Conceptually, Max Richter's The Blue Notebooks- German-born composer mixes contemporary classical compositions with electronic elements in a dreamscapy journalogue featuring excerpts from Kafka's The Blue Octavo Notebooks as narrated by Tilda Swinton- reads like a relentlessly precious endeavor, as new age music for grad students, the sort of record that sagely pats you on the back for being smart enough to seek it out. And yet in practice, despite the fact that it is exactly as outlined above, Kafka quotes and all, there is absolutely nothing exclusive or contrived-feeling about it. In fact, not only is Richter's second album one of the finest of the last six months, it is also one of the most affecting and universal contemporary classical records in recent memory.But how to describe music that relies so completely on seeming familiar? Richter may fancy himself in a class with Philip Glass, Brian Eno and Steve Reich (indeed, his hyperattenuated sense of minimalism owes to all three), but unlike his influences, he's not remotely interested in subverting the traditional rules of composition. Short of one very beautiful moment that plunges an electronic sublow bassline into a deep sea of harpsichords and violas (see: the literally perfect 'Shadow Journal'), there is nothing here to suggest that Richter is concerned with anything other than melody and economy. It's a formula he singlemindedly exploits with staggering effectiveness for the balance of the album's 40+ minutes.Constituted mainly of sparse pieces that lean on string quartets and pianos in equal measure, The Blue Notebooks is a case study in direct, minor-key melody.

Each of the piano pieces 'Horizon Variations', 'Vladimir's Blues' and 'Written in the Sky' establish strong melodic motifs in under two minutes, all the while resisting additional orchestration. Elsewhere, Richter's string suites are similarly striking; 'On the Nature of Daylight' coaxes a stunning rise out of gently provincial arrangements while the comparatively epic penultimate track 'The Trees' boasts an extended introductory sequence for what is probably the album's closest brush with grandiosity.

View credits, reviews, tracks and shop for the 2014 320 kbps File release of The Blue Notebooks on Discogs. Tracks such as 'Europe, After the Rain' and 'Maria, the Poet' exemplify the album's mix of Glass-style minimalism fused with evocative samples and field recordings, territory Richter covered even more brilliantly on his next album, The Blue Notebooks.

Richter's slightly less traditional pieces also resound; both the underwater choral hymnal 'Iconography' and the stately organ piece 'Organum' echo the spiritual ambience that characterized his work for Future Sound of London.If, however, there is one piece that fires The Blue Notebooks off into the stratosphere, it's the aforementioned 'Shadow Journal'. Featuring a lone viola, some burbling electronics, a harpsichord and a subterranean bassline, it establishes a simple, keening melody and then gently pulls it wide, like warm string taffy, across its eight minutes. The fourth track on the record, it is nonetheless its centerpiece, and on a larger scale, possibly a gigantic beacon for composers searching for useful ways to introduce dance music's visceral, body-jarring qualities into the classical sphere.But make no mistake, this is not Richter's electronic/classical crossover, nor it is really his concept record. In fact, with songs that similarly forgo the temptations of complexity and choice so as to preserve their core ideas, it's perhaps better thought of as his four-track demo, his lo-fi recording jaunt.

It's Max Richter testing himself to see what he can produce under restraint. Turns out it's more than he might have otherwise.

The Blue Notebooks Max Richter Zip Average ratng: 9,8/10 3684votesArtist: Max Richter Album: Collection Genre: Classical Year: 2002-2017 Size: 8.47 gb Source: CDs, Digital download Format: FLAC (tracks) Quality: lossless Sample Rate: 44.1 kHz / 16 Bit Description: Blending classical, electronic, and rock influences into a style he calls “post-classical,” composer/programmer Max Richter ignores boundaries in favor of haunting, strangely familiar sounds. This approach made him an in-demand composer for film and other types of performing arts, as well as an acclaimed artist in his own right. Born in Germany in the mid-’60s, Richter and his family moved to the U.K.When he was still a little boy; by his early teens, he was listening to the canon of classical music, as well as modern composers including Philip Glass, whose sound 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. Richter then became a founding member of the Piano Circus, a contemporary classical group that played works by Glass, Brian Eno, Steve Reich, Arvo Prt, and Julia Wolfe, and also incorporated found sounds and video into their performances.Album: The Blue Notebooks Artist: Max Richter Label: 130701.

