Bio
[Edit this profile]From his official website:
Max Richter (b.1966) trained in composition and piano at Edinburgh University, the Royal Academy of Music and with Luciano Berio in Florence. His early music was basically hard-core Modernism: much influenced by Xenakis.
On completing his studies, Max Richter co-founded the immensely successful contemporary classical ensemble Piano Circus, where he stayed for ten years, commissioning and performing works by Arvo Part, Brian Eno, Philip Glass, Julia Wolfe and Steve Reich. During this time the group was signed exclusively to Decca/Argo, producing five acclaimed CDs.
"I have always listened to a broad range of music. In my early teens I was listening to a lot of classical standard repertoire as well as 20th century work. During this time I also built and customised a number of analogue electronic instruments and was immersed in the early electronic music scene. After hearing the first 30 seconds of Kraftwerk's 'Autobahn', I knew I had to get in to it! The two have always run in parallel". In 1996 he worked closely with The Future Sound of London on their release 'Dead Cities'. He started initially as a pianist but ended up working on a number of tracks as well as co-writing one track (which they entitled 'Max').
Max's orchestrations also graced 'In The Mode' by Mercury Prize winner and Drum'n'bass pioneer Roni Size.
Max Richter (b.1966) trained in composition and piano at Edinburgh University, the Royal Academy of Music and with Luciano Berio in Florence. His early music was basically hard-core Modernism: much influenced by Xenakis.
On completing his studies, Max Richter co-founded the immensely successful contemporary classical ensemble Piano Circus, where he stayed for ten years, commissioning and performing works by Arvo Part, Brian Eno, Philip Glass, Julia Wolfe and Steve Reich. During this time the group was signed exclusively to Decca/Argo, producing five acclaimed CDs.
"I have always listened to a broad range of music. In my early teens I was listening to a lot of classical standard repertoire as well as 20th century work. During this time I also built and customised a number of analogue electronic instruments and was immersed in the early electronic music scene. After hearing the first 30 seconds of Kraftwerk's 'Autobahn', I knew I had to get in to it! The two have always run in parallel". In 1996 he worked closely with The Future Sound of London on their release 'Dead Cities'. He started initially as a pianist but ended up working on a number of tracks as well as co-writing one track (which they entitled 'Max').
Max's orchestrations also graced 'In The Mode' by Mercury Prize winner and Drum'n'bass pioneer Roni Size.
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