Max Richter

Merging rigorous classical foundations with the creative impulses of electronic production, Max Richter addresses and often challenges contemporary existence through music of stirring refinement. His initial landmark recordings, Memoryhouse from 2002 and The Blue Notebooks from 2003, wove together recollections from his youth with reflections on the ruinous consequences of conflict, yielding music of haunting beauty. With the eight-hour Sleep released in 2015, he confronted the growing disposability of creative work alongside shrinking listener focus. Technology’s expanding presence in daily routines shaped projects ranging from the 2008 set of custom ringtones to the score for a notably dystopian 2016 Black Mirror installment. Even amid ambitious conceptual frameworks, Richter sustains an intense affective bond with audiences. Recomposed: The Four Seasons from 2012, his bold reinterpretation of Vivaldi’s violin concertos, reached the summit of classical rankings across more than twenty nations. This same emotional resonance suited his extensive scoring for documentaries such as Waltz with Bashir (2008), feature films like Ad Astra (2019), television series including Invasion (2021), and stage works such as Infra (2008) and Woolf Works (2015), both created with longtime collaborator, choreographer Wayne McGregor. The distinctive fusion of modern composition, electronic elements, and field recordings that Richter returned to on 2024’s In a Landscape proved as groundbreaking as it was widely emulated, influencing figures including Nico Muhly and Jóhann Jóhannsson.

Born in West Germany during the mid-1960s, Richter relocated with his family to the U.K. as a young child and grew up in the provincial setting of Bedford. By his early teenage years he immersed himself in the classical repertoire alongside contemporary figures such as Philip Glass, whose approach exerted a profound effect on him. The Clash, the Beatles, and Pink Floyd also left lasting impressions, as did the emerging electronic movement; drawing inspiration from acts like Kraftwerk, he constructed his own analog gear. He pursued studies in composition and piano at Edinburgh University, the Royal Academy of Music, and in Florence under Luciano Berio.

Richter subsequently co-founded Piano Circus, a contemporary classical ensemble whose repertoire encompassed works by Glass, Brian Eno, Steve Reich, Arvo Pärt, and Julia Wolfe while integrating found sounds and video into live performances. Following a decade and five albums on Decca/Argo, he departed the group and immersed himself further in Britain’s vibrant electronic community, joining forces with the Future Sound of London on 1996’s Dead Cities, which contains a track bearing his name, and on The Isness; he additionally supplied orchestrations for Roni Size’s 2000 album In the Mode.

His personal output progressed from the Xenakis-inspired textures of his formative period toward a broader synthesis that embraced his electronic and pop affinities. The 2002 debut Memoryhouse first presented his characteristic blend of modern composition, electronica, and field recordings. Created with the BBC Philharmonic Orchestra, the album examined childhood recollections and the aftermath of the 1990s Kosovo War and was celebrated as a landmark achievement. Two years afterward Richter issued The Blue Notebooks on FatCat, incorporating spoken excerpts from Franz Kafka’s Blue Octavo Notebooks and Polish writer Czesław Miłosz, delivered by actress Tilda Swinton, within atmospheric string-and-piano settings that referenced the Iraq War and his own early life. Songs from Before, released in 2006, matched his introspective style with passages by Haruki Murakami spoken by Robert Wyatt.

During 2008 he released 24 Postcards in Full Colour, a series of finely wrought ringtones conceived as a means of linking listeners globally. The same year brought his score for Ari Folman’s Golden Globe-winning film Waltz with Bashir. Emphasizing electronics rather than conventional orchestral forces, it represented Richter’s most prominent soundtrack assignment up to that point. Additional film projects followed, among them scores for Benedek Fliegauf’s Womb, Alex Gibney’s My Trip to Al-Qaeda, and David MacKenzie’s Perfect Sense. The ballet Infra initiated Richter’s ongoing partnership with choreographer Wayne McGregor. Commissioned by the Royal Ballet in 2008 and drawing on T.S. Eliot’s poem “The Wasteland” as well as the 2005 London bombings, the work was later re-recorded and expanded for the 2010 FatCat album Infra, his fourth release on the label.

