MaxRichter，出生於德國，幼年時移居英國。並在愛丁堡的皇家音樂學院接受了傳統音樂教育，並壹直致力於前衛的試驗型音樂，將電子與環境音樂結合再融入古典音樂進行創作，他也熱衷於將不同類型的音樂交匯、互通。
外文名：MaxRichter
國籍：英國
出生地：德國
職業：鋼琴家，作曲家
畢業院校：愛丁堡皇家音樂學院
代表作品：Memoryhouse，TheBlueNotebooks，SongsfromBefore
人物經歷
MaxRichter出生於德國，幼年時移居英國。並在愛丁堡的皇家音樂學院接受了傳統音樂教育。成年後的經歷使他成為壹位出色的鋼琴家和作曲家。並壹直致力於前衛的試驗型音樂。將電子與環境音樂結合再融入古典音樂進行創作。熱衷於將不同類型的音樂交匯互通。
目前活躍於英國的MaxRichter，紮實的學院訓練讓他熟悉西方從古典到現代大師們的音樂表現手法（師承LucianoBerio，並深受Xenakis影響），卻同時樂於張開耳朵開放心靈接觸學院圍墻外廣闊無邊的音樂世界，如果妳問他最早的音樂回憶，他會告訴妳：「巴哈的音樂；波裏尼（MaurizioPollini）演奏的肖邦；PinkFloyd的InterstellarOverdrive；還有被Beatles的AbbeyRoad震懾；史特拉汶斯基的“春之祭”；PhilipGlass的“'MusicwithChangingParts”；以至龐克經典TheClash．．．」
MaxRichter的音樂壹向離不開文學，第壹張個人專輯《Memoryhouse》歷經十八個月沈澱，從想象與真實的事件、喬哀思、約翰_凱吉與波赫士的作品汲取靈感，運用鋼琴、大中小提琴，引領出扣人心弦、低調迷人的主旋律，伴隨混沌夢幻的電音聲響、吟白與隨機的田野錄音手法，還有那充滿靈性與迷離的管風琴聲，經過精心布局，產生出壹種獨特的詩意與張力。04年的《TheBlueNotebooks》邀請TildaSwinton吟誦卡夫卡與米沃什的作品，而在第三張專輯《SongsfromBefore》當中，則有RobertWyatt吟誦村上春樹作品，音樂依然在深具穿透力的沈靜氣質中逐漸起伏，在古典與前衛；文學與音樂；具像與抽象；失落與希望；幽暗與光明之間．．
作品
回憶屋
專輯英文名:Memoryhouse
發行時間:2002年05月27日
地區:英國
Thisalbumdefiescategorisation.Itbreaksdownthebarriersbetweengenresandshouldsimplybeclassifiedasgreatmusic.InthisrespectMaxRichtershouldbeconsideredalongsidethelikesofNitinSawhney.TherearemomentsinthisalbumwhereIfoundmyselfmovedtotearsasintheextraordinarytrackSarajevowhichbuildsandbuildsuntilthefulltragedyofthatwartorncityseemedtoleapoutandenfoldme.SometrackswashoveryoulikearefreshingstreamabitlikethebestCafeDelMarchilloutalbumsandthenthere'sthekindofstuffthatyoumightfindinatensepacythriller;filmmakerswoulddieforit.
Memoryhousecomesfromthesoul,anditcertainlystirsthesoulwhenyoulistentoit.Themoreyouplayitthedeeperitseemstogo.It'smyfavouritenewalbumandwellworthbuying.--D.Scheinmann,
專輯曲目:
01.Europe,AfterTheRain..........6:13
02.Maria,ThePoet(1913)..........4:47
03.Laika'sJourney.............1:30
04.TheTwins(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'sNotebook..............2:41
11.Arbenita(11Years)...........7:04
12.Garden(1973)/Interior.........3:24
13.LandscapeWithFigure(1922).......5:14
14.Fragment.................1:26
15.LinesOnAPage(OneHundredViolins)..1:22
16.Embers..................3:38
17.LastDays................4:18
18.QuartetFragment(1908).........3:02
藍色筆記
專輯英文名:TheBlueNotebooks
發行時間:2004年
地區:德國
在這張專輯中,“TheBlueNotebooks”是壹張類似日記形式的作品，不過這是以純音樂為主的日記。樂段之間加插了數段模仿用打字機打日記人聲誦讀的片段，當中的文字取自捷克作家卡夫卡的“TheBlueOctavoNotebooks”，與及捷克詩人米洛茲的作品“HymnofthePearl”和“UnattainableEarth”。
要逐曲細談“TheBlueNotebooks”，恐怕是多此壹舉的做法。唱片的音樂都以鋼琴和弦樂器為主導，滲出陣陣古典的氣息，但偶爾加入的點點電音處理和誦讀的日記片段，卻令音樂感覺毫不古舊，反而處處流露出非常自然和親切的美感。若要找壹個風格相似的單位，來自TouchRecords的冰島音樂人JohannJohannsoon那張“Englaborn”便有著接近的自然聲音，只是MaxRichter的音樂更見簡約和環境化。
唱片中的歌曲都以相似的簡約手法寫成，PhilipGlass、SteveReich等等人物對MaxRichter的影響是明顯的。壹直聆聽這張唱片，音樂似乎是同壹個主題的變奏，又像是日復壹日悠閑生活的縮影。歌曲與歌曲之間銜接順滑，像遠觀海浪起伏，表面看似平淡，但卻足以牽動聽者的情緒，精煉而低吟的樂音中，留有廣闊的空間讓聽者慢慢思考細味。
專輯曲目:
01.TheBlueNotebooks(1:20)
02.OnTheNatureOfDaylight(6:11)
03.HorizonVariations(1:52)
04.ShadowJournal(8:22)
05.Iconography(3:38)
06.Vladimir'sBlues(1:18)
07.Arboretum(2:53)
08.OldSong(2:11)
09.Organum(3:13)
10.TheTrees(7:52)
11.WrittenOnTheSky(1:39)
SongsfromBefore
發行時間:2006年地區:英國
