Max Richter，出生于德国，幼年时移居英国。并在爱丁堡的皇家音乐学院接受了传统音乐教育，并一直致力于前卫的试验型音乐，将电子与环境音乐结合再融入古典音乐进行创作，他也热衷于将不同类型的音乐交汇、互通。

Max Richter出生于德国，幼年时移居英国。并在爱丁堡的皇家音乐学院接受了传统音乐教育。成年后的经历使他成为一位出色的钢琴家和作曲家。并一直致力于前卫的试验型音乐。将电子与环境音乐结合再融入古典音乐进行创作。热衷于将不同类型的音乐交汇互通。

目前活跃于英国的Max Richter，扎实的学院训练让他熟悉西方从古典到现代大师们的音乐表现手法（师承Luciano Berio，并深受Xenakis影响），却同时乐于张开耳朵开放心灵接触学院围墙外广阔无边的音乐世界，如果你问他最早的音乐回忆，他会告诉你：「巴哈的音乐；波里尼（Maurizio Pollini）演奏的肖邦；Pink Floyd的Interstellar Overdrive；还有被Beatles的Abbey Road 震慑；史特拉汶斯基的“春之祭”；Philip Glass的“'Music with Changing Parts”；以至庞克经典The Clash．．．」

Max Richter的音乐一向离不开文学，第一张个人专辑《Memoryhouse》历经十八个月沈淀，从想象与真实的事件、乔哀思、约翰‧凯吉与波赫士的作品汲取灵感，运用钢琴、大中小提琴，引领出扣人心弦、低调迷人的主旋律，伴随混沌梦幻的电音声响、吟白与随机的田野录音手法，还有那充满灵性与迷离的管风琴声，经过精心布局，产生出一种独特的诗意与张力。04年的《The Blue Notebooks》邀请Tilda Swinton吟诵卡夫卡与米沃什的作品，而在第三张专辑《Songs from Before》当中，则有Robert Wyatt吟诵村上春树作品，音乐依然在深具穿透力的沈静气质中逐渐起伏，在古典与前卫；文学与音乐；具像与抽象；失落与希望；幽暗与光明之间．．

专辑英文名: Memoryhouse

发行时间: 2002年05月27日

地区: 英国

This album defies categorisation. It breaks down the barriers between genres and should simply be classified as great music. In this respect Max Richter should be considered along side the likes of Nitin Sawhney. There are moments in this album where I found myself moved to tears as in the extraordinary track Sarajevo which builds and builds until the full tragedy of that war torn city seemed to leap out and enfold me. Some tracks wash over you like a refreshing stream a bit like the best Cafe Del Mar chill out albums and then there's the kind of stuff that you might find in a tense pacy thriller; film makers would die for it.

Memoryhouse comes from the soul, and it certainly stirs the soul when you listen to it. The more you play it the deeper it seems to go. It's my favourite new album and well worth buying. -- D. Scheinmann,

专辑曲目:

01. Europe, After The Rain. . . . . . . . . .6:13

02. Maria, The Poet (1913). . . . . . . . . .4:47

03. Laika's Journey . . . . . . . . . . . . .1:30

04. The Twins (Prague). . . . . . . . . . . .1:58

05. Sarajevo. . . . . . . . . . . . . . . . .4:03

06. Andras. . . . . . . . . . . . . . . . . .2:42

07. Untitled (Figures). . . . . . . . . . . .3:27

08. Sketchbook. . . . . . . . . . . . . . . .1:54

09. November. . . . . . . . . . . . . . . . .6:21

10. Jan's Notebook. . . . . . . . . . . . . .2:41

11. Arbenita (11 Years) . . . . . . . . . . .7:04

12. Garden (1973) / Interior. . . . . . . . .3:24

13. Landscape With Figure (1922). . . . . . .5:14

14. Fragment. . . . . . . . . . . . . . . . .1:26

15. Lines On A Page (One Hundred Violins) . .1:22

16. Embers. . . . . . . . . . . . . . . . . .3:38

17. Last Days . . . . . . . . . . . . . . . .4:18

18. Quartet Fragment (1908) . . . . . . . . .3:02

专辑英文名: The Blue Notebooks

发行时间: 2004年

地区: 德国

在这张专辑中,“The Blue Notebooks”是一张类似日记形式的作品，不过这是以纯音乐为主的日记。乐段之间加插了数段模仿用打字机打日记人声诵读的片段，当中的文字取自捷克作家卡夫卡的“The Blue Octavo Notebooks”，与及捷克诗人米洛兹的作品“Hymn of the Pearl”和“Unattainable Earth”。

