Hello, more soundtracks by Max not just movies but TV sound tracks too, anyway its the penultimate post on a composer who really takes his work very seriously, and meticulously creates his work and despite having lived and worked in the Anglo-Saksen world, clearly his German DNA is very present I guess what we get is the best of both worlds.. .......
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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The first season of the HBO drama series The Leftovers featured an original score by composer Max Richter. With a plot involving the sudden unexplained disappearance of tens of millions of people, the show's main title has weeping solo violin, choir, and orchestra. Solemn, delicate piano themes constitute much of the season's music, underscored by light, sustained strings. Tense dissonance from subdued strings also marks the soundtrack, and at times, celesta, ethereal vocals, timpani, and other instruments enter the solemn soundscape. The score was nominated for an International Film Music Critics Award in 2014.
Max Richter - The Leftovers (Season 1-3) (flac 340mb)
1 The Leftovers (Main Title Theme) 1:35
2 The Departure 1:15
3 Afterimage 1 1:31
4 De Profundis 5:05
5 Only Questions 1:17
6 Dona Nobis Pacem 1 3:48
7 Afterimage 2 1:09
8 Departure (Reflection) 1:54
9 Dona Nobis Pacem 2 3:20
10 Family Circles 1:01
11 A Blessing 2:32
12 She Remembers 3:49
13 Departure (Lullaby) 1:57
14 Illuminations / Clouds 1:32
15 Afterimage 3 3:05
16 Departure (Home) 1:54
The Leftovers Season 2
17 Entropy for Meg 2:02
18 The Departure (Diary) 1:52
19 Crossings 2:56
20 Storybook 2:07
21 A Bird in a Box 3:12
22 Tenebrae 1:15
23 Dark Cloud for Nora 1:58
24 The Departure (Phone Call) 2:37
25 A Crowd of People Turned Away 2:08
26 Bright Cloud for Jill 1:30
27 Tom's Lullaby 2:04
28 That Solitary Moment Together 1:59
29 Dona Nobis Pacem 3 (Evie) 4:34
30 The Departure (Persistence of Vision) 1:49
31Dark Cloud for Kevin 2:24
32 Erika and John 1:42
33 The Quality of Mercy 4:12
34 The Leftovers Main Titles Season 1 (Small Ensemble Version) [bonus track] 3:37
The Leftovers Season 3 (EP)
35 The End Of All Our Exploring 3:35
36 Either Fire Or Fire 1:34
37 The Spectre Of A Rose 1:47
38 Nothing’s Gonna Stop Me Now 2:45
39 And Know The Place For The First Time 2:55
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Taboo is a 2017 British television drama series created by Tom Hardy, Edward Hardy & Steven Knight and starring Tom Hardy, Leo Bill & Oona Chaplin. Adventurer James Keziah Delaney, long believed to be dead, returns home to London from Africa in 1814 in order to inherit his late father’s shipping empire. All is not what it seems, however, as Delaney encounters numerous enemies intent on making his life back in the United Kingdom very difficult. Focused on building a shipping empire to rival the imperious East India Company, Delaney’s other wish to seek vengeance for his father’s death means conspiracy, betrayal and bloodshed are also in the cards. As he works to accomplish that, Delaney must also navigate increasingly complex territories in order to avoid his own death sentence. The score is composed by Max Richter.
The score opens with the ‘Openings’ a haunting emotional theme built on moods and strings. It’s very powerful, and pretty much what I had hoped and partially expected from Richter. In the episode that I saw, the music sort of phased in and out, but I couldn’t quite get a handle on how great and powerful the music was, but on album it impresses again and again. The moods Richter creates are truly perfect for the darkness of London in the early 18 hundreds. In ‘The Inexorable Advance Of Mr. Delaney’ there’s a similar pattern with a superb finale. It’s not the only one either. Like Bernard Herrmann, Richter is spinning us into madness in a beautiful way. Sometimes it feels like a horror story and sometimes, it feels like a somber drama. There’s very little happiness on this score and if the first episode is anything to go by, it’s not very present in the show. I saw Hardy smile once and I got scared. Richter is fully embracing the darkness of the show with some incredible soundscapes, some immense moods and textural music while giving us these little bites of thematic scoring. And sometimes, he surprises with a more timely piece of music for the era. Richter has saved the main theme for the end with a couple of versions. It all works pretty great and turn this score into a must-listen.
