Hello, Max's music was always predestined for film soundtracks, hence here's a first batch of 5 .....
Today's artist is is a German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.Richter also composes music for stage, opera, ballet and screen. He has also collaborated with other musicians, as well as with performance, installation and media artists. He has recorded eight solo albums and his music is widely used in cinema. .......N-Joy
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Combining the discipline of his classical background with the inventive spirit of electronic music, Max Richter's work as a producer and composer speaks to -- and frequently critiques -- 21st century life in eloquent and evocative ways. On early masterworks such as 2002's Memoryhouse and 2003's The Blue Notebooks, he united his childhood memories and commentary on war's devastating aftermath into gorgeous, aching music; with 2015's eight-hour Sleep, he challenged the increasing disposability of art and music as well as audiences' ever-decreasing attention spans. Richter's fascination with the growing role of technology in everyday life was a major theme of releases spanning 2008's collection of bespoke ringtones to the music for a particularly paranoid 2016 episode of the TV series Black Mirror. Despite the high-concept nature of much of his work, Richter always maintains a powerful emotional connection with his listeners; 2012's Recomposed: The Four Seasons, an experimental reimagining of Vivaldi's violin concertos, topped classical charts in over 20 countries. The emotive quality of his music translated perfectly to scoring and soundtrack work, which ranged from documentaries such as Waltz with Bashir (2008); feature films including Mary Queen of Scots (2018); television series like Taboo (2017); and stage productions including Infra (2008) and Woolf Works (2015), both projects with Richter's longtime collaborator, choreographer Wayne McGregor. Richter's mix of modern composition, electronic music, and field recordings was as influential as it was innovative, and paved the way for like-minded artists such as Nico Muhly and Jóhann Jóhannsson.
Born in West Germany in the mid-'60s, Richter and his family moved to the U.K. when he was still a little boy, settling in the country town of Bedford. By his early teens, he was listening to the canon of classical music as well as modern composers including Philip Glass, whose music was a major influence on Richter. The Clash, the Beatles, and Pink Floyd were also important, along with the early electronic music scene; inspired by artists such as Kraftwerk, Richter built his own analog instruments. He studied composition and piano at Edinburgh University, the Royal Academy of Music, and in Florence with Luciano Berio. He then became a founding member of the Piano Circus, a contemporary classical group that played works by Glass, Brian Eno, Steve Reich, Arvo Pärt, and Julia Wolfe, and also incorporated found sounds and video into their performances. After ten years and five albums for Decca/Argo, Richter left the group and became more involved in the U.K.'s thriving electronic music scene, collaborating with the Future Sound of London on 1996's Dead Cities (which features a track named after him) and The Isness; he also contributed orchestrations to Roni Size's 2000 album In the Mode.
Richter's own work evolved from the Xenakis-inspired music of his early days into something that included his electronic and pop influences. His 2002 debut album, Memoryhouse, introduced his mix of modern composition, electronica, and field recordings. Recorded with the BBC Philharmonic Orchestra, the album explored childhood memories as well as the aftermath of the Kosovo War in the 1990s and was hailed as a masterpiece. Two years later, Richter made his FatCat debut with The Blue Notebooks, which incorporated readings from Franz Kafka's Blue Octavo Notebooks and Polish writer Czesław Miłosz by actress Tilda Swinton into dreamlike pieces for strings and piano that touched on the Iraq War and Richter's early years. Released in 2006, Songs from Before paired his plaintive sound with texts written by Haruki Murakami and delivered by Robert Wyatt. In 2008, he issued 24 Postcards in Full Colour, a collection of intricate ringtones envisioned by Richter as a way to connect people around the world. That year also saw the release of his music for Ari Folman's Golden Globe-winning film Waltz with Bashir. Focusing on electronics instead of a typical orchestral score, it was Richter's highest-profile soundtrack project to date. He then worked on several other film scores, including music for Benedek Fliegauf's Womb, Alex Gibney's My Trip to Al-Qaeda, and David MacKenzie's Perfect Sense. Another scoring project, Infra, marked the beginning of Richter's enduring collaboration with choreographer Wayne McGregor. Commissioned by the Royal Ballet in 2008, Infra was a ballet inspired by by T.S. Eliot's classic poem "The Wasteland," and the the 2005 London terrorist bombings. Richter re-recorded and expanded his music for the 2010 album Infra, his fourth release for FatCat Records.