Acoupleyearsback,MaxRichtercameoutofthebluewithhisTheBlueNotebooksalbumandprettymuchknockedmeforaloop.Asplendidmixtureofmodernclassicalandelectronicmusic(plussomespokenwordbitsfromTildaSwinton),thereleaseeasilymademyyear-endlistandwasgoodenoughthatitmademeseekouthismoreelusivedebutalbumtogetalittlemorebackgroundonhisartistry.Asitturnsout,Richterismorethanjustanaccomplishedsoloartist,havingworkedwitheveryonefromtheFutureSoundOfLondontoRoniSizeandevenVashtiBunyanonproductionandcollaboration.
SongsFromBeforeishislatestfulllengthalbumanditsoundslikeaverylogicalsequeltoTheBlueNotebooks.Infact,ithassomuchincommonwiththatreleasethatitfeelsmorelikethesecondchapterinalargerover-archingsaga,thanalargestepforwardintonewterritory.Thelushstringarrangementsareback,alongwithsomespokenwordbitsthatfilterin(RobertWyattreadingshortpassagesfromHarukiMurakamithistimeout).Ifthere'sanydifference,it'sthatmoreovertelectronicsplaylessofarollinthisrecording,althoughRichterdoesincorporatemorelo-fielectronictouchesthroughtheuseofshortwaveradionoises.
Thesimplytitled"Song"opensthealbumonastrongnote,assomerepetitiveorganmelodiesmixwithsomesubtlestringswhiledistantpercussionsendsdeepreverberationsthroughthemix."FlowersForYula"openswithsomedisembodiedradiochatterandafewpassagesfromWyattbeforeslowswellsofstringsriseupfromthecracklingdepthsandcrestwithoutevergettingveryloud."Harmonium"mayverywellbethemosthauntingtrackontheentirerelease,againstartingwithacoupleevocativesentencesfromWyattbeforesomedeep,filteredswirlsofwhatmayverywellbethetitleinstrumentareoffsetwithsparklingbellsandchimes.It'sagorgeoustrackthatworkswondersathighvolumes.
Thelattertwo-thirdsofthealbumisabitmorespotty,andafterlisteningtothereleaseabunchoftimes,Istillhaveahardtimepin-pointingwhy.Therearealotofshortertracks(like"Ionosphere"and"Lullaby")thataddnothingtotherelease,whileafamiliarmelodicthemeisusedin"AutumnMusic1,""AutumnMusic2,"andthealbumcloserof"FromTheRueVilin."ConsideringSongsFromBeforeisonlyaboutthirty-sevenminuteslong,it'sprobablysafetosaythattheeffortsuffersabitfrombeingreallygoodonthefrontendandthennotofferingupasmuchinvarietyfromthereout.Richterisstillaheckofacomposer,andthetwelve-trackreleaseisalwaysprettyattheveryleast,butunfortunatelyitseemslikeaslightstepbackwardsconsideringhispreviousalbum.--almostcool
專輯曲目:
01.Song(4:12)
02.FlowersForYulia(6:50)
03.Fragment(1:41)
04.Harmonium(4:23)
05.Ionosphere(1:25)
06.AutumnMusic1(3:54)
07.TimePassing(1:51)
08.Sunlight(5:35)
09.Lullaby(0:53)
10.AutumnMusic2(3:49)
11.Verses(1:43)
12.FromTheRueVilin(1:02)
4.24PostcardsinFullColour
發行時間:2008年09月23日出版者:FatcatRecords
MaxRichter
24PostcardsInFullColour
FollowingeighteenmonthsafterEdinburgh-basedpianist/composerMaxRichter’slastalbumcomesthereleaseofthegorgeous,intriguinglyframed’24PostcardsInFullColour’.Richter’sfourthalbumisadazzlingconceptualexerciseofgreatbeautyandemotionalresonance.Certainlyhismostconcise,’24Postcards’mayalsobeMax’smostcoherentandcompellingworktodate.Beautifullyplayed,richlytexturedanddetailed,thealbumforegroundsMax’ssheerclassasacomposerandproducer.
