MaxRichter出生于哪里
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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
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