Max Richter wrote the soundtrack for the "Nosedive" episode of Black Mirror, which is a television anthology series that shows the dark side of life and technology. "Nosedive" focuses on Lacie who lives in a world where people's status is governed by their rating on social media. She is a 4.2 and needs to be a 4.5 to be able to afford to rent an apartment at the plush Pelican Cove compound. Here, the seven short pieces, adding up to just 24:40 minutes in length, feature solemn piano, gentle atmospherics, and soaring strings. It is delightfully Max Richter at his best, nearly discernible, even as a random or blind listen. This is remarkably evident on “The Journey, No The Destination” with high legato violins, poignant keys, and electronic buildups, that finally subside (and nosedive?) into a weeping and memorable theme. On Nosedive Richter captures the not-so-distant anxiety beneath the scrolling ratings of our lives. “Everything is very shiny and perfect, and it sort of glows and everyone is smiling because they can’t afford not to smile. […] It’s a dystopia, but it’s one that appears to be benign.” Don’t miss this one!
Max Richter - Taboo + Nosedive (Black Mirror soundtrack) (flac 282mb)
01 Openings 2:14
02 The Inexorable Advance Of Mr. Delaney 2:56
03 Song Of The Dead 5:18
04 Zilpha 4:31
05 A Lamenting Song 1:50
06 Shadows 2:53
07 This Little Pig Went To Market 1:02
08 Zilpha (Recollection) 2:45
09 Song Of The Beyond 2:37
10 I'd Hoped To Settle This… 2:07
11 Nocturnal 4:07
12 The Onrush Of Events 2:06
13 Zilpha Alone 2:19
14 Attend To The Matter 1:27
15 Lamentation For A Lost Life 2:22
web bonus
16 Taboo Lament (Antimatter Fellini Waltz) 1:59
17 Celesta Taboo Lament (Title Edit) 1;34
Nosedive (Black Mirror soundtrack)
01 On Reflection 7:15
02 Dopamine One 0:50
03 The Sorrows Of Young Lace 1:50
04 Dopamine Two 2:17
05 The Journey, Not The Destination 4:37
06 Nocturne 2:14
07 The Consolations Of Philosophy 5:37
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The title character of Morgan, a sleek sci-fi/horror hybrid, is herself a hybrid: a humanoid made from synthetic DNA. She’s a biological organism, a scientific experiment, a corporate product. To some, fatefully, she’s a person. They’re the ones who call her “she” rather than “it” — a divide that neatly encapsulates the philosophical questions propelling writer Seth Owen’s high-concept scenario, among the most memorable screenplays on the 2014 Black List. To the unsettling drone of Max Richter's fine score, the seeds of mutiny are deftly sown. ... Morgan is less about the conflict between technology and messy human emotion than their entanglement, a mashup both exhilarating and terrifying.
Max Richter - Morgan (O.S.T.) (flac 178mb)
01 Sketch for a Portrait #1 1:08
02 Morgan (Main Title) 3:20
03 The Unfamiliars 1:30
04 An Artificial Heartbeat 1:00
05 Our First Experiments / Birth 3:11
06 The Laboratory of Artificial Souls 1:44
07 Magnetic Resonance / We Have a Problem 2:12
08 De natura sonoris / Meeting 5:28
09 Sketch for a Portrait #2 1:06
10 Welcome / Moro Lasso al Mio Duolo 2:11
11 Night Vision / One by One 5:02
12 Remnant 3:09
13 A Wake 2:41
14 Hyperophelia 5:40
15 Blast Radius / Cardiogram 4:22
16 Dark Matter / Reflection 4:32
17 Sketch #1 Morgan (Main Title) 3:24
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Hostiles, directed by Scott Cooper evokes with beauty and restraint the wild landscapes of a world in which individuals collide with forces beyond their control. Set in the American West of the early 1890s, and based on the original story by Academy Award-winning screenwriter Donald E. Stewart, the film follows the relationship between a cavalry captain Joseph Blocker (Christian Bale), and Yellow Hawk (Wes Studi), a Northern Cheyenne chief held prisoner by Blocker at Fort Berringer, a dismal, dust-blown outpost in New Mexico. Max Richter’s score combines a haunting stillness and elegiac beauty with a noir-like instensity. Tracks such as the plaintive “A Woman Alone”, recalled and varied throughout, mirror the film’s hard psychological edges and the transformation of conflict and ill-will into compassion and love. The score is perfect "Hostiles" is an awesome picture to begin with and Max Richter's score complements. Very spiritual, in a sense, as the music creates the emotion of the pain and loss and love. Some of the tracks brings tears to the eyes. It's a brilliant contribution to a wonderful picture.
