Classical The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. http://www.theblues-thatjazz.com/en/classical/3314.html Tue, 25 Jun 2019 23:28:46 +0000 Joomla! 1.5 - Open Source Content Management en-gb Max Richter - The Blue Notebooks (2004) http://www.theblues-thatjazz.com/en/classical/3314-richter-max/12499-max-richter-the-blue-notebooks.html http://www.theblues-thatjazz.com/en/classical/3314-richter-max/12499-max-richter-the-blue-notebooks.html Max Richter - The Blue Notebooks (2004)

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1.    "The Blue Notebooks"
2.    "On the Nature of Daylight"
3.    "Horizon Variations"
4.    "Shadow Journal"
5.    "Iconography"
6.    "Vladimir's Blues"
7.    "Arboretum"
8.    "Old Song"
9.    "Organum"
10.    "The Trees"
11.    "Written on the Sky"

 

Though his evocative debut album Memoryhouse introduced Max Richter's fusion of classical music, electronica and found-sounds (a style he calls "post-Classical"), it's his follow-up, The Blue Notebooks, that really showcases the style's -- and Richter's -- potential. The album's ten pieces were inspired by Kafka's Blue Octavo Notebooks, and quotes such as "Everyone carries a room about inside them. This fact can even be proved by means of the sense of hearing. If someone walks fast and one pricks up one's ears and listens, say at night, when everything round about is quiet, one hears, for instance, the rattling of a mirror not quite firmly fastened to the wall," which are read by actress Tilda Swinton, define the spare, reflective intimacy of The Blue Notebooks. The album is simpler than Memoryhouse, with a smaller ensemble of musicians playing on it and a shorter running time, but its restraint makes it a more powerful work -- it's so beautiful and fully realized that it doesn't need to be showy.

As other reviews have mentioned, Richter tends to be a more traditional-minded composer than influences like Brian Eno, Philip Glass and Steve Reich. However, his sound works so well and seems so natural because he's not trying to be overtly experimental; the album ranges from pieces with little or no electronic elements, such as the piano-driven "Arboretum," to "Old Song," which is based on a busy, chilly beat that sounds like dripping water. Richter's music embraces all of the sounds that had an impact on him, but more important is the emotional impact that The Blue Notebooks has on its listeners; despite its high-concept origins, it's quite an affecting album. The warm-hearted piano melody on "Horizon Variations" and the delicate, somehow reassuring-sounding string piece "On the Nature of Daylight" both sound vaguely familiar, and are all the more haunting for it. Most striking of all is "Shadow Journal," which begins with hypnotic, bubbling electronics, Swinton's crisp voice and a piercingly lovely violin melody and then brings in harp and an electronic bassline so low that it's almost felt more than it is heard. The piece sounds so much like thinking, like turning inward, that the cawing birds at the end of the track bring a jarring end to its reverie.

The field recordings that run through The Blue Notebooks heighten the sense of intimacy, and occasionally, eavesdropping. On "Organum," the distant piano and outdoor sounds feel like listening to somebody else listen to the music; meanwhile, the ticking clocks, clacking typewriter and street traffic on the title track help conjure up that room that everyone carries about inside them. The Blue Notebooks is a stunning album, and one that should be heard not just by classical and electronica fans, but anyone who values thoughtful, subtly expressive music. ---Heather Phares, Rovi

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administration@theblues-thatjazz.com (bluesever) Richter Max Mon, 16 Jul 2012 14:17:17 +0000
Max Richter - Тhrее Wоrlds: Мusic Frоm Wооlf Wоrks (2017) http://www.theblues-thatjazz.com/en/classical/3314-richter-max/22985-max-richter-hr-wrlds-usic-frm-wlf-wrks-2017.html http://www.theblues-thatjazz.com/en/classical/3314-richter-max/22985-max-richter-hr-wrlds-usic-frm-wlf-wrks-2017.html Max Richter - Тhrее Wоrlds: Мusic Frоm Wооlf Wоrks (2017)