Richter began the 2010s with soundtrack work that included the award-winning scores to Die Fremde (2010) and Lore (2012). The composer reunited with McGregor for 2012's Sum, a chamber opera based on Sum: Forty Tales of the Afterlives, a collection of short stories by neuroscientist David Eagleman about the possibility of life after death. That year also saw the release of one of Richter's most popular albums, Recomposed by Max Richter: Vivaldi - The Four Seasons. An avant-garde, loop-based reworking of the composer's timeless set of violin concertos, it topped the classical charts in 22 countries, including the U.K., the U.S., and Germany. In turn, McGregor choreographed a ballet, Kairos, to Richter's recomposition. Disconnect, the score to Henry-Alex Rubin's film about the impact of technology on relationships, arrived in 2013. His other releases that year included the score to Wadjda, which was the first feature-length film made by a Saudi Arabian woman (director Haifaa Al-Mansour); the music to Ritesh Batra's The Lunchbox and Ruairí Robinson's sci-fi excursion The Last Days on Mars. Richter also worked with Folman again on the music to The Congress, an adaptation of Stanislaw Lem's novel The Futurological Congress.
In 2014, Richter launched a mentorship program for aspiring young composers and wrote music for HBO's The Leftovers, which also featured pieces from Memoryhouse and The Blue Notebooks. The following year saw the arrival of Sleep, an eight-hour ambient piece scored for piano, strings, electronics, and vocals that Richter described as a "lullaby for a frenetic world and a manifesto for a slower pace of existence." The piece premiered at a Berlin performance where the audience was given beds instead of seats. Sleep and From Sleep, a one-hour adaptation, were released in September 2015. The following year, Richter provided the score to the sci-fi/horror film Morgan and the disturbingly cheery music for "Nosedive," an episode of Black Mirror that took the all-consuming nature of social media to extremes. Released in January 2017, Three Worlds: Music from Woolf Works drew from his score for McGregor's 2015 Royal Ballet production inspired by three of Virginia Woolf's most acclaimed novels. It was followed that May by the soundtrack compilation Out of the Dark Room. That September, Richter's Emmy-nominated music for the BBC One drama Taboo was released.
Richter remained busy on soundtrack work in 2018, with projects including the music for the HBO TV series My Brilliant Friend as well as the scores to films like Hostiles, White Boy Rick, and Mary Queen of Scots, which won a Best Original Score -- Feature Film Award at the Hollywood Music in Media Awards. In October 2019, Deutsche Grammophon issued Voyager: Essential Max Richter, an expansive retrospective that included two previously unreleased pieces written for Sleep.
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Waltz with Bashir is a 2008 Israeli animated war documentary drama film written, produced and directed by Ari Folman. It depicts Folman in search of his lost memories of his experience as a soldier in the 1982 Lebanon War. Waltz with Bashir premiered at the 2008 Cannes Film Festival where it entered the competition for the Palme d'Or, and since then has won and been nominated for many additional important awards while receiving wide acclaim from critics and audience alike .Absolutely beautiful music by Max Richter, disturbed by two songs from other artists. Enola Gay by OMD is bearable but breaks the mood, while This is not a Love Song by PIL is completely out of place
. Max Richter - Waltz With Bashir ( 270mb)
01 Boaz And The Dogs 3:11
02 Iconography 3:17
03 The Haunted Ocean 1 2:07
04 JSB/RPG 1:32
05 Shadow Journal 8:27
06 Enola Gay by OMD 3:34
07 The Haunted Ocean 2 0:54
08 Taxi And APC 2:13
09 Any Minute Now / Thinking Back 4:16
10 I Swam Out To Sea / Return 3:52
11 Patchouli Oil And Karate 0:36
12 This Is Not A Love Song by PIL 4:12
13 What Had They Done? 1:53
14 Into The Airport Hallucination 3:27
15 The Slaughterhouse 1:35
16 The Haunted Ocean 3 2:22
17 Into The Camps 3:19
18 The Haunted Ocean 4 3:45
19 Andante / Reflection (End Title) 3:30
20 The Haunted Ocean 5 (Solo Version) 1:38
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“Henry May Long” is a 2008 drama. Henry May and Henry Long are old friends from college who have not seen each other in quite a while. They meet one day in the street by happy accident – or so it seems. They re-kindle their friendship and we discover that each needs the other, but for different reasons. Together they take a journey away from family and pressures in New York. In the harbor town of New Bedford, the truth comes out and changes each man irrevocably. Max Richter wrote the score.