"Hostiles opens with an immediate gut punch in "The First Scalp", as we watch a band of Apaches brutally murder Rosalie's husband and kids. Musically, this 7+ min, track evolves from the solemn to the jarring, quite amazing. It is one of the best tracks on here, period. "Leaving the Compound" is a bit slower, as the group gets ready to hit the trails to Montana. "Scream At the Sky" is another long (6+ min.) track, in which the orchestra gets to emphasize its warm sounds. "River Crossing" builds up the tension. "Leaving Fort Winslow" is fronted by a sparse acoustic guitar, and feels very intimate. Ryan Bingham's "How Shall A Sparrow Fly" (the only track with vocals) follows. Then we get back into the score."The Lord's Rough Ways" is a beautiful piano-fronted piece (as Rosalie laments that "the Lord's rough ways are hard to understand"). That same musical theme returns later in "Rosalie's Theme". But before we get that far, there is yet one more epic tune, the 8 min. "Never Goodbye" that seems to sum up everything that makes this orchestral score such a pleasure to listen to.
Max Richter - Hostiles (O.S.T.) ( flac 264mb)
01 The First Scalp 7:24
02 A Woman Alone 1:50
03 Leaving the Compound 4:29
04 Cradle to the Grave 4:11
05 Scream at the Sky 6:05
06 Camanche Ambush 4:45
07 Where We Belong 2:56
08 River Crossing 2:53
09 A New Introduction 2:44
10 Leaving Fort Winslow 1:48
11 Ryan Bingham - How Shall a Sparrow Fly 3:46
12 What Did They Die For? 3:58
13 The Lord's Rough Ways 3:22
14 Something to Give 2:18
15 The Last of Them 3:52
16 Appeasing the Chief 2:42
17 Yellow Hawk's Warning 2:35
18 Never Goodbye 7:35
19 Rosalee Theme 4:14
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Composer Max Richter has written a compelling and dramatic score for the upcoming historical drama, Mary Queen of Scots. Directed by Josie Rourke and starring Margot Robbie and Saoirse Ronan, the movie explores the turbulent life of the charismatic Mary Stuart and her attempt to overthrow her cousin, Elizabeth I, Queen of England. The lavish orchestral score features a full orchestra and eclectic vocal pieces. in short, this score by Max Richter is phenomenal. He is an intellectual composer and so a lot of the detail in the score is very deeply thought out. It was recorded in London with a 110-piece orchestra, plus choral parts performed by the London Voices Choir and a solo female vocalist. However, a lot of the lead instrumental ideas are based around the ancient sound of the renaissance. The main theme is performed by both a cor anglais bass oboe and a viol, a period string instrument which Richter processed in post-production to give it a richer, more expansive sound. Drums also play a major part in the score, which Richter says are intended to be a foreshadowing of Mary’s fate – the drums he uses often feel like a militaristic tattoo, appropriate for war, but also have a funereal sound, like a final death march accompanying one of the condemned as they climb the steps to the executioner’s block. Finally, as a textural acknowledgment of Mary’s Scottish heritage, Richter makes frequent use of a clàrsach, a Celtic harp which was in common use at the time. There is just something enrapturing about this music right from the start. Perhaps it is in the way Richter takes the classical renaissance composing style and re-frames it for contemporary audiences; perhaps it’s the beauty of the main theme, and the delicacy of the recurring cor anglais performance of it; perhaps it’s something in the drama inherent in the story of these two strong, powerful women being forced into conflict with each other Very moving, powerful and simply beautiful. Anyway, the "Finale" will take your breath away!