要逐曲细谈“The Blue Notebooks”，恐怕是多此一举的做法。唱片的音乐都以钢琴和弦乐器为主导，渗出阵阵古典的气息，但偶尔加入的点点电音处理和诵读的日记片段，却令音乐感觉毫不古旧，反而处处流露出非常自然和亲切的美感。若要找一个风格相似的单位，来自Touch Records的冰岛音乐人Johann Johannsoon那张“Englaborn”便有著接近的自然声音，只是Max Richter的音乐更见简约和环境化。

唱片中的歌曲都以相似的简约手法写成，Philip Glass、Steve Reich等等人物对Max Richter的影响是明显的。一直聆听这张唱片，音乐似乎是同一个主题的变奏，又像是日复一日悠闲生活的缩影。歌曲与歌曲之间衔接顺滑，像远观海浪起伏，表面看似平淡，但却足以牵动听者的情绪，精炼而低吟的乐音中，留有广阔的空间让听者慢慢思考细味。

专辑曲目:

01. The Blue Notebooks (1:20)

02. On The Nature Of Daylight (6:11)

03. Horizon Variations (1:52)

04. Shadow Journal (8:22)

05. Iconography (3:38)

06. Vladimir's Blues (1:18)

07. Arboretum (2:53)

08. Old Song (2:11)

09. Organum (3:13)

10. The Trees (7:52)

11. Written On The Sky (1:39)

Songs from Before

发行时间: 2006年地区: 英国

A couple years back, Max Richter came out of the blue with his The Blue Notebooks album and pretty much knocked me for a loop. A splendid mixture of modern classical and electronic music (plus some spoken word bits from Tilda Swinton), the release easily made my year-end list and was good enough that it made me seek out his more elusive debut album to get a little more background on his artistry. As it turns out, Richter is more than just an accomplished solo artist, having worked with everyone from the Future Sound Of London to Roni Size and even Vashti Bunyan on production and collaboration.

Songs From Before is his latest full length album and it sounds like a very logical sequel to The Blue Notebooks. In fact, it has so much in common with that release that it feels more like the second chapter in a larger over-arching saga, than a large step forward into new territory. The lush string arrangements are back, along with some spoken word bits that filter in (Robert Wyatt reading short passages from Haruki Murakami this time out). If there's any difference, it's that more overt electronics play less of a roll in this recording, although Richter does incorporate more lo-fi electronic touches through the use of shortwave radio noises.

专辑曲目:

01. Song (4:12)

02. Flowers For Yulia (6:50)

03. Fragment (1:41)

04. Harmonium (4:23)

05. Ionosphere (1:25)

06. Autumn Music 1 (3:54)

07. Time Passing (1:51)

08. Sunlight (5:35)

09. Lullaby (0:53)

10. Autumn Music 2 (3:49)

11. Verses (1:43)

12. From The Rue Vilin (1:02)

Post cards in Full Colour

发行时间: 2008年09月23日出版者: Fatcat Records

Max Richter

24 Postcards In Full Colour

Following eighteen months after Edinburgh-based pianist / composer Max Richter’s last album comes the release of the gorgeous, intriguingly framed ’24 Postcards In Full Colour’. Richter’s fourth album is a dazzling conceptual exercise of great beauty and emotional resonance. Certainly his most concise, ’24 Postcards…’may also be Max’s most coherent and compelling work to date. Beautifully played, richly textured and detailed, the album foregrounds Max’s sheer class as a composer and producer.