Max Richter’s music here is like the endless sand that builds up into castles and shapes which are then torn down and turned back into separate grains that slip through the fingers before crafty hands put them together again into maybe different, but equally beautiful shapes. His music moves continuously, evolves, changes shape while staying poignant and, ultimately, heartbreaking. I am just one lonely spectator watching one lonely composer turn simple piano and, sometimes, cello sounds intro multi dimensional shapes that play complex emotional scenes. So much can come from so little and I feel like I am looking at a dark stage that has on it a small projector that once turned on fills up the entire theatre with light, images, scenes, voices, all of them coming from that one single, small, minimalistic object. “Henry May Long” is another flawless score from a magnificent composer.The music is structured as a series of variations on two main themes, which accompany the narrative of the film. “The string theme operates on the societal level, while the piano theme speaks more to the interior lives of the protagonists,” explains Max. Although the music for Henry May Long was written for a relatively unknown film, its original release on Mute Records meant that the score had a notable impact on other composers working in similar genres."
Max Richter - Henry May Long (flac 131mb)
01 Ocean House Mirror 3:57
02 Stairs Abyss Starlight 1:00
03 Exit Top Hat Greeting 0:49
04 Waiting for Sunlight Evening 1:14
05 Interior Tears an Idea 2:22
06 Ending Doorway Pavement 2:06
07 Farewell Threshold Laudanum 1:29
08 Sofa Chess 1:56
09 Interior Horses 4:46
10 Whale Window Hotel 1:35
11 A Candle and Half a Pear 1:54
12 Powder Pills Truth 2:07
13 The Young Mariner 4:12
14 Dinner and the Ship of Dreams 5:26
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A simply beautiful soundtrack for a film as original as captivating. As the title indicates, the wild life of the domestic animals of a farm in Bresse, at the foot of the Jura. Composed by Max Richter who made himself known by the music of "Waltz With Bachir" for which he received the "2008 European Film Award" Music is a major element of this film. Having a musical theme for each animal, all their personalities are present on this soundtrack. It recreates the farm environment with different perspectives: humorous, evocative, also dramatic, with a wide variety of themes and revolves around a remarkable main theme.
Max Richter - La Vie Sauvage Des Animaux Domestiques (The Wildlife of Pets) (flac 217mb)
01 Die Wilde Farm (Title) 3:58
02 The Explorer 1:50
03 The Storyteller (Piano Solo) 1:06
04 Nocturne With Landscape 0:38
05 Everyday Opera 1:54
06 The Storyteller (Accordion) 1:19
07 Off We Go! 1:11
08 The Housefly 1:06
09 Piglets Ho! 0:52
10 Outdoors Song 2:18
11 While We Were Sleeping 1:14
12 Here Is the News 1:07
13 The Tiny Acrobats 1:14
14 Piglet Adventures 3:16
15 The Storyteller Mouse 1:07
16 Carefully! 2:36
17 Night Time Adventure 3:05
18 The Weavers 1:28
19 It Might Just Work! 1:31
20 The Night of the Births 6:05
21 Out You Go! 1:54
22 Homecoming (End Title) 4:23
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When We Leave (German: Die Fremde, Turkish: Ayrılık) is a 2010 German-Turkish drama film, produced, written and directed by Austrian filmmaker Feo Aladag. The film received worldwide acclaim, and represented Aladag's debut as a producer, writer and director. The worn, tender, melancholic soundtrack dominated by piano and classical guitar parts comes partly from Max Richter and to another part of Stéphane Moucha. Director Feo Aladag says of her selection: "An ethnic soundtrack was out of the question for me because I wanted to tell a human-universal story and avoid any folkloric aspect. I did not want commentary film music, but music that has its own work character. With Max Richter and Stephane Moucha we have found two composers who have brought this concept to life in their own way. "The soundtrack will be completed with tracks by the greatest Turkish singer Sezen Aksu and the US singer-songwriter Orenda Fink.