Max Richter - Mary Queen Of Scots (O.S.T.) (flac 306mb)
01 The Shores of Scotland 1:51
02 Elizabeth's Portrait 3:40
03 A Claim to the Throne 3:05
04 If Ye Love Me 2:10
05 My Crown 2:51
06 The Poem 2:23
07 Darnley's Visit 2:05
08 The Wedding 2:44
09 Knox 3:14
10 The Hilltop 1:55
11 Rizzio's Plea 1:48
12 The Ambush 2:06
13 Pray for Me 5:50
14 A New Generation 2:48
15 Darnley's Dismissal 3:43
16 Outmaneuvered 5:27
17 The Assassination 2:29
18 Finale 8:23
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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
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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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The first season of the HBO drama series The Leftovers featured an original score by composer Max Richter. With a plot involving the sudden unexplained disappearance of tens of millions of people, the show's main title has weeping solo violin, choir, and orchestra. Solemn, delicate piano themes constitute much of the season's music, underscored by light, sustained strings. Tense dissonance from subdued strings also marks the soundtrack, and at times, celesta, ethereal vocals, timpani, and other instruments enter the solemn soundscape. The score was nominated for an International Film Music Critics Award in 2014.
Max Richter - The Leftovers (Season 1-3) (flac 340mb)
1 The Leftovers (Main Title Theme) 1:35
2 The Departure 1:15
3 Afterimage 1 1:31
4 De Profundis 5:05
5 Only Questions 1:17
6 Dona Nobis Pacem 1 3:48
7 Afterimage 2 1:09
8 Departure (Reflection) 1:54
9 Dona Nobis Pacem 2 3:20
10 Family Circles 1:01
11 A Blessing 2:32
12 She Remembers 3:49
13 Departure (Lullaby) 1:57
14 Illuminations / Clouds 1:32
15 Afterimage 3 3:05
16 Departure (Home) 1:54
The Leftovers Season 2
17 Entropy for Meg 2:02
18 The Departure (Diary) 1:52
19 Crossings 2:56
20 Storybook 2:07
21 A Bird in a Box 3:12
22 Tenebrae 1:15
23 Dark Cloud for Nora 1:58
24 The Departure (Phone Call) 2:37
25 A Crowd of People Turned Away 2:08
26 Bright Cloud for Jill 1:30
27 Tom's Lullaby 2:04
28 That Solitary Moment Together 1:59
29 Dona Nobis Pacem 3 (Evie) 4:34
30 The Departure (Persistence of Vision) 1:49
31Dark Cloud for Kevin 2:24
32 Erika and John 1:42
33 The Quality of Mercy 4:12
34 The Leftovers Main Titles Season 1 (Small Ensemble Version) [bonus track] 3:37
The Leftovers Season 3 (EP)
35 The End Of All Our Exploring 3:35
36 Either Fire Or Fire 1:34
37 The Spectre Of A Rose 1:47
38 Nothing’s Gonna Stop Me Now 2:45
39 And Know The Place For The First Time 2:55
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Taboo is a 2017 British television drama series created by Tom Hardy, Edward Hardy & Steven Knight and starring Tom Hardy, Leo Bill & Oona Chaplin. Adventurer James Keziah Delaney, long believed to be dead, returns home to London from Africa in 1814 in order to inherit his late father’s shipping empire. All is not what it seems, however, as Delaney encounters numerous enemies intent on making his life back in the United Kingdom very difficult. Focused on building a shipping empire to rival the imperious East India Company, Delaney’s other wish to seek vengeance for his father’s death means conspiracy, betrayal and bloodshed are also in the cards. As he works to accomplish that, Delaney must also navigate increasingly complex territories in order to avoid his own death sentence. The score is composed by Max Richter.
The score opens with the ‘Openings’ a haunting emotional theme built on moods and strings. It’s very powerful, and pretty much what I had hoped and partially expected from Richter. In the episode that I saw, the music sort of phased in and out, but I couldn’t quite get a handle on how great and powerful the music was, but on album it impresses again and again. The moods Richter creates are truly perfect for the darkness of London in the early 18 hundreds. In ‘The Inexorable Advance Of Mr. Delaney’ there’s a similar pattern with a superb finale. It’s not the only one either. Like Bernard Herrmann, Richter is spinning us into madness in a beautiful way. Sometimes it feels like a horror story and sometimes, it feels like a somber drama. There’s very little happiness on this score and if the first episode is anything to go by, it’s not very present in the show. I saw Hardy smile once and I got scared. Richter is fully embracing the darkness of the show with some incredible soundscapes, some immense moods and textural music while giving us these little bites of thematic scoring. And sometimes, he surprises with a more timely piece of music for the era. Richter has saved the main theme for the end with a couple of versions. It all works pretty great and turn this score into a must-listen.
