Richter is known for his prolific output: composing and recording his own music; writing for stage, opera, ballet and screen; producing and collaborating on the records of others; and collaborating with performance, installation and media artists. He has recorded seven solo albums and his music is widely used in cinema.
Richter was born in Hamelin, Lower Saxony, Germany. He grew up in Bedford, United Kingdom, and his education was at Bedford Modern School and Mander College of Further Education. He studied composition and piano at the University of Edinburgh, the Royal Academy of Music, and with Luciano Berio in Florence. After finishing his studies, Richter co-founded the contemporary classical ensemble Piano Circus.] He stayed with the group for ten years, commissioning and performing works by minimalist musicians such as Arvo Pärt, Brian Eno, Philip Glass, Julia Wolfe, and Steve Reich. The ensemble was signed to Decca/Argo, producing five albums.
In 1996, Richter collaborated with Future Sound of London on their album Dead Cities, beginning as a pianist, but ultimately working on several tracks, as well as co-writing one track (titled Max). Richter worked with the band for two years, also contributing to the albums The Isness and The Peppermint Tree and Seeds of Superconsciousness. In 2000, Richter worked with Mercury Prize winner Roni Size on the Reprazent album In the Møde. Richter produced Vashti Bunyan's 2005 album Lookaftering and Kelli Ali's 2008 album Rocking Horse.
Max Richter has created numerous film and television soundtracks over the years. He composed the score to Ari Folman's Golden Globe-winning film Waltz with Bashir in 2007 supplanting the standard orchestral soundtrack with synth-based sounds and winning him the European Film Award for Best Composer. He also scored the independent feature film Henry May Long, starring Randy Sharp and Brian Barnhart, in 2008 and wrote the music for Feo Aladag's film Die Fremde (with additional music by Stéphane Moucha).
In 2010 Dinah Washington's This Bitter Earth was remixed with Richter's On the Nature of Daylight for the Martin Scorsese film Shutter Island. In July 2010, On the Nature of Daylight and Vladimir's Blues featured throughout the BBC Two two-part drama Dive, which was co-written by BAFTA-winning Dominic Savage and Simon Stevens. On the Nature of Daylight was also featured in an episode of HBO's television series Luck. Four tracks—"Europe, After the Rain", "The Twins (Prague)", "Fragment", and "Embers"—were used in the six-part 2005 BBC documentary Auschwitz: The Nazis and the Final Solution produced by Laurence Rees.[45] Richter also wrote the soundtrack to Peter Richardson's documentary, How to Die in Oregon,[46] and the score to Impardonnables (2011) directed by André Téchiné.
An excerpt of the song Sarajevo from his 2002 album Memoryhouse was used in the international trailer for the Ridley Scott film Prometheus. The track, November, from the same album, was featured in the international trailer for Terrence Malick's 2012 film, To the Wonder, and in the trailer for Clint Eastwood's 2011 film, J. Edgar. Films featuring Richter's music released in 2011 include French drama Elle s'appelait Sarah by Gilles Paquet-Brenner, and David MacKenzie's romantic thriller Perfect Sense. In 2012 he composed the scores for Cate Shortland's 2012 Australian-German war thriller Lore and Disconnect, directed by Henry Alex Rubin. Richter latest project is the score to Ari Folman's new film The Congress, which was released in 2013.
Richter is also the composer of the original soundtrack for the HBO series The Leftovers created by Damon Lindelof and Tom Perrotta, which was premiered in June 2014. Some of the compositions are included in the albums Memoryhouse and The Blue Notebooks.
In 2016, Richter composed the score to Nosedive, an episode of Charlie Brooker's Black Mirror. His piece On the Nature of Daylight opens and closes Denis Villeneuve's film Arrival. He wrote the score to Luke Scott's debut feature Morgan, and the score to Miss Sloane. He composed all the music in BBC One's drama Taboo which was broadcast in January and February 2017.