The film was awarded numerous national and international prizes, including seven nominations for the 2010 German Film Awards, in the categories Best Film, Best Debut Film, Best Screenplay, Best Actress, Best Cinematography, Best Editing and Best Score.
Max Richter - Die Fremde (with Stephane Moucha) ( flac 171mb)
01 Stéphane Moucha - Die Fremde - Opening 2:55
02 Max Richter - Solitude 1:42
03 Max Richter - Departure 1:36
04 Sezen Aksu - Yol arkadasim 5:07
05 Max Richter - Desperation 1:26
06 Max Richter - Leaving Home 1:08
07 Max Richter - Moving On 1:40
08 Stéphane Moucha - A New Start 1:43
09 Orenda Fink - Leave it All 3:10
10 Stéphane Moucha - Rejection 1:38
11 Max Richter - Moments of Tenderness 1:06
12 Stéphane Moucha - Reaching Out 2:20
13 Max Richter - Decisions 1:04
14 Max Richter - Going Back 1:46
15 Stéphane Moucha - Loss of Innocence 1:55
16 Stéphane Moucha - Bitter Fate 2:54
17 Max Richter - End Credit 1:39
18 Max Richter - Leaving Home & Piano Themes - Alternate Versions 4:46
19 Steffen Irlinger & Marian Müller - SO 36 - Party 1:18
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A tragic and shameful moment in French history continues to have consequences in the present day in this screen adaptation of the novel by Tatiana de Rosnay. Julia Jarmond is a nwriter from the US living in Paris with her husband, Bertrand, an architect who is restoring a block of apartments in Paris owned by his family. Julia learns that Bertrand's family obtained the building through less than honorable means; the original owners were Jews who were forced to sell in the wake of the Vel' d'Hiv Roundup in 1942, when the Nazi-affiliated Vichy government arrested over 13,000 Parisian Jews.
For a film that leads with its high-minded earnestness, Sarah’s Key’s tech credits are rigorously tasteful, the highlight being Max Richter’s evocative delicate score, which manages to underline the story’s emotional moments without being obtrusive.
