inflated "zOMG what a profound great composer" promo copy is just that = a lot of PR uber mega-hype from classical-pops classical businesses out to hardball promote the more popular stuff because it is a business and it keeps an audience, which keeps their advertisers happy.

I'm certain there would be a huge variance of assessment of this composer in the near opposite direction from that in the quoted glow in the dark "ain't he just soooo amazin'" PR article -- if there was one to be found in the likes of a Groves, Larousse Encyclopaedia, etc.

I wonder, too, if a falling all over itself in praise commendation from ClassicFM is tantamount to an endorsement of the bland and mediocre than any credit or accolade a truly earnest "classical" composer would want, lol.


Best regards.

Rinaldo:

--- Quote from: Monsieur Croche on August 13, 2016, 07:02:39 PM ---Some of the ambient pieces from his film scores are as effective as they are unpretentious -- the inflated "zOMG what a profound great composer" promo copy is just that = a lot of PR uber mega-hype from classical-pops classical businesses out to hardball promote the more popular stuff because it is a business and it keeps an audience, which keeps their advertisers happy.
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My take on Richter as well. I'm very fond of my first encounter with his music, during the Holland Festival site-specific performance (or whatever you call it) of Before I Sleep, which used a mesmerizing loop from Richter's Maria, the Poet in a passage near the end of the whole experience.

But aside from

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