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Mrs Dalloway
1. Words
2. In the Garden
3. War Anthem
4. Meeting Again
Orlando
5. Memory is the Seamstress
6. Modular Astronomy
7. Entropy
8. Transformation
9. Morphology
10. The Tyranny of Symmetry
11. The Explorers
12. Persistence of Images
13. Genesis of Poetry
14. Possibles
15. Love Songs
The Waves
16. Tuesday

Gillian Anderson - Narrator
Natalia Bonner - Violin
Ian Burdge - Cello
Grace Davidson - Soprano (Vocal)
Louisa Fuller - Violin
Hilá Karni - Cello
John Metcalfe - Viola
Max Richter - Piano, Synthesizer
Mari Samuelsen 	Violin
Sarah Sutcliffe 	Narrator
Virginia Woolf 	Narrator
Chris Worsey 	Cello

Deutsches Filmorchester Babelsberg
Robert Ziegler - Conductor 

 

German-British composer Max Richter has been known mostly for his film scores. One of the best of them, that for Arrival, was heard by millions of people and was ideally timed to attract listeners to some of Richter's non-cinematic music. Three Worlds -- Music from Woolf Works was abridged from a ballet entitled Woolf Works, which consisted mostly of short chunks that work reasonably well in abstract form. Each of the work's three sections begins with a spoken quotation from Virginia Woolf herself, the first of them consisting of an actual recording of Woolf's voice from 1937; the other two are read by actresses. The rest of the movements are instrumental and are connected to a greater or lesser degree to the three novels named in the titles of the three sections, Mrs Dalloway, Orlando, and The Waves. Only the Woolf quotation for Orlando comes from the novel named in its section title. The music in that section consists of a set of variations on the Baroque-era-ground La Folia, and the medium is constantly shifting: from full orchestra to chamber instruments, solo groups, and electronic variations (the music is performed by Richter himself on piano and synthesizer, plus the Deutches Filmorchester Babelsberg and assorted other musicians). You wouldn't guess Virginia Woolf if you heard it cold, but the music is not quite like anything else you will have heard. The final section, by contrast, has a powerfully direct emotional impact. The opening reading, spoken by Gillian Anderson, is taken from Woolf's suicide note, and although Richter indicates that the rest of the music evokes the poetic mood of The Waves, its intense climax (unlike the rest of the music, this is a lengthy movement of more than 20 minutes) seems to keep the suicide note in the listener's mind. Although the work as a whole is not a film score, it has the flavor of one, and it opens up intriguing possibilities for the expansion of that language to other settings. Certainly recommended for anyone who has noticed and liked the music for Arrival. ---James Manheim, AllMusic Review

 

„ Woolf Works” to znakomicie przyjęty przez krytykę tryptyk baletowy z choreografią McGregora, inspirowany życiem i twórczością angielskiej powieściopisarki Wirginii Woolf.

“Three Worlds: Music from Wolf Works” to nowy rozdział na muzycznej drodze kompozytorskiej Maxa Richtera. Ukazuje zamiłowanie kompozytora zarówno do bogatych melodii na smyczki i fortepian jak i jego wirtuozowskie władanie elektroniką. W utworze otwierającym album pojawia się wypowiedź samej Virginii Woolf czytającej esej : “Craftsmanship” (Rzemiosło) utrwalona na nagraniu BBC z 1937 roku.

Oryginalny balet spotkał się z niezwykle pozytywnym przyjęciem krytyki podczas premiery w 2015 r., otrzymując Critics’ Circle Award w kategorii najlepszej choreografii oraz Olivier Award za najlepszą produkcję baletową.

The Observer opisał ten balet jako “przekonujące i wzruszające wydarzenie”, a według The Independent jest to “ pełne ambicji, wspaniałe, przemyślane dzieło”, The Guardian określił balet jako “poruszającą medytację dotyczącą pamięci, szaleństwa i życia”.