Max Richter - Elle s'appelait Sarah (Sarah's Key) (flac 216mb)
01 Fréhel - La java bleue 2:46
02 The Round Up 1:11
03 The Buses 1:20
04 The Vel D'hiv 3:42
05 Julia's Visit 0:40
06 The Camps 1:52
07 Time Piece 1:06
08 Secrets 1:01
09 Clouds 1 1:00
10 The Escape 2:34
11 When She Came Back 3:35
12 Clouds 2 0:52
13 The Tree, the Beach, the Sea 2:49
14 Julia's Discovery 1:11
15 I Am Writing This Letter 0:36
16 Clouds 3 0:50
17 Julia's Journey 2:25
18 When She Went 2:46
19 The Journal 0:47
20 Julia Walking 2:27
21 All the Years Come Back 0:59
22 Sarah's Notebook 3:37
23 Loren Wilfong - Easy Swing 2:23
24 Dick Walter - A Different Kind of Love 5:18
25 Alan Moorhouse - Moonlight Magic 3:27
26 Sarah Ber - Oif'n veg shtait ah bon 2:06
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Today's artist is is a German-born British composer who has been an influential voice in post-minimalist composition and in the meeting of contemporary classical and alternative popular musical styles since the early 2000s. Richter is classically trained, having graduated in composition from the Royal Academy of Music and studied with Luciano Berio in Italy.Richter also composes music for stage, opera, ballet and screen. He has also collaborated with other musicians, as well as with performance, installation and media artists. He has recorded eight solo albums and his music is widely used in cinema. .......N-Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Combining the discipline of his classical background with the inventive spirit of electronic music, Max Richter's work as a producer and composer speaks to -- and frequently critiques -- 21st century life in eloquent and evocative ways. On early masterworks such as 2002's Memoryhouse and 2003's The Blue Notebooks, he united his childhood memories and commentary on war's devastating aftermath into gorgeous, aching music; with 2015's eight-hour Sleep, he challenged the increasing disposability of art and music as well as audiences' ever-decreasing attention spans. Richter's fascination with the growing role of technology in everyday life was a major theme of releases spanning 2008's collection of bespoke ringtones to the music for a particularly paranoid 2016 episode of the TV series Black Mirror. Despite the high-concept nature of much of his work, Richter always maintains a powerful emotional connection with his listeners; 2012's Recomposed: The Four Seasons, an experimental reimagining of Vivaldi's violin concertos, topped classical charts in over 20 countries. The emotive quality of his music translated perfectly to scoring and soundtrack work, which ranged from documentaries such as Waltz with Bashir (2008); feature films including Mary Queen of Scots (2018); television series like Taboo (2017); and stage productions including Infra (2008) and Woolf Works (2015), both projects with Richter's longtime collaborator, choreographer Wayne McGregor. Richter's mix of modern composition, electronic music, and field recordings was as influential as it was innovative, and paved the way for like-minded artists such as Nico Muhly and Jóhann Jóhannsson.
Born in West Germany in the mid-'60s, Richter and his family moved to the U.K. when he was still a little boy, settling in the country town of Bedford. By his early teens, he was listening to the canon of classical music as well as modern composers including Philip Glass, whose music was a major influence on Richter. The Clash, the Beatles, and Pink Floyd were also important, along with the early electronic music scene; inspired by artists such as Kraftwerk, Richter built his own analog instruments. He studied composition and piano at Edinburgh University, the Royal Academy of Music, and in Florence with Luciano Berio. He then became a founding member of the Piano Circus, a contemporary classical group that played works by Glass, Brian Eno, Steve Reich, Arvo Pärt, and Julia Wolfe, and also incorporated found sounds and video into their performances. After ten years and five albums for Decca/Argo, Richter left the group and became more involved in the U.K.'s thriving electronic music scene, collaborating with the Future Sound of London on 1996's Dead Cities (which features a track named after him) and The Isness; he also contributed orchestrations to Roni Size's 2000 album In the Mode.
Richter's own work evolved from the Xenakis-inspired music of his early days into something that included his electronic and pop influences. His 2002 debut album, Memoryhouse, introduced his mix of modern composition, electronica, and field recordings. Recorded with the BBC Philharmonic Orchestra, the album explored childhood memories as well as the aftermath of the Kosovo War in the 1990s and was hailed as a masterpiece. Two years later, Richter made his FatCat debut with The Blue Notebooks, which incorporated readings from Franz Kafka's Blue Octavo Notebooks and Polish writer Czesław Miłosz by actress Tilda Swinton into dreamlike pieces for strings and piano that touched on the Iraq War and Richter's early years. Released in 2006, Songs from Before paired his plaintive sound with texts written by Haruki Murakami and delivered by Robert Wyatt. In 2008, he issued 24 Postcards in Full Colour, a collection of intricate ringtones envisioned by Richter as a way to connect people around the world. That year also saw the release of his music for Ari Folman's Golden Globe-winning film Waltz with Bashir. Focusing on electronics instead of a typical orchestral score, it was Richter's highest-profile soundtrack project to date. He then worked on several other film scores, including music for Benedek Fliegauf's Womb, Alex Gibney's My Trip to Al-Qaeda, and David MacKenzie's Perfect Sense. Another scoring project, Infra, marked the beginning of Richter's enduring collaboration with choreographer Wayne McGregor. Commissioned by the Royal Ballet in 2008, Infra was a ballet inspired by by T.S. Eliot's classic poem "The Wasteland," and the the 2005 London terrorist bombings. Richter re-recorded and expanded his music for the 2010 album Infra, his fourth release for FatCat Records.
