(Classical) Max Richter - Three Worlds: Music From Woolf Works (Hila Karni, Louisa Fuller, Natalia Bonner, John Metcalfe, Ian Burdge, Chris Worsey, Deutsches Filmorchester Babelsberg, Robert Ziegler) - 2017, MP3 (tracks) 320 kbps

Cello [Solo] – Hila Karni (3,16), Ian Burdge (11)
Cello – Chris Worsey, Ian Burdge
Composed By, Piano, Synthesizer, Liner Notes, Mixed By, Producer – Max Richter
Conductor [Deutsches Filmorchester Babelsberg] – Robert Ziegler
Cello [String Quintet] – Chris Worsey, Ian Burdge
Soprano Vocals – Grace Davidson ( 16)
Viola [String Quintet] – John Metcalfe
Violin [Solo] – Mari Samuelsen (8, 16)
Violin [String Quintet] – Louisa Fuller, Natalia Bonner

Макс Рихтер
Макс Рихтер (род. 22 марта 1966 г. в Гамельне, Нижняя Саксония, , Германия) — британский композитор немецкого происхождения. Автор музыки к десяткам художественных, документальных и мультипликационных фильмов, сериалов, театральных постановок, балетов, в т.ч. к таким, как «Последняя любовь на Земле», «Остров проклятых», «Камень терпения», «Прибытие», «Возвращение в Монток», «Белый парень Рик», «Работа без авторства», к телесериалам «Табу», «Оставленные», «Черное Зеркало» (серия «Нырок») и др. Был признан лучшим кинокомпозитором 2008 года по версии Европейской киноакадемии за саундтрек к фильму «Вальс с Баширом». Работы Рихтера сочетают в себе элементы инструментальной и электронной музыки и близки постминимализму.
Макс Рихтер родился 22 марта 1966 года в Германии, но с детства жил в Великобритании, в Бедфорде. Композицию и игру на фортепиано изучал в Эдинбургском университете, Королевской академии музыки, а также у Лучано Берио во Флоренции. После окончания обучения стал одним из основателей секстета пианистов en:Piano Circus, исполнявшего музыку композиторов-минималистов: Арво Пярта, Филипа Гласса, Джулии Вольф и Стивена Райха. В составе ансамбля Рихтер играл около десяти лет и выпустил пять альбомов на Decca/Argo.
В 1996 году работал с Future Sound of London над альбомом Dead Cities, изначально как пианист, а в дальнейшем и с использованием других инструментов, а один трек (названный «Max») сочинил самостоятельно. Впоследствии сотрудничал с FSOL в течение двух лет, также внеся вклад в альбомы en:The Isness и en:The Peppermint Tree and Seeds of Superconsciousness.
В 2000 году сотрудничал с выигравшим Mercury Prize Рони Сайзом над альбомом группы en:Reprazent, названным In the Mode.
В этот же год составил восемнадцатитрековый альбом Memoryhouse с музыкальным изображением звуков природы, наложенных на голоса людей, читающих поэзию на различных языках, в том числе и на русском: в треке «Maria, The poet (1913)» актриса Алла Демидова читает стихотворение Марины Цветаевой «Уж сколько их упало в эту бездну». Четыре трека («Europe, After the Rain», «The Twins (Prague)», «Fragment» и «Embers») были использованы в шестисерийном документальном фильме 2005 года BBC Освенцим: Нацисты и «окончательное решение» (продюсер Лоуренс Риз). Альбом был записан при участии Филармонического ансамбля ВВС.
Во втором альбоме The Blue Notebooks (2004 год) композитор также соединил музыку и литературу. В основу диска легли произведения Кафки, которые читает актриса Тильда Суинтон. По такой же схеме был записан и третий альбом Songs From Before: музыкант Роберт Уайатт читал тексты Харуки Мураками.
В 2008 году Рихтер издал четвёртый альбом 24 Postcards In Full Colour. В 2010 вышел пятый альбом Infra, который композитор написал специально для балета Уэйна Макгрегора, поставленного на сцене Королевского театра в Ковент-Гардене.
В 2012 году Britten Sinfonia записала Времена года (Вивальди) в авторской интерпретации Макса Рихтера. Композитор изменил музыку Антонио Вивальди в духе минимализма и постмодернизма. Запись возглавила рейтинги классической музыки по версии iTunes в Великобритании, США и Германии.
Макс Рихтер написал музыку к десяткам европейских и азиатских художественных и документальных фильмов. Самая известная его работа – в фильме «Вальс с Баширом». Отдельные композиции в ряде популярных кинолент также принесли Рихтеру мировую известность. Для фильма Мартина Скорсезе «Остров проклятых» Рихтер написал трек On The Nature of Daylight, в котором соединил свою музыку и а капеллу Дины Вашингтон к песне Bitter Earth. Позднее это произведение прозвучало ещё в нескольких фильмах. Композиция Sarajevo звучала в официальном трейлере к фильму Ридли Скотта «Прометей», а композиция November, с того же альбома, сопровождала трейлеры к фильмам «К чуду» и «Дж. Эдгар».