Anattemptanexplorationoftheringtoneasavehicleformusicperformance,‘24Postcards’isanexperimentalworkmadeupof24classically-composedringtones,settobepremièredinvariousgalleryspaces.Thepremièreisintendedtobeintheformofaseriesofinstallationswherepre-registeredaudiencemembersswitchontheirphonestoreceiveSMSmessages,eachmessagealertplayingbackoneormoreofthetracks,somakinguptheperformance.Intandemwiththisrelease,willbeamicro-websitehosting24photographicimages,oneaccompanyingeachtrack.AsMaxexplains:“Thinkingabouthowwelistentomusictoday,IwonderedwhyitisthatringtoneshavesofarbeentreatedasunfitforcreativemusicWhosaysringtoneshavetobebad?..It’slikesayingLPsorCDsarebad_itsjustamedium.”
“Becausethepieceisacollectionoftones,whereIhavenocontroloftheorder,Imadeastructurethatholdstogetherbyuseofsharedmaterial_likeacloudofpieces,orahandfulofconfetti,oraconstellationoffragments_tobenavigatedasyoulike”Maxviewsthewritingprocessinsimilarterms-shufflingbasicelementsintonewconstellations.ThepaletteMaxlimitedhimselftoconsistsofstringquintet;solopiano;16track2inchtape;transistors;foundshortwaveradio;vinylclicks,dust,scratchesandrumble;andacousticguitars.TheplayersonthealbumareLouisaFuller(violin),RobertMcFall(violin),NataliaBonner(violin),JohnMetcalfe(Viola),IanBurdge(Cello),ChrisWorsey(Cello),SuaLee(Cello),PrestonReed(Guitar),andRichterhimselfonpiano.
Fragmentaryandpartialbynature,these24brieftracksworkasavariedcollectionofevocativeminiatures-eachofferingaglimpseintopotentiallymuchlargerpieces.Thelongesttrackhereisjustunderthreeminutes,whilstthemajorityclockinataroundjustsixtyseconds.Eachbearingitsownparticularweightandmeasure,thesehauntingvignettescomeacrossasaseriesofsketchesonthe(fugitive)natureoftimeandmemory,stitchedtogethertoformaseriesofjump-cutsandfoldbacksintime(thealbumcontinuallyreprisingitselfandfillingthelistenerwithasenseofdeja-vu).
Asthoughextractingtheabsoluteessence,simple,plaintivepianoandstringmelodies-noexcess,nowaste,pureconcentrate-buttupagainstpassagesofrich,borderzoneambience-radiostatic/voicesleakingthroughdense,shiftingdrones.AtpointsrecallingthelikesofBoardsOfCanada,Bibio,andGas(intermsofdepth/grainratherthansoundorstyle),atothersMinimalismortheElizabethaninstrumentalmusicofHenryPurcell,there’salsosomethingaboutitsnaturethatbringstomindauthorslikeWGSebald,MarcelProustandfilmmakerAndreiTarkovsky.
24張彩色明信片，24種不同的心境，24首曲目，於是就有了這張碟，MaxRichter的《24PostcardsinFullColour》，但它的封套怎麽又偏偏是黑白的呢？
這張唱片集合了24首動情的器樂小品，很少見到這種形式的專輯，它就像壹本散文集，沒頭沒尾，每壹首都是壹個事件，截取了生活裏不同的24個斷面進行細致描繪。
額們老師講滴敘事方式，有壹些是直線式，有壹些就是這樣的抓住壹些特征點進行深入描述的。每首的編曲都很簡單，有幾首是純鋼琴小品，還有幾首純提琴小品，但是都有飽滿的感情，都很動人。在我這裏這張專輯永遠不會有不合時宜的時候，不論在何種心境下我都能靜下來仔細聽它。
——zombier
專輯曲目:
(01)TheRoadIsAGreyTape
(02)InNewEngland
(03)ThisPictureOfUs.P.
(04)LullabyFromTheWestCoastSleepers
(05)WhenTheNorthernLightsJasperAndLouise
(06)CirclesFromTheRueSimon-Crubellier
(07)CascadeNWbyW
(08)ASuddenManhattanOfTheMind
(09)InLouisvilleAt7
(10)Cathodes
(11)IWasJustThinking
(12)ASongForHFarAway
(13)ReturnToPrague
(14)BrokenSymmetriesForY
(15)BerlinByOvernight
(16)CradleSongForA(InterstateB3)
(17)KierlingDoubt
(18)From553WElmStreet,Logan,Illinois(Snow)
(19)TokyoRiddleSong
(20)TheTartuPiano
(21)ColdFusionForG
(22)32ViaSanNicolo
(23)FoundSongForP.
(24)HThinksAJourney