Richter began the 2010s with soundtrack work that included the award-winning scores to Die Fremde (2010) and Lore (2012). The composer reunited with McGregor for 2012's Sum, a chamber opera based on Sum: Forty Tales of the Afterlives, a collection of short stories by neuroscientist David Eagleman about the possibility of life after death. That year also saw the release of one of Richter's most popular albums, Recomposed by Max Richter: Vivaldi - The Four Seasons. An avant-garde, loop-based reworking of the composer's timeless set of violin concertos, it topped the classical charts in 22 countries, including the U.K., the U.S., and Germany. In turn, McGregor choreographed a ballet, Kairos, to Richter's recomposition. Disconnect, the score to Henry-Alex Rubin's film about the impact of technology on relationships, arrived in 2013. His other releases that year included the score to Wadjda, which was the first feature-length film made by a Saudi Arabian woman (director Haifaa Al-Mansour); the music to Ritesh Batra's The Lunchbox and Ruairí Robinson's sci-fi excursion The Last Days on Mars. Richter also worked with Folman again on the music to The Congress, an adaptation of Stanislaw Lem's novel The Futurological Congress.
In 2014, Richter launched a mentorship program for aspiring young composers and wrote music for HBO's The Leftovers, which also featured pieces from Memoryhouse and The Blue Notebooks. The following year saw the arrival of Sleep, an eight-hour ambient piece scored for piano, strings, electronics, and vocals that Richter described as a "lullaby for a frenetic world and a manifesto for a slower pace of existence." The piece premiered at a Berlin performance where the audience was given beds instead of seats. Sleep and From Sleep, a one-hour adaptation, were released in September 2015. The following year, Richter provided the score to the sci-fi/horror film Morgan and the disturbingly cheery music for "Nosedive," an episode of Black Mirror that took the all-consuming nature of social media to extremes. Released in January 2017, Three Worlds: Music from Woolf Works drew from his score for McGregor's 2015 Royal Ballet production inspired by three of Virginia Woolf's most acclaimed novels. It was followed that May by the soundtrack compilation Out of the Dark Room. That September, Richter's Emmy-nominated music for the BBC One drama Taboo was released.
Richter remained busy on soundtrack work in 2018, with projects including the music for the HBO TV series My Brilliant Friend as well as the scores to films like Hostiles, White Boy Rick, and Mary Queen of Scots, which won a Best Original Score -- Feature Film Award at the Hollywood Music in Media Awards. In October 2019, Deutsche Grammophon issued Voyager: Essential Max Richter, an expansive retrospective that included two previously unreleased pieces written for Sleep.
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Waltz with Bashir is a 2008 Israeli animated war documentary drama film written, produced and directed by Ari Folman. It depicts Folman in search of his lost memories of his experience as a soldier in the 1982 Lebanon War. Waltz with Bashir premiered at the 2008 Cannes Film Festival where it entered the competition for the Palme d'Or, and since then has won and been nominated for many additional important awards while receiving wide acclaim from critics and audience alike .Absolutely beautiful music by Max Richter, disturbed by two songs from other artists. Enola Gay by OMD is bearable but breaks the mood, while This is not a Love Song by PIL is completely out of place
. Max Richter - Waltz With Bashir ( 270mb)
01 Boaz And The Dogs 3:11
02 Iconography 3:17
03 The Haunted Ocean 1 2:07
04 JSB/RPG 1:32
05 Shadow Journal 8:27
06 Enola Gay by OMD 3:34
07 The Haunted Ocean 2 0:54
08 Taxi And APC 2:13
09 Any Minute Now / Thinking Back 4:16
10 I Swam Out To Sea / Return 3:52
11 Patchouli Oil And Karate 0:36
12 This Is Not A Love Song by PIL 4:12
13 What Had They Done? 1:53
14 Into The Airport Hallucination 3:27
15 The Slaughterhouse 1:35
16 The Haunted Ocean 3 2:22
17 Into The Camps 3:19
18 The Haunted Ocean 4 3:45
19 Andante / Reflection (End Title) 3:30
20 The Haunted Ocean 5 (Solo Version) 1:38
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“Henry May Long” is a 2008 drama. Henry May and Henry Long are old friends from college who have not seen each other in quite a while. They meet one day in the street by happy accident – or so it seems. They re-kindle their friendship and we discover that each needs the other, but for different reasons. Together they take a journey away from family and pressures in New York. In the harbor town of New Bedford, the truth comes out and changes each man irrevocably. Max Richter wrote the score.