Уже первый сольный альбом Макса Рихтера Memoryhouse заслужил хвалебные речи в его адрес со стороны музыкальных критиков. Грейсон Каррин из Pitchfork в своей рецензии назвал музыку Рихтера предтечей музыки Нико Мьюли и других композиторов-авангардистов, отметив, что Рихтер совершил своего рода прорыв в музыкальном искусстве. Второй альбом The Blue Notebooks некоторые критики назвали лучшим за всю историю классической музыки того периода.
https://ru.wikipedia.org/wiki/Рихтер,_Макс

Max Richter
Max Richter (born 22 March 1966) is a German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.
Richter also composes music for stage, opera, ballet and screen. He has also collaborated with other musicians, as well as with performance, installation and media artists. He has recorded eight solo albums and his music is widely used in cinema.
Richter was born in Hamelin, Lower Saxony, West Germany. He grew up in Bedford, England, United Kingdom, and his education was at Bedford Modern School and Mander College of Further Education. He studied composition and piano at the University of Edinburgh, the Royal Academy of Music, and with Luciano Berio in Florence. After finishing his studies, Richter co-founded the contemporary classical ensemble Piano Circus. He stayed with the group for ten years, commissioning and performing works by minimalist musicians such as Arvo Pärt, Brian Eno, Philip Glass, Julia Wolfe, and Steve Reich. The ensemble was signed to Decca/Argo, producing five albums.
In 1996, Richter collaborated with Future Sound of London on their album Dead Cities, beginning as a pianist, but ultimately working on several tracks, as well as co-writing one track (titled Max). Richter worked with the band for two years, also contributing to the albums The Isness and The Peppermint Tree and Seeds of Superconsciousness. In 2000, Richter worked with Mercury Prize winner Roni Size on the Reprazent album In the Møde. Richter produced Vashti Bunyan's 2005 album Lookaftering and Kelli Ali's 2008 album Rocking Horse.
In 2015, Max Richter released his most ambitious project to date, Sleep, an 8.5 hour listening experience targeted to fit a full night's rest. The album itself contains 31 compositions, most of them reaching 20–30 minutes in duration, all based around variations of 4-5 themes. The music is calm, slow, mellow and composed for piano, cello, two violas, two violins, organ, soprano vocals, synthesizers and electronics. As the album's liner notes, strings are played by the American Contemporary Music Ensemble (Ben Russell, Yuki Numata Resnik, Caleb Burhans, Clarice Jensen and Brian Snow), Vocals are provided by Grace Davidson and the piano, synthesisers and electronics are played by Richter himself.
Richter also released a 1-hour version of the project, "From Sleep", that contains roughly 1 shortened version of every "theme" from Sleep (hence its title), and is supposed to act as a shorter listening experience for the Sleep project.
Richter has described SLEEP as an eight-hour-long lullaby. It was released on CD and vinyl. The work was strongly influenced by Gustav Mahler's symphonic works.
The entire composition was performed on 27 September 2015, from midnight to 8:00 A.M. as the climax of the "Science and Music" weekend on BBC Radio 3. The performance broke several records, including the longest live broadcast of a single musical composition in the history of the network.
Sleep was chosen by Jarvis Cocker to be the BBC6 Album of the year for 2015 and by Pitchfork Magazine as one of the 50 best ambient albums of all time.
The full-length Sleep has been played live by Richter at the Concertgebouw (Grote Zaal) Amsterdam; the Sydney Opera House; in Berlin (as part of Berliner Festspiele's Maerz Musik Festival), in Madrid (as part of Veramos de la Villa) and in London (at the Barbican). In November 2017 Sleep was played at the Philharmonie de Paris.[50] In September 2018 it was played in the Antwerp cathedral for an audience of 400 which were provided with beds for the night.
“I think of it as a piece of protest music,” Richter has said. “It’s protest music against this sort of very super industrialized, intense, mechanized way of living right now. It’s a political work in that sense. It’s a call to arms to stop what we’re doing.
https://en.wikipedia.org/wiki/Max_Richter

Info for "Voices"
Over a decade after its inception, ground-breaking composer Max Richter announces the release of VOICES – a major new recording project inspired by the Universal Declaration of Human Rights. The first single from his uplifting new work, which he describes as "a place to think and reflect", is out today via Decca Records. It is the latest album from the innovative, billion-streaming artist behind landmark 2015 composition SLEEP, which continues to evolve five years on with the launch of a new app. Available to download now, the app enables listeners to reimagine the 8-hour Deutsche Grammophon recording in custom-made musical sessions to help with focus, meditation and sleep. At the heart of both VOICES and SLEEP is a profound sense of global community, born out of Richter's career-long view of music as activism and his desire to unite audiences worldwide.