An attempt an exploration of the ringtone as a vehicle for music performance , ‘24 Postcards…’ is an experimental work made up of 24 classically-composed ringtones, set to be premièred in various gallery spaces. The première is intended to be in the form of a series of installations where pre-registered audience members switch on their phones to receive SMS messages, each message alert playing back one or more of the tracks, so making up the performance. In tandem with this release, will be a micro-website hosting 24 photographic images, one accompanying each track. As Max explains: “Thinking about how we listen to music today, I wondered why it is that ringtones have so far been treated as unfit for creative music… Who says ringtones have to be bad?.. It’s like saying LPs or CDs are bad – its just a medium….”

“Because the piece is a collection of tones, where I have no control of the order, I made a structure that holds together by use of shared material – like a cloud of pieces, or a handful of confetti, or a constellation of fragments – to be navigated as you like…” Max views the writing process in similar terms - shuffling basic elements into new constellations. The palette Max limited himself to consists of string quintet; solo piano; 16 track 2 inch tape; transistors; found shortwave radio; vinyl clicks, dust, scratches and rumble; and acoustic guitars. The players on the album are Louisa Fuller (violin),Robert Mc Fall (violin), Natalia Bonner (violin), John Metcalfe (Viola), Ian Burdge (Cello), Chris Worsey (Cello), Sua Lee (Cello), Preston Reed (Guitar), and Richter himself on piano.

Fragmentary and partial by nature, these 24 brief tracks work as a varied collection of evocative miniatures - each offering a glimpse into potentially much larger pieces. The longest track here is just under three minutes, whilst the majority clock in at around just sixty seconds. Each bearing its own particular weight and measure, these haunting vignettes come across as a series of sketches on the (fugitive) nature of time and memory, stitched together to form a series of jump-cuts and foldbacks in time (the album continually reprising itself and filling the listener with a sense of deja-vu).

As though extracting the absolute essence, simple, plaintive piano and string melodies - no excess, no waste, pure concentrate - butt up against passages of rich, borderzone ambience - radio static / voices leaking through dense, shifting drones. At points recalling the likes of Boards Of Canada, Bibio, and Gas (in terms of depth / grain rather than sound or style), at others Minimalism or the Elizabethan instrumental music of Henry Purcell, there’s also something about its nature that brings to mind authors like WG Sebald, Marcel Proust and filmmaker Andrei Tarkovsky.

24张彩色明信片，24种不同的心境，24首曲目，于是就有了这张碟，Max Richter的《24 Postcards in Full Colour》，但它的封套怎么又偏偏是黑白的呢？

这张唱片集合了24首动情的器乐小品，很少见到这种形式的专辑，它就像一本散文集，没头没尾，每一首都是一个事件，截取了生活里不同的24个断面进行细致描绘。

额们老师讲滴叙事方式，有一些是直线式，有一些就是这样的抓住一些特征点进行深入描述的。每首的编曲都很简单，有几首是纯钢琴小品，还有几首纯提琴小品，但是都有饱满的感情，都很动人。在我这里这张专辑永远不会有不合时宜的时候，不论在何种心境下我都能静下来仔细听它。

——zombier

专辑曲目:

(01) The Road Is A Grey Tape

(02) In New England

(03) This Picture Of Us. P.

(04) Lullaby From The West Coast Sleepers

(05) When The Northern LightsJasper And Louise

(06) Circles From The Rue Simon-Crubellier

(07) Cascade NW by W

(08) A Sudden Manhattan Of The Mind

(09) In Louisville At 7

(10) Cathodes

(11) I Was Just Thinking

(12) A Song For HFar Away

(13) Return To Prague

(14) Broken Symmetries For Y

(15) Berlin By Overnight

(16) Cradle Song For A (Interstate B3)

(17) KierlingDoubt

(18) From 553 W Elm Street, Logan, Illinois (Snow)

(19) Tokyo Riddle Song

(20) The Tartu Piano

(21) Cold Fusion For G

(22) 32 Via San Nicolo

(23) Found Song For P.

(24) H Thinks A Journey