Catalog: CD13-04. Country: UK Year: 2004. Bitrate: 320 CBR Size: 73.4 MB.

Tracklist: 01 - The Blue Notebooks. 02 - On the Nature of Daylight. 03 - Horizon Variations. 04 - Shadow Journal. 05 - Iconography. 06 - Vladimir's Blues. Max Richter, n/a - The Blue Notebooks - Amazon.com Music.

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Interesting Finds Updated Daily. Amazon Try Prime CDs. Please enter a valid US zip code. Conceptually, Max Richter's The Blue Notebooks- German-born composer mixes contemporary classical compositions with electronic elements in a dreamscapy journalogue. Dear Internet Archive Supporter.

Recomposed by Max Richter. The Blue Notebooks.

Nov 10, 2016 11/16. By Max Richter. Product Description.

Max Richter s DG Catalogue was offered in a deluxe 4-CD set, Retrospective, earlier this year. Now his second album is presented in 180 g vinyl along with a parallel release on CD. The Blue Notebooks was Max Richter's second solo album, a distinctive and adventurous work that is beautifully.Dead Cities After ten years and five albums, Richter left the group and became more involved in the U.K.’s thriving electronica scene, collaborating with the Future Sound of London on Dead Cities (which features a track named after him) and Isness; he also contributed orchestrations to Roni Size’s 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: 2002’s Memoryhouse introduced his mix of modern composition, electronica, and field recordings, and the following year’s stunning Blue Notebooks — inspired by Kafka’s Blue Octavo Notebooks — showed off a more streamlined, and more affecting, version of this sound.

Released in 2006, Songs from Before paired Richter’s plaintive sound with texts written by Haruki Murakami and delivered by Robert Wyatt. Two years later, 24 Postcards in Full Colour, a collection of elaborate ringtones, was released, and 2008 also saw the release of Richter’s score for the film Waltz with Bashir. InfraRichter 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 The Last Word. Another scoring project was Infra, which Richter was commissioned to compose in 2008. A ballet inspired by T.S.Eliot’s classic poem “The Wasteland,” Infra premiered that November at London’s Royal Opera House.

Richter re-recorded and expanded his music for the 2010 album Infra, his fourth release for Fat Cat Records. Throughout the 2010s, Richter alternated between soundtrack work and other projects, including the award-winning scores to Die Fremde and Lore and Recomposed by Max Richter: Vivaldi – The Four Seasons, an avant-garde reworking of the composer’s timeless set of violin concertos. Disconnect, the score to Henry-Alex Rubin’s film about the impact of technology on relationships, was released in 2013. Where my microsoft office product key. His score for Wadjda, which revolved around an 11-year-old girl and was the first feature-length film made by a Saudi Arabian woman (director Haifaa Al-Mansour), arrived that July.Richter issued three more film scores that year, including the music to Ritesh Batra’s Lunchbox and Ruair Robinson’s sci-fi excursion The Last Days on Mars. Max Richter: Sleep 8 Hour Version In 2014, Richter launched an ongoing mentorship program for aspiring young composers. The following year saw the arrival of Sleep, an eight-hour ambient piece scored for piano, strings, electronics, and vocals, which 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. Richter returned in 2016 with the music for an episode of Black Mirror.It was soon followed by 2017’s Three Worlds: Music from Woolf Works, which drew from his score for Wayne McGregor’s three-act Royal Ballet production inspired by three of Virginia Woolf’s most acclaimed novels. Post navigation.