MaxRichter出生于哪里

MaxRichter

MaxRichter，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。

外文名：MaxRichter

国籍：英国

出生地：德国

职业：钢琴家，作曲家

毕业院校：爱丁堡皇家音乐学院

代表作品：Memoryhouse，TheBlueNotebooks，SongsfromBefore

人物经历

MaxRichter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MaxRichter，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LucianoBerio，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（MaurizioPollini）演奏的肖邦；PinkFloyd的InterstellarOverdrive；还有被Beatles的AbbeyRoad震慑；史特拉汶斯基的“春之祭”；PhilipGlass的“'MusicwithChangingParts”；以至庞克经典TheClash．．．」

MaxRichter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《TheBlueNotebooks》邀请TildaSwinton吟诵卡夫卡与米沃什的作品，而在第三张专辑《SongsfromBefore》当中，则有RobertWyatt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．．

作品

回忆屋

专辑英文名:Memoryhouse

发行时间:2002年05月27日

地区:英国

Thisalbumdefiescategorisation.Itbreaksdownthebarriersbetweengenresandshouldsimplybeclassifiedasgreatmusic.InthisrespectMaxRichtershouldbeconsideredalongsidethelikesofNitinSawhney.TherearemomentsinthisalbumwhereIfoundmyselfmovedtotearsasintheextraordinarytrackSarajevowhichbuildsandbuildsuntilthefulltragedyofthatwartorncityseemedtoleapoutandenfoldme.SometrackswashoveryoulikearefreshingstreamabitlikethebestCafeDelMarchilloutalbumsandthenthere'sthekindofstuffthatyoumightfindinatensepacythriller;filmmakerswoulddieforit.

Memoryhousecomesfromthesoul,anditcertainlystirsthesoulwhenyoulistentoit.Themoreyouplayitthedeeperitseemstogo.It'smyfavouritenewalbumandwellworthbuying.--D.Scheinmann,

专辑曲目:

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

蓝色笔记

专辑英文名:TheBlueNotebooks

发行时间:2004年

地区:德国

在这张专辑中,“TheBlueNotebooks”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“TheBlueOctavoNotebooks”，与及捷克诗人米洛兹的作品“HymnofthePearl”和“UnattainableEarth”。

要逐曲细谈“TheBlueNotebooks”，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TouchRecords的冰岛音乐人JohannJohannsoon那张“Englaborn”便有著接近的自然声音，只是MaxRichter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，PhilipGlass、SteveReich等等人物对MaxRichter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.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

发行时间:2006年地区:英国

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

专辑曲目:

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

发行时间: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，MaxRichter的《24PostcardsinFullColour》，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)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