Max Richter wrote the soundtrack for the "Nosedive" episode of Black Mirror, which is a television anthology series that shows the dark side of life and technology. "Nosedive" focuses on Lacie who lives in a world where people's status is governed by their rating on social media. She is a 4.2 and needs to be a 4.5 to be able to afford to rent an apartment at the plush Pelican Cove compound. Here, the seven short pieces, adding up to just 24:40 minutes in length, feature solemn piano, gentle atmospherics, and soaring strings. It is delightfully Max Richter at his best, nearly discernible, even as a random or blind listen. This is remarkably evident on “The Journey, No The Destination” with high legato violins, poignant keys, and electronic buildups, that finally subside (and nosedive?) into a weeping and memorable theme. On Nosedive Richter captures the not-so-distant anxiety beneath the scrolling ratings of our lives. “Everything is very shiny and perfect, and it sort of glows and everyone is smiling because they can’t afford not to smile. […] It’s a dystopia, but it’s one that appears to be benign.” Don’t miss this one!
Max Richter - Taboo + Nosedive (Black Mirror soundtrack) (flac 282mb)
01 Openings 2:14
02 The Inexorable Advance Of Mr. Delaney 2:56
03 Song Of The Dead 5:18
04 Zilpha 4:31
05 A Lamenting Song 1:50
06 Shadows 2:53
07 This Little Pig Went To Market 1:02
08 Zilpha (Recollection) 2:45
09 Song Of The Beyond 2:37
10 I'd Hoped To Settle This… 2:07
11 Nocturnal 4:07
12 The Onrush Of Events 2:06
13 Zilpha Alone 2:19
14 Attend To The Matter 1:27
15 Lamentation For A Lost Life 2:22
web bonus
16 Taboo Lament (Antimatter Fellini Waltz) 1:59
17 Celesta Taboo Lament (Title Edit) 1;34
01 On Reflection 7:15
02 Dopamine One 0:50
03 The Sorrows Of Young Lace 1:50
04 Dopamine Two 2:17
05 The Journey, Not The Destination 4:37
06 Nocturne 2:14
07 The Consolations Of Philosophy 5:37
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The title character of Morgan, a sleek sci-fi/horror hybrid, is herself a hybrid: a humanoid made from synthetic DNA. She’s a biological organism, a scientific experiment, a corporate product. To some, fatefully, she’s a person. They’re the ones who call her “she” rather than “it” — a divide that neatly encapsulates the philosophical questions propelling writer Seth Owen’s high-concept scenario, among the most memorable screenplays on the 2014 Black List. To the unsettling drone of Max Richter's fine score, the seeds of mutiny are deftly sown. ... Morgan is less about the conflict between technology and messy human emotion than their entanglement, a mashup both exhilarating and terrifying.
Max Richter - Morgan (O.S.T.) (flac 178mb)
01 Sketch for a Portrait #1 1:08
02 Morgan (Main Title) 3:20
03 The Unfamiliars 1:30
04 An Artificial Heartbeat 1:00
05 Our First Experiments / Birth 3:11
06 The Laboratory of Artificial Souls 1:44
07 Magnetic Resonance / We Have a Problem 2:12
08 De natura sonoris / Meeting 5:28
09 Sketch for a Portrait #2 1:06
10 Welcome / Moro Lasso al Mio Duolo 2:11
11 Night Vision / One by One 5:02
12 Remnant 3:09
13 A Wake 2:41
14 Hyperophelia 5:40
15 Blast Radius / Cardiogram 4:22
16 Dark Matter / Reflection 4:32
17 Sketch #1 Morgan (Main Title) 3:24
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Hostiles, directed by Scott Cooper evokes with beauty and restraint the wild landscapes of a world in which individuals collide with forces beyond their control. Set in the American West of the early 1890s, and based on the original story by Academy Award-winning screenwriter Donald E. Stewart, the film follows the relationship between a cavalry captain Joseph Blocker (Christian Bale), and Yellow Hawk (Wes Studi), a Northern Cheyenne chief held prisoner by Blocker at Fort Berringer, a dismal, dust-blown outpost in New Mexico. Max Richter’s score combines a haunting stillness and elegiac beauty with a noir-like instensity. Tracks such as the plaintive “A Woman Alone”, recalled and varied throughout, mirror the film’s hard psychological edges and the transformation of conflict and ill-will into compassion and love. The score is perfect "Hostiles" is an awesome picture to begin with and Max Richter's score complements. Very spiritual, in a sense, as the music creates the emotion of the pain and loss and love. Some of the tracks brings tears to the eyes. It's a brilliant contribution to a wonderful picture.
