Max Richter

That's right. Yeah. I mean, every listener is bringing, well, put it this way, they're listening through the prism of their biography, right? Yeah. Every piece of music they've heard informs the way they hear what they're hearing in that moment. And there's something really beautiful about that.

That's right. Yeah. I mean, every listener is bringing, well, put it this way, they're listening through the prism of their biography, right? Yeah. Every piece of music they've heard informs the way they hear what they're hearing in that moment. And there's something really beautiful about that.

I don't know. I'm certainly trying to do the maximum with the minimum.

I don't know. I'm certainly trying to do the maximum with the minimum.

every note is there for a reason and i try to you know i try very hard to make things to make the things i'm i'm writing um come over or connect in as direct a way as possible and that means they are quite sort of um they're sort of low information zones in a way you know i'm trying to um sort of achieve a kind of a very lean, direct, uh, expression.

every note is there for a reason and i try to you know i try very hard to make things to make the things i'm i'm writing um come over or connect in as direct a way as possible and that means they are quite sort of um they're sort of low information zones in a way you know i'm trying to um sort of achieve a kind of a very lean, direct, uh, expression.

Um, I think if we, you know, minimalism in music, we think of like the early glass and Reich pieces, which are very pattern based, um, I mean, I work a lot with patterns because there's something very fundamental in music to do with patterns. It goes all the way back. Well, all the way back. Mozart's all made of patterns. It just is. Bach, the same. So

Um, I think if we, you know, minimalism in music, we think of like the early glass and Reich pieces, which are very pattern based, um, I mean, I work a lot with patterns because there's something very fundamental in music to do with patterns. It goes all the way back. Well, all the way back. Mozart's all made of patterns. It just is. Bach, the same. So

I do work with those things, but that isn't my sort of main thing. Or rather, it's not a thing in itself.

I do work with those things, but that isn't my sort of main thing. Or rather, it's not a thing in itself.

Yes, no. I would rather... if I can tell the story in a way where the kind of technical aspect of the music also, um, expresses, um, what I'm trying to say, then I will do that because that enriches the experience of the listener. You know what I mean? Like, I don't know. I mean, it sort of, imagine like a trivial example.

Yes, no. I would rather... if I can tell the story in a way where the kind of technical aspect of the music also, um, expresses, um, what I'm trying to say, then I will do that because that enriches the experience of the listener. You know what I mean? Like, I don't know. I mean, it sort of, imagine like a trivial example.

Say I wrote a piece called Falling, say, and it was just made out of lines of notes which descended, something like that. I mean, you could imagine a piece like that. And if you could make something satisfying musically, I mean, that's kind of a mad example because it's sort of very banal, but you know what I mean? If there's something about the musical texture itself,

Say I wrote a piece called Falling, say, and it was just made out of lines of notes which descended, something like that. I mean, you could imagine a piece like that. And if you could make something satisfying musically, I mean, that's kind of a mad example because it's sort of very banal, but you know what I mean? If there's something about the musical texture itself,

which can embody the subject matter, then I will definitely try and do that. I enjoy those kinds of things.

which can embody the subject matter, then I will definitely try and do that. I enjoy those kinds of things.

Yes. Yeah. I mean, I work a lot with... I suppose you call redundancy, redundant information. I mean, that's something I've taken from the minimalists, you know, this idea of continually, how could you describe it? You know, if you work, say, with repeated material, in a sense, you're sort of always in the same place. You're re-experiencing the same moment.

Yes. Yeah. I mean, I work a lot with... I suppose you call redundancy, redundant information. I mean, that's something I've taken from the minimalists, you know, this idea of continually, how could you describe it? You know, if you work, say, with repeated material, in a sense, you're sort of always in the same place. You're re-experiencing the same moment.

And so if you make small shifts and changes, you get the experience of novelty, but within a known space. I mean, for me, one of the things I like to do is I like the listener to, in a sense, learn the territory of a piece while the piece is happening.

And so if you make small shifts and changes, you get the experience of novelty, but within a known space. I mean, for me, one of the things I like to do is I like the listener to, in a sense, learn the territory of a piece while the piece is happening.