Każdy z trzech aktów baletu nawiązuje do jednej z kluczowych powieści Woolf: Mrs Dalloway, Orlando oraz the Waves, połączonych z fragmentami jej listów, esejów i pamiętników.

McGregor i Richter często współpracowali ze sobą, między innymi przy takich uznanych produkcjach jak: Rain Rooms czy Sum. McGregor stworzył również baletową wersję słynnych albumów Maxa jak Vivaldi Recomposed czy Infra.

Album jest 66 minutową wersją całej produkcji trwającej 110 minut. ---universalmusic.pl

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administration@theblues-thatjazz.com (bluesever) Richter Max Tue, 06 Feb 2018 13:51:19 +0000
Max Richter ‎– Infra (2010) http://www.theblues-thatjazz.com/en/classical/3314-richter-max/22850-max-richter--infra-2010.html http://www.theblues-thatjazz.com/en/classical/3314-richter-max/22850-max-richter--infra-2010.html Max Richter ‎– Infra (2010)

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1 	Infra 1 	4:05
2 	Journey 1 	2:10
3 	Infra 2 	4:27
4 	Infra 3 	3:02
5 	Journey 2 	2:13
6 	Infra 4 	2:46
7 	Journey 3 	2:51
8 	Journey 4 	4:40
9 	Journey 5 	1:13
10 	Infra 5 	5:17
11 	Infra 6 	2:53
12 	Infra 7 	1:45
13 	Infra 8 	3:22

Cello – Chris Worsey, Ian Burdge
Mixed By – Max Richter
Piano, Electronics – Max Richter
Viola – Nick Barr
Violin – Louisa Fuller, Natalia Bonner

 

Once upon a time, rock‘n’roll was for the kids. Parents recoiled at its immoral noise, clutching Perry Como records to their chests as their children rolled their eyes. For years the generations were separated: teenagers craved guitars, elders praised violins, youthful tastes discarded as newfound responsibilities demanded they behave like adults.

But slowly the boundaries came down: prog rock embraced the theories of formal musical training, contemporary classical music like Steve Reich’s was embraced by the rock avant-garde, musicians started to namecheck the likes of Henryk Gorecki and Arvo Pärt. Now, it seems, you’ve got every chance of finding what used to be termed classical music on your favourite indie label. 4AD have Jóhann Jóhannsson, Bella Union have Dustin O’Halloran, Erased Tapes have Ólafur Arnalds, and Fat Cat’s 130771 imprint has Max Richter. These days, of course, it’s considered experimental music, but that’s probably only within the realms of pop.

Of them all, Richter deserves the tag experimental more than most. A classically trained performer with a fondness for electronica, his fifth album is based upon 25 minutes of music commissioned by London’s Royal Ballet in 2008 and inspired by T. S. Eliot’s The Wasteland. Opener infra 1 begins with radio static before slowly developing into what might pass for the introduction to a Sigur Rós song, and this in turn slides into journey 1, a piece of minimalist piano moonlight still haunted by static. infra 4 and journey 4, meanwhile, seem him employ the same ethic with strings instead of piano, and for infra’s 32-minute duration, Richter plays with echoing tones of ambiguous genesis and further found sounds over a platform of tremulous chamber music and placid piano sonata movements.

That it’s a companion piece makes perfect sense, and in truth it could work as a soundtrack to something like Duncan Jones’ recent film Moon or a documentary about a courageous battle against terminal illness. Like Arnalds and Jóhannsson, Richter is capable of eliciting profound emotions from the barest of foundations, and it’s perhaps this that makes their music of such interest to alternative music fans: it offers civilised respite from a mainstream whose colours have become too saturated and whose constructions are over familiar. Your parents might recoil at its alien textures, and your kids might still roll their eyes, but all that really suggests is that classical is the new rock‘n’roll. ---Wyndham Wallace, BBC Review

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administration@theblues-thatjazz.com (bluesever) Richter Max Wed, 10 Jan 2018 15:15:25 +0000