"Hostiles opens with an immediate gut punch in "The First Scalp", as we watch a band of Apaches brutally murder Rosalie's husband and kids. Musically, this 7+ min, track evolves from the solemn to the jarring, quite amazing. It is one of the best tracks on here, period. "Leaving the Compound" is a bit slower, as the group gets ready to hit the trails to Montana. "Scream At the Sky" is another long (6+ min.) track, in which the orchestra gets to emphasize its warm sounds. "River Crossing" builds up the tension. "Leaving Fort Winslow" is fronted by a sparse acoustic guitar, and feels very intimate. Ryan Bingham's "How Shall A Sparrow Fly" (the only track with vocals) follows. Then we get back into the score."The Lord's Rough Ways" is a beautiful piano-fronted piece (as Rosalie laments that "the Lord's rough ways are hard to understand"). That same musical theme returns later in "Rosalie's Theme". But before we get that far, there is yet one more epic tune, the 8 min. "Never Goodbye" that seems to sum up everything that makes this orchestral score such a pleasure to listen to.
Max Richter - Hostiles (O.S.T.) ( flac 264mb)
01 The First Scalp 7:24
02 A Woman Alone 1:50
03 Leaving the Compound 4:29
04 Cradle to the Grave 4:11
05 Scream at the Sky 6:05
06 Camanche Ambush 4:45
07 Where We Belong 2:56
08 River Crossing 2:53
09 A New Introduction 2:44
10 Leaving Fort Winslow 1:48
11 Ryan Bingham - How Shall a Sparrow Fly 3:46
12 What Did They Die For? 3:58
13 The Lord's Rough Ways 3:22
14 Something to Give 2:18
15 The Last of Them 3:52
16 Appeasing the Chief 2:42
17 Yellow Hawk's Warning 2:35
18 Never Goodbye 7:35
19 Rosalee Theme 4:14
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Composer Max Richter has written a compelling and dramatic score for the upcoming historical drama, Mary Queen of Scots. Directed by Josie Rourke and starring Margot Robbie and Saoirse Ronan, the movie explores the turbulent life of the charismatic Mary Stuart and her attempt to overthrow her cousin, Elizabeth I, Queen of England. The lavish orchestral score features a full orchestra and eclectic vocal pieces. in short, this score by Max Richter is phenomenal. He is an intellectual composer and so a lot of the detail in the score is very deeply thought out. It was recorded in London with a 110-piece orchestra, plus choral parts performed by the London Voices Choir and a solo female vocalist. However, a lot of the lead instrumental ideas are based around the ancient sound of the renaissance. The main theme is performed by both a cor anglais bass oboe and a viol, a period string instrument which Richter processed in post-production to give it a richer, more expansive sound. Drums also play a major part in the score, which Richter says are intended to be a foreshadowing of Mary’s fate – the drums he uses often feel like a militaristic tattoo, appropriate for war, but also have a funereal sound, like a final death march accompanying one of the condemned as they climb the steps to the executioner’s block. Finally, as a textural acknowledgment of Mary’s Scottish heritage, Richter makes frequent use of a clàrsach, a Celtic harp which was in common use at the time. There is just something enrapturing about this music right from the start. Perhaps it is in the way Richter takes the classical renaissance composing style and re-frames it for contemporary audiences; perhaps it’s the beauty of the main theme, and the delicacy of the recurring cor anglais performance of it; perhaps it’s something in the drama inherent in the story of these two strong, powerful women being forced into conflict with each other Very moving, powerful and simply beautiful. Anyway, the "Finale" will take your breath away!
Max Richter - Mary Queen Of Scots (O.S.T.) (flac 306mb)
01 The Shores of Scotland 1:51
02 Elizabeth's Portrait 3:40
03 A Claim to the Throne 3:05
04 If Ye Love Me 2:10
05 My Crown 2:51
06 The Poem 2:23
07 Darnley's Visit 2:05
08 The Wedding 2:44
09 Knox 3:14
10 The Hilltop 1:55
11 Rizzio's Plea 1:48
12 The Ambush 2:06
13 Pray for Me 5:50
14 A New Generation 2:48
15 Darnley's Dismissal 3:43
16 Outmaneuvered 5:27
17 The Assassination 2:29
18 Finale 8:23
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1 comment:
Hi Please re-up the Max Richter. My hd died its final death & all those bits are gone, gone, gone. Thanks
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