Max Richter’s music here is like the endless sand that builds up into castles and shapes which are then torn down and turned back into separate grains that slip through the fingers before crafty hands put them together again into maybe different, but equally beautiful shapes. His music moves continuously, evolves, changes shape while staying poignant and, ultimately, heartbreaking. I am just one lonely spectator watching one lonely composer turn simple piano and, sometimes, cello sounds intro multi dimensional shapes that play complex emotional scenes. So much can come from so little and I feel like I am looking at a dark stage that has on it a small projector that once turned on fills up the entire theatre with light, images, scenes, voices, all of them coming from that one single, small, minimalistic object. “Henry May Long” is another flawless score from a magnificent composer.The music is structured as a series of variations on two main themes, which accompany the narrative of the film. “The string theme operates on the societal level, while the piano theme speaks more to the interior lives of the protagonists,” explains Max. Although the music for Henry May Long was written for a relatively unknown film, its original release on Mute Records meant that the score had a notable impact on other composers working in similar genres."
Max Richter - Henry May Long (flac 131mb)
01 Ocean House Mirror 3:57
02 Stairs Abyss Starlight 1:00
03 Exit Top Hat Greeting 0:49
04 Waiting for Sunlight Evening 1:14
05 Interior Tears an Idea 2:22
06 Ending Doorway Pavement 2:06
07 Farewell Threshold Laudanum 1:29
08 Sofa Chess 1:56
09 Interior Horses 4:46
10 Whale Window Hotel 1:35
11 A Candle and Half a Pear 1:54
12 Powder Pills Truth 2:07
13 The Young Mariner 4:12
14 Dinner and the Ship of Dreams 5:26
xxxxx xxxxx xxxxx xxxxx
A simply beautiful soundtrack for a film as original as captivating. As the title indicates, the wild life of the domestic animals of a farm in Bresse, at the foot of the Jura. Composed by Max Richter who made himself known by the music of "Waltz With Bachir" for which he received the "2008 European Film Award" Music is a major element of this film. Having a musical theme for each animal, all their personalities are present on this soundtrack. It recreates the farm environment with different perspectives: humorous, evocative, also dramatic, with a wide variety of themes and revolves around a remarkable main theme.
Max Richter - La Vie Sauvage Des Animaux Domestiques (The Wildlife of Pets) (flac 217mb)
01 Die Wilde Farm (Title) 3:58
02 The Explorer 1:50
03 The Storyteller (Piano Solo) 1:06
04 Nocturne With Landscape 0:38
05 Everyday Opera 1:54
06 The Storyteller (Accordion) 1:19
07 Off We Go! 1:11
08 The Housefly 1:06
09 Piglets Ho! 0:52
10 Outdoors Song 2:18
11 While We Were Sleeping 1:14
12 Here Is the News 1:07
13 The Tiny Acrobats 1:14
14 Piglet Adventures 3:16
15 The Storyteller Mouse 1:07
16 Carefully! 2:36
17 Night Time Adventure 3:05
18 The Weavers 1:28
19 It Might Just Work! 1:31
20 The Night of the Births 6:05
21 Out You Go! 1:54
22 Homecoming (End Title) 4:23
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When We Leave (German: Die Fremde, Turkish: Ayrılık) is a 2010 German-Turkish drama film, produced, written and directed by Austrian filmmaker Feo Aladag. The film received worldwide acclaim, and represented Aladag's debut as a producer, writer and director. The worn, tender, melancholic soundtrack dominated by piano and classical guitar parts comes partly from Max Richter and to another part of Stéphane Moucha. Director Feo Aladag says of her selection: "An ethnic soundtrack was out of the question for me because I wanted to tell a human-universal story and avoid any folkloric aspect. I did not want commentary film music, but music that has its own work character. With Max Richter and Stephane Moucha we have found two composers who have brought this concept to life in their own way. "The soundtrack will be completed with tracks by the greatest Turkish singer Sezen Aksu and the US singer-songwriter Orenda Fink.
