Max Richter

It's a process as old as composition. Yeah. Because, you know, once a piece of material is sort of out there, it just kind of floats around in the sort of global musical mind and people catch on to these things and they think, hang on a minute, I like that. I want to do this with it, you know. And I think it's a very natural thing.

It's a process as old as composition. Yeah. Because, you know, once a piece of material is sort of out there, it just kind of floats around in the sort of global musical mind and people catch on to these things and they think, hang on a minute, I like that. I want to do this with it, you know. And I think it's a very natural thing.

Yeah, I mean, for me, so this project is called Inner Landscape. And the record is about kind of polarities and reconciling polarities. So I'm working with disparate means. So acoustic instruments, electronic instruments, looking at themes from the natural world, the human world, and also as implied in the title, which you can miss here as inner landscape, as an internal landscape.

Yeah, I mean, for me, so this project is called Inner Landscape. And the record is about kind of polarities and reconciling polarities. So I'm working with disparate means. So acoustic instruments, electronic instruments, looking at themes from the natural world, the human world, and also as implied in the title, which you can miss here as inner landscape, as an internal landscape.

So we're deliberately playing with that idea of the external and the human and the societal. So, yeah, for me, you know, writing a piece of music and, you know, we've already mentioned this idea is sort of half of the conversation in a way. The other half of the conversation is what that listener will bring to it. And that's actually what I'm really interested in hearing.

So we're deliberately playing with that idea of the external and the human and the societal. So, yeah, for me, you know, writing a piece of music and, you know, we've already mentioned this idea is sort of half of the conversation in a way. The other half of the conversation is what that listener will bring to it. And that's actually what I'm really interested in hearing.

For me, it's really fascinating to hear to discover what people make of things, because that actually tells me a lot about what I've done.

For me, it's really fascinating to hear to discover what people make of things, because that actually tells me a lot about what I've done.

I mean, I think, you know, ultimately music is really a feeling thing. It's such an interesting language because it's It is very conceptual. There's a lot of thinking going on, a lot of conceptualizing, planning, strategy, architectural schemes, ideas about structure, ideas about how to move through time in a piece of music. How fast is it? Where is the energy? How does the architecture work?

I mean, I think, you know, ultimately music is really a feeling thing. It's such an interesting language because it's It is very conceptual. There's a lot of thinking going on, a lot of conceptualizing, planning, strategy, architectural schemes, ideas about structure, ideas about how to move through time in a piece of music. How fast is it? Where is the energy? How does the architecture work?

Very conceptual, but ultimately, it's totally a feeling thing. A listener doesn't go, oh, that was a 13-bath thing and then there was a dominant preparation and blah, blah, blah. They don't think that. They either kind of nod their head and go, hmm, or they walk out of the room. It's like there's a – or they tap their feet. There's something – it's completely a sort of visceral sensory experience.

Very conceptual, but ultimately, it's totally a feeling thing. A listener doesn't go, oh, that was a 13-bath thing and then there was a dominant preparation and blah, blah, blah. They don't think that. They either kind of nod their head and go, hmm, or they walk out of the room. It's like there's a – or they tap their feet. There's something – it's completely a sort of visceral sensory experience.

Thank you.

Thank you.

So it is paradoxical in that sense.

So it is paradoxical in that sense.

right yeah i mean i think and again i guess that goes back to this idea that of trying to have a language which is very direct and plain um and in a way not hiding those things because you know a lot within music there's a lot of artifice there's almost like misdirection or slight of hand you know look over here and now this is happening you know um

right yeah i mean i think and again i guess that goes back to this idea that of trying to have a language which is very direct and plain um and in a way not hiding those things because you know a lot within music there's a lot of artifice there's almost like misdirection or slight of hand you know look over here and now this is happening you know um

So I'm sort of, I've been trying to get towards a situation where the material speaks very directly and plainly. So in other words, it's not, It's not necessary to think of it in a kind of analytical way, but you can just listen to it.

So I'm sort of, I've been trying to get towards a situation where the material speaks very directly and plainly. So in other words, it's not, It's not necessary to think of it in a kind of analytical way, but you can just listen to it.