In a time of dramatic global change, VOICES offers a musical message of hope. Max Richter invited people around the world to be part of the piece, crowd-sourcing readings of the Universal Declaration of Human Rights to be interwoven into the work, which features an 'upside-down' orchestra. He received hundreds of submissions in over 70 languages. These readings form the aural landscape that the music flows through: they are the VOICES of the title.
Adopted by the United Nations General Assembly in 1948, in the aftermath of the Second World War, the Universal Declaration of Human Rights was drafted by a group of philosophers, artists and thinkers convened by Eleanor Roosevelt to address the great questions of the time. The voice of Roosevelt can be heard at the start of VOICES, as Richter incorporates the 1949 recording of the preamble to the Declaration into his piece. Alongside Roosevelt and the crowd-sourced VOICES, there is also narration by acclaimed US actor Kiki Layne (If Beale Street Could Talk) whose distinctive tones complement the choral, orchestral and electronic soundscape.
Max Richter explains, "I like the idea of a piece of music as a place to think, and it is clear we all have some thinking to do at the moment. We live in a hugely challenging time and, looking around at the world we have made, it's easy to feel hopeless or angry. But, just as the problems we face are of our own making, so their solutions are within our reach, and the Universal Declaration of Human Rights is something that offers us a way forward. Although it isn't a perfect document, the declaration does represent an inspiring vision for the possibility of better and kinder world."
VOICES had its world premiere in London in February, with more than 60 musicians performing live on the Barbican stage. The music involves a radical reimagining of the traditional orchestra formation. "It came out of this idea of the world being turned upside down, our sense of what's normal being subverted, so I have turned the orchestra upside down in terms of the proportion of instruments," says Richter. He has scored the work for 12 double basses, 24 cellos, 6 violas, 8 violins and a harp. They are joined by a wordless 12-piece choir as well as Richter on keyboards, violin soloist Mari Samuelsen, soprano Grace Davidson and conductor Robert Ziegler. The striking visuals for this large-scale project are by Richter's creative partner, artist and film-maker Yulia Mahr.
https://www.highresaudio.com/en/album/view/43sarc/max-richter-voices
Voices 2, the second album in the pioneering audio-visual Voices project, co-created with his artistic partner Yulia Mahr, on 9 April 2021. Voices was inspired by, and features text adapted from, the Universal Declaration of Human Rights. Voices 2 follows directly from the first part, embodying the Universal Declaration’s aspiration to build a better and fairer world.
The message at the core of Max Richter’s Voices 2 is one of hope. The music, and the video for the debut single ‘Mirrors’, invites us to take a breather from the rolling news agenda and to reflect instead on the aspirations in the Universal Declaration. Despite its sombre mood, positivity and a sense of potential in a hopeful new future, runs throughout Voices 2. Yulia Mahr, Max Richter’s filmmaker and visual-artist partner, captures the image of rejuvenation in her video for ‘Mirrors’ as flowers bloom.
Inspired by the Universal Declaration of Human Rights
The Universal Declaration of Human Rights was drafted by a group of philosophers, artists and thinkers, convened by Eleanor Roosevelt, to address the great questions of the time and adopted by the United Nations General Assembly in 1948. Max Richter was inspired by the document’s opening statement, “All human beings are born free and equal in dignity and rights,” and he incorporated the 1949 recording of the preamble to the Declaration by Roosevelt at the start of Voices.
“A place to think”
At the heart of Voices is a profound sense of global community and responsibility which originates from the Grammy-nominated composer’s commitment to music as activism. Voices, described by Max Richter as “a place to think”, was a response to our tempestuous political climate and the enduring need for compassion, and Voices 2 develops this principle. Voices was broadcast on BBC Radio 3 and 40 international radio stations in collaboration with the European Broadcasting Union on 10 December for Human Rights Day 2020.
While Voices focuses on the text of the Universal Declaration of Human Rights, Voices 2 opens up a meditative instrumental musical space to consider the ideas raised by the first record. The music is less about the world we know already and more about the hope for the future we have yet to write.
“This moment also offers us an opportunity to build anew”
“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,” explained Yulia Mahr. “Therefore, I have made my first film for the second part of Voices a hopeful one. The flowers are all negative versions of themselves – out of the negative, out of the dark and disconcerting – can be born a future that is full of beauty and the positive. It’s hard to see it still, but it’s potentially there. History is not inevitable. If we come together, we can create a kinder world.”
Max Richter added, “There are always opportunities for new beginnings. And that’s one of the things that’s so hopeful about that text. It lays out a very fundamental and simple set of principles, which are completely available to us at all times, but we do have to choose them. That’s the challenge, isn’t it?”