The film was awarded numerous national and international prizes, including seven nominations for the 2010 German Film Awards, in the categories Best Film, Best Debut Film, Best Screenplay, Best Actress, Best Cinematography, Best Editing and Best Score.
Max Richter - Die Fremde (with Stephane Moucha) ( flac 171mb)
01 Stéphane Moucha - Die Fremde - Opening 2:55
02 Max Richter - Solitude 1:42
03 Max Richter - Departure 1:36
04 Sezen Aksu - Yol arkadasim 5:07
05 Max Richter - Desperation 1:26
06 Max Richter - Leaving Home 1:08
07 Max Richter - Moving On 1:40
08 Stéphane Moucha - A New Start 1:43
09 Orenda Fink - Leave it All 3:10
10 Stéphane Moucha - Rejection 1:38
11 Max Richter - Moments of Tenderness 1:06
12 Stéphane Moucha - Reaching Out 2:20
13 Max Richter - Decisions 1:04
14 Max Richter - Going Back 1:46
15 Stéphane Moucha - Loss of Innocence 1:55
16 Stéphane Moucha - Bitter Fate 2:54
17 Max Richter - End Credit 1:39
18 Max Richter - Leaving Home & Piano Themes - Alternate Versions 4:46
19 Steffen Irlinger & Marian Müller - SO 36 - Party 1:18
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A tragic and shameful moment in French history continues to have consequences in the present day in this screen adaptation of the novel by Tatiana de Rosnay. Julia Jarmond is a nwriter from the US living in Paris with her husband, Bertrand, an architect who is restoring a block of apartments in Paris owned by his family. Julia learns that Bertrand's family obtained the building through less than honorable means; the original owners were Jews who were forced to sell in the wake of the Vel' d'Hiv Roundup in 1942, when the Nazi-affiliated Vichy government arrested over 13,000 Parisian Jews.
For a film that leads with its high-minded earnestness, Sarah’s Key’s tech credits are rigorously tasteful, the highlight being Max Richter’s evocative delicate score, which manages to underline the story’s emotional moments without being obtrusive.
Max Richter - Elle s'appelait Sarah (Sarah's Key) (flac 216mb)
01 Fréhel - La java bleue 2:46
02 The Round Up 1:11
03 The Buses 1:20
04 The Vel D'hiv 3:42
05 Julia's Visit 0:40
06 The Camps 1:52
07 Time Piece 1:06
08 Secrets 1:01
09 Clouds 1 1:00
10 The Escape 2:34
11 When She Came Back 3:35
12 Clouds 2 0:52
13 The Tree, the Beach, the Sea 2:49
14 Julia's Discovery 1:11
15 I Am Writing This Letter 0:36
16 Clouds 3 0:50
17 Julia's Journey 2:25
18 When She Went 2:46
19 The Journal 0:47
20 Julia Walking 2:27
21 All the Years Come Back 0:59
22 Sarah's Notebook 3:37
23 Loren Wilfong - Easy Swing 2:23
24 Dick Walter - A Different Kind of Love 5:18
25 Alan Moorhouse - Moonlight Magic 3:27
26 Sarah Ber - Oif'n veg shtait ah bon 2:06
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