Max Richter

You know, there are many... tools which you might use, but also if you're coming from a dance music perspective or an EDM perspective, there's a kind of interpenetration of tools. So everyone's using the same things and that I think has led to a kind of an openness to materials and methods. And the other thing I think is that streaming has happened.

You know, there are many... tools which you might use, but also if you're coming from a dance music perspective or an EDM perspective, there's a kind of interpenetration of tools. So everyone's using the same things and that I think has led to a kind of an openness to materials and methods. And the other thing I think is that streaming has happened.

So unlike when I was a kid, if I heard something that I loved and wanted to know more about, I had to open up my piggy bank, get the pocket money out, take the risk, go to the record store. This is a whole chain of actions and processes and investment and commitment to hear that sound. Whereas now you literally just click your mouse and there it is, you know, all the music in the world.

So unlike when I was a kid, if I heard something that I loved and wanted to know more about, I had to open up my piggy bank, get the pocket money out, take the risk, go to the record store. This is a whole chain of actions and processes and investment and commitment to hear that sound. Whereas now you literally just click your mouse and there it is, you know, all the music in the world.

So that's meant that people have no risk in terms of just following their enthusiasms through the musical universe. And that's meant that people are listening much more widely, I think.

So that's meant that people have no risk in terms of just following their enthusiasms through the musical universe. And that's meant that people are listening much more widely, I think.

Is that absolutely right? Yeah.

Is that absolutely right? Yeah.

Well, for me, you know, as a kid, I was going, did a very straightforward sort of composer education, you know, piano lessons as a kid and then university and conservatory and all of those things.

Well, for me, you know, as a kid, I was going, did a very straightforward sort of composer education, you know, piano lessons as a kid and then university and conservatory and all of those things.

But I had a simultaneous kind of enthusiasm for the music I was hearing, you know, from the charts, which at that time was, you know, early, the early punk, early electronic music and the sort of tail end of prog and jazz. you know, experimental, whatever, wasn't really post-rock in those days, but, you know, can and nigh and sort of that kind of stuff. So a lot of different languages.

But I had a simultaneous kind of enthusiasm for the music I was hearing, you know, from the charts, which at that time was, you know, early, the early punk, early electronic music and the sort of tail end of prog and jazz. you know, experimental, whatever, wasn't really post-rock in those days, but, you know, can and nigh and sort of that kind of stuff. So a lot of different languages.

And it seemed to me always quite natural that I should, you know, be working with those tools as well. I see it really as... simply a continuation of a process that's happened to the orchestra from the beginning, really. All through the 18th and 19th century, the orchestra grows, both in size and in terms of available colors. Different instruments get added. And composers have always pushed

And it seemed to me always quite natural that I should, you know, be working with those tools as well. I see it really as... simply a continuation of a process that's happened to the orchestra from the beginning, really. All through the 18th and 19th century, the orchestra grows, both in size and in terms of available colors. Different instruments get added. And composers have always pushed

against you know the possible and tried to go into new spaces you have to look at what happens to the piano keyboard in beethoven's lifetime you know just longer and longer and longer right so um so you know we're always looking for new things new colors new possibilities and for me the electronics um are really just a you know the palette getting bigger

against you know the possible and tried to go into new spaces you have to look at what happens to the piano keyboard in beethoven's lifetime you know just longer and longer and longer right so um so you know we're always looking for new things new colors new possibilities and for me the electronics um are really just a you know the palette getting bigger

No, I grew up in the UK. I was born in Germany. We moved to the UK when I was really very young. I was like three.

No, I grew up in the UK. I was born in Germany. We moved to the UK when I was really very young. I was like three.

Sure, of course. Yeah, yeah. I mean, for me, you know, hearing Kraftwerk for the first time, which was when I was about 12 or 13, Absolutely blew my mind and was completely formative for me. I heard this music on a TV show. It was the opening of Autobahn and I just had never heard anything like it. And I was intoxicated and I wrote a letter to the BBC saying,

Sure, of course. Yeah, yeah. I mean, for me, you know, hearing Kraftwerk for the first time, which was when I was about 12 or 13, Absolutely blew my mind and was completely formative for me. I heard this music on a TV show. It was the opening of Autobahn and I just had never heard anything like it. And I was intoxicated and I wrote a letter to the BBC saying,