Max Richter

And then once you've sort of marked out the basic terrain, then you can sort of make changes which will be very affecting. Say, for example, a piece of mine like say the dream music in sleep. This is very, very simple music. You have piano chords which are regular. They happen absolutely regularly. You have subsonic bass tone which happens absolutely regularly. The piano chords themselves...

And then once you've sort of marked out the basic terrain, then you can sort of make changes which will be very affecting. Say, for example, a piece of mine like say the dream music in sleep. This is very, very simple music. You have piano chords which are regular. They happen absolutely regularly. You have subsonic bass tone which happens absolutely regularly. The piano chords themselves...

are a thing called a chain of suspensions, which is something I borrowed from the Baroque. So it is a kind of a known thing. So we have a lot of different things, all of which are in a way familiar to us at some level. And because I repeat them, they become very familiar to us.

are a thing called a chain of suspensions, which is something I borrowed from the Baroque. So it is a kind of a known thing. So we have a lot of different things, all of which are in a way familiar to us at some level. And because I repeat them, they become very familiar to us.

So then when I make very small changes by introducing, for example, a melody line, it's like a character walking into a room that we know very well. So that kind of a grammar, that kind of a structure, that can be very effective.

So then when I make very small changes by introducing, for example, a melody line, it's like a character walking into a room that we know very well. So that kind of a grammar, that kind of a structure, that can be very effective.

Um, I mean, for me, writing a piece of music is like trying to, it is like trying to make a space or there's an element of sort of architecture or landscape about it. You know, there's a kind of a, um,

Um, I mean, for me, writing a piece of music is like trying to, it is like trying to make a space or there's an element of sort of architecture or landscape about it. You know, there's a kind of a, um,

Yeah, I mean, I think it's interesting, isn't it? Because, yeah, I mean, like, for example, say in the Vivaldi project, so that this is recomposed. So where I took, I basically took the Four Seasons, the very famous piece of Vivaldi. And, and kind of did a, like an off road trip through Vivaldi's landscape. That's kind of how I see it. And for me, this is like a personal project.

Yeah, I mean, I think it's interesting, isn't it? Because, yeah, I mean, like, for example, say in the Vivaldi project, so that this is recomposed. So where I took, I basically took the Four Seasons, the very famous piece of Vivaldi. And, and kind of did a, like an off road trip through Vivaldi's landscape. That's kind of how I see it. And for me, this is like a personal project.

I fell in love with the original when I was a kid, and then I heard it when people were trying to sell you insurance on the phone or something, something ghastly or in an elevator, just depressing, depressing experiences. So for me, it's a salvage mission to try and reconnect with the original. So...

I fell in love with the original when I was a kid, and then I heard it when people were trying to sell you insurance on the phone or something, something ghastly or in an elevator, just depressing, depressing experiences. So for me, it's a salvage mission to try and reconnect with the original. So...

Really, yeah, I was sort of faced with how to connect my language or what I was doing with the Vivaldi. And I did that via the, we talked about this already, via the medium of pattern. When you look at the Four Seasons, the original, some of those pages, you think, well, that kind of looks like John Adams or, you know, it's just like these patterns.

Really, yeah, I was sort of faced with how to connect my language or what I was doing with the Vivaldi. And I did that via the, we talked about this already, via the medium of pattern. When you look at the Four Seasons, the original, some of those pages, you think, well, that kind of looks like John Adams or, you know, it's just like these patterns.

Because it's really just patterns sort of with jump cuts. That's how Vivaldi has made a lot of that material. It's very modern, actually, in kind of structurally. And I thought, aha, these are patterns. I can get with this. So I used that kind of principle and connected my language with Vivaldi's language via that idea.

Because it's really just patterns sort of with jump cuts. That's how Vivaldi has made a lot of that material. It's very modern, actually, in kind of structurally. And I thought, aha, these are patterns. I can get with this. So I used that kind of principle and connected my language with Vivaldi's language via that idea.

But as you say, there are plenty of other musical traditions where if you tried to connect them with the Vivaldi, they might be quite a lot less successful. Or they wouldn't make as much sense. I guess I had this kind of skeleton key of the idea of patterns.

But as you say, there are plenty of other musical traditions where if you tried to connect them with the Vivaldi, they might be quite a lot less successful. Or they wouldn't make as much sense. I guess I had this kind of skeleton key of the idea of patterns.

I think music has always done this. I mean, you know, variation forms, the idea of a fantasia on whatever it might be, you I mean, Vivaldi did it with Vivaldi's own music. Bach rewrote, reworked, you know, so many different of his own pieces. Also Vivaldi, of course. If you think of someone like Liszt or Brahms, you know, they were writing variations, versions of other people's music.

I think music has always done this. I mean, you know, variation forms, the idea of a fantasia on whatever it might be, you I mean, Vivaldi did it with Vivaldi's own music. Bach rewrote, reworked, you know, so many different of his own pieces. Also Vivaldi, of course. If you think of someone like Liszt or Brahms, you know, they were writing variations, versions of other people's music.