Max Richter

He got cross.

He got cross.

Oh, that's so funny. Well, yeah, there's a weird thing with coughing, isn't there? Yeah. We've had it a few times. You know, and sometimes you think, you know, one, as you say, one person will start coughing and then it sort of sets off this sort of ripple of like, it's like a permission has been given, you know, and then everyone starts doing it.

Oh, that's so funny. Well, yeah, there's a weird thing with coughing, isn't there? Yeah. We've had it a few times. You know, and sometimes you think, you know, one, as you say, one person will start coughing and then it sort of sets off this sort of ripple of like, it's like a permission has been given, you know, and then everyone starts doing it.

But also, I wonder whether coughing isn't, you know, sometimes like you'll get loads of coughing between numbers. And it's almost like a substitute for applause. Okay. You know, where people are like, no, we're not allowed to clap because it's like not finished. It's like between movements, but we will cough. So you get this sort of huge, it's a strange thing.

But also, I wonder whether coughing isn't, you know, sometimes like you'll get loads of coughing between numbers. And it's almost like a substitute for applause. Okay. You know, where people are like, no, we're not allowed to clap because it's like not finished. It's like between movements, but we will cough. So you get this sort of huge, it's a strange thing.

Probably a sort of dead guy, you know. So there is that perception. So it's something, I think, in the sort of public consciousness, it's a bit like a museum. It's this thing that comes from history. But really, it's a living thing.

Probably a sort of dead guy, you know. So there is that perception. So it's something, I think, in the sort of public consciousness, it's a bit like a museum. It's this thing that comes from history. But really, it's a living thing.

It's a thing, human beings telling stories with sound, writing things they're passionate about, trying to communicate those things, telling stories, responding to the world around them via the medium of music. I personally think classical music now is something which is really borderless

It's a thing, human beings telling stories with sound, writing things they're passionate about, trying to communicate those things, telling stories, responding to the world around them via the medium of music. I personally think classical music now is something which is really borderless

you know, we've got to a position now where it isn't really just about, you know, adding to the canon, you know, or, you know, sort of Bach, Beethoven, Brahms, you know, it isn't about that. Even though, You know, in a way, all music is about other music. But we've sort of escaped this idea of a sort of building on a canon.

you know, we've got to a position now where it isn't really just about, you know, adding to the canon, you know, or, you know, sort of Bach, Beethoven, Brahms, you know, it isn't about that. Even though, You know, in a way, all music is about other music. But we've sort of escaped this idea of a sort of building on a canon.

And there's this kind of wonderful multiplicity, this sort of wide openness of influence going on in music culture right now. So that ideally... we would kind of stop talking about classical music and we would just be talking about music.

And there's this kind of wonderful multiplicity, this sort of wide openness of influence going on in music culture right now. So that ideally... we would kind of stop talking about classical music and we would just be talking about music.

It's convenient, right? It is convenient. And of course, you know, marketing people and, you know, it's just kind of gives people a frame of reference. It's quite simple, you know. You know, here's your latest symphony cycle. Here's this, you know, whatever it might be, concerto, say, or, you know. And it's, yeah, I get why people kind of gravitate to that.

It's convenient, right? It is convenient. And of course, you know, marketing people and, you know, it's just kind of gives people a frame of reference. It's quite simple, you know. You know, here's your latest symphony cycle. Here's this, you know, whatever it might be, concerto, say, or, you know. And it's, yeah, I get why people kind of gravitate to that.

But, you know, human beings, you know, we don't exist in boxes. We're multidimensional and we change our minds and we turn into other people. And music is really like that by nature, I think.

But, you know, human beings, you know, we don't exist in boxes. We're multidimensional and we change our minds and we turn into other people. And music is really like that by nature, I think.

Yeah, I mean, I think there's a couple of things have happened. The first is that You know, musicians of all kinds are now working with the computer. So we've all got the same tools. You know, whether you're a conservatoire studying composition, you know, you'll be working with a notation program and maybe some samplers to make mock-ups or, you know, Max MSP or something like that.

Yeah, I mean, I think there's a couple of things have happened. The first is that You know, musicians of all kinds are now working with the computer. So we've all got the same tools. You know, whether you're a conservatoire studying composition, you know, you'll be working with a notation program and maybe some samplers to make mock-ups or, you know, Max MSP or something like that.