Richter opened the 2010s with award-winning scores for Die Fremde (2010) and Lore (2012). He rejoined McGregor for Sum, a 2012 chamber opera based on neuroscientist David Eagleman’s short-story collection Sum: Forty Tales of the Afterlives, which explores possibilities of existence after death. That year also saw the appearance of one of his most widely embraced releases, Recomposed by Max Richter: Vivaldi - The Four Seasons. This avant-garde, loop-driven transformation of the composer’s celebrated violin concertos ascended to the top of classical charts in 22 countries, among them the U.K., the U.S., and Germany. McGregor subsequently choreographed the ballet Kairos to Richter’s reworking. The 2013 score Disconnect accompanied Henry-Alex Rubin’s film examining technology’s effects on relationships. Further 2013 releases included music for Wadjda, the first feature-length film directed by a Saudi Arabian woman, Haifaa Al-Mansour; Ritesh Batra’s The Lunchbox; and Ruairí Robinson’s sci-fi feature The Last Days on Mars. Richter again collaborated with Folman on the score for The Congress, adapted from Stanisław Lem’s novel The Futurological Congress.

In 2014 Richter established a mentorship initiative for emerging composers and composed music for HBO’s The Leftovers, which also incorporated selections from Memoryhouse and The Blue Notebooks. The following year brought Sleep, an eight-hour ambient composition for piano, strings, electronics, and voices that Richter characterized as a “lullaby for a frenetic world and a manifesto for a slower pace of existence.” The piece premiered in Berlin before an audience seated on beds rather than chairs. Both Sleep and the one-hour reduction From Sleep appeared in September 2015. The next year Richter supplied the score for the sci-fi/horror film Morgan and the unsettlingly upbeat music for “Nosedive,” the Black Mirror episode that extrapolated the pervasive influence of social media. Three Worlds: Music from Woolf Works, issued in January 2017, derived from his score for McGregor’s 2015 Royal Ballet production based on three major novels by Virginia Woolf. Out of the Dark Room, a soundtrack compilation, followed that May, while Richter’s Emmy-nominated music for the BBC One series Taboo surfaced in September.

Soundtrack assignments kept Richter occupied throughout 2018, encompassing the HBO series My Brilliant Friend and scores for the films Hostiles, White Boy Rick, and Mary Queen of Scots, the last of which received a Best Original Score — Feature Film Award at the Hollywood Music in Media Awards. For his score to the August 2019 film Ad Astra he incorporated plasma wave data from NASA’s Voyager Interstellar Mission rendered through a custom virtual instrument (the work later earned him his first Grammy nomination two years afterward). That October Deutsche Grammophon issued Voyager: Essential Max Richter, a wide-ranging overview that contained two previously unreleased Sleep-related pieces.

Richter extended the Sleep project in 2020 with the documentary Max Richter’s Sleep, which premiered in North America at the Sundance Film Festival, and with an accompanying app intended to facilitate use of the piece for concentration, meditation, and rest. Other activities that year included participation in Rudolf Buchbinder’s Diabelli Variations project, music for the second season of My Brilliant Friend, and Journey CP1919, a commission for the Aurora Orchestra inspired by the discovery of the first pulsar. Voices appeared in July 2020, integrating crowd-sourced recitations of the Universal Declaration of Human Rights with a “negative orchestra” of eight violins, six violas, 24 cellos, 12 double basses, and harp. A decade in preparation, the album featured violinist Mari Samuelsen, the choir Tenebrae, and solo soprano Grace Davidson. Voices 2 followed in 2021. Richter also joined Kristjan Järvi and the Baltic Sea Philharmonic for the album Exiles, which presented orchestral arrangements of selected earlier compositions, and he released his score for the first season of Invasion. August 2021 brought another collaboration with Kristjan Järvi and the Baltic Sea Philharmonic on Exiles, a ballet reflecting the refugee crisis that again incorporated orchestral reworkings of prior material. In 2022 Richter once more teamed with McGregor to score an adaptation of Margaret Atwood’s MaddAddam trilogy commissioned by the National Ballet of Canada and the Royal Ballet. That year he revisited The Four Seasons with The New Four Seasons - Vivaldi Recomposed, employing violinist Elena Urioste and the Chineke! Orchestra along with vintage analog synthesizers and historically informed instruments to achieve a more unvarnished reading of Vivaldi’s score. March 2023 saw the release of SLEEP: Tranquility Base, an EP of electronic reinterpretations together with remixes by Kelly Lee Owens and Alva Noto.

Music for a major Mark Rothko exhibition, the Johan Renck film Spaceman, and the spy thriller series The Veil preceded Richter’s ninth solo album, In a Landscape, issued in September 2024. Recorded at Studio Richter Mahr, the creative facility he established with his wife, award-winning visual artist Yulia Mahr, the album’s equilibrium between electronic and acoustic resources, ordinary moments, and larger existential questions recalled Memoryhouse and The Blue Notebooks. Richter promoted In a Landscape with a tour that featured appearances alongside the American Contemporary Music Ensemble.