Richter wrote the score to Infra as part of a Royal Ballet-commissioned collaboration with dancer Wayne McGregor and artist Julian Opie. The production was staged at the Royal Opera House in London in 2008. In 2011, Richter composed a chamber opera based on neuroscientist David Eagleman's book Sum: Forty Tales from the Afterlives. The opera was choreographed by Wayne McGregor and premiered at the Royal Opera House Linbury Studio Theatre in 2012. The piece received positive reviews, with London's Evening Standard saying "[it] fits together rather beautifully".[50] Their collaboration continued in April 2014 with Wayne McGregor's 'Kairos'; a ballet set to Richter's recomposition of the Four Seasons and part of a collaborative program involving three different choreographers titled 'Notations' with Ballett Zürich.[51] In April 2014 it was also announced that Richter and McGregor will collaborate again together on a new full-length ballet for summer 2015, as part of the 2014–15 Royal Opera House season.[52] In 2012/13, Richter contributed music to The National Theatre of Scotland's production of Macbeth, starring Alan Cumming. The play opened at New York's Lincoln Centre and subsequently moved to Broadway.[53] The company had previously used Richter's 'Last Days' in their acclaimed production of Black Watch.
In 2010, Richter's soundscape The Anthropocene formed part of Darren Almond's film installation at the White Cube gallery in London. The composer has also collaborated with digital art collective Random International on two projects, contributing scores to the installations Future Self (2012),[54] staged at the MADE space in Berlin, and Rain Room (2012/13) at London's Barbican Centre[55] and MOMA, New York.
Maria the Poet
Max Richter Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I fathom from afar!
There will be time, and I will vanish too
From earth's exterior.
All will be still, that sang and that did struggle,
That glistened and rejoiced:
The greenness of my eyes, the gold of my hair,
Life will continue with its soft hot bread,
With day's oblivion.
All will continue ??? under outstretched heavens
As if I'd never been!
Like children changeable in every mien
And angry not for long,
Who loved the times when in the fireplace
Into ash turned the log,
Violin and cavalcade within the forest
And in the village, bell...
Upon this dear earth ??? I will be no longer
That was alive and real!
To all ??? who are the friends and strangers
To never having known the measure, me?
I turn to you with this my faith's demand
And love's query.
Both day and night, in word and letter both:
For truth of yes and no,
For that though I am but twenty I am
So often in such sorrow,
For unavoidably my slights and trespasses
Will be forgiven me ???
For all of my impetuous tenderness
And look too proud and free ???
For quickness of events as they come rushing,
For truth, for play, say I ???
Please hear me! But do also please love me
For this that I will die.
The song "Maria the Poet" by Max Richter is a somber meditation on the transience of human life. The lyrics speak to the inevitability of death and the fleeting nature of existence. The opening lines ask how many people have fallen into the abyss of death, and the singer reflects on how they too will one day vanish from the earth's exterior. Through the repetition of the phrase "all will be still," the singer emphasizes the fact that no matter how vibrant and alive we may feel in the present moment, eventually we will all be forgotten.
The middle stanza contains a series of images that reinforce the theme of impermanence. The greenness of the singer's eyes, the gold of their hair, and the sound of their voice will all disappear with time. The singer notes that life will go on as if they never existed, and compares their passing to the changing moods of children and the gradual decay of a log in a fireplace. The final stanza addresses the listener directly, asking them to remember the singer after they're gone and to both forgive them for their faults and love them for their mortality.
Overall, "Maria the Poet" is a poignant and melancholy piece that wrestles with some of the most profound questions of human existence. It reminds us that no matter how much we achieve or how deeply we love, all that we have will eventually fade away.
Line by Line Meaning
How many people fell in this abyss,
I ponder from afar about the countless people who have fallen into the abyss of uncertainty and despair.
There will be time, and I will vanish too From earth's exterior.
There will come a time when I too will depart from this world and be forgotten by its inhabitants.
All will be still, that sang and that did struggle, That glistened and rejoiced:
All those who sang or struggled, rejoiced or excelled, will become still and silent in the end.
The greenness of my eyes, the gold of my hair, And this my tender voice.
The distinguishing features of my face, the strands of my hair, and my voice that resonated with emotion and passion will fade away with the passage of time.
Life will continue with its soft hot bread, With day's oblivion.
Life will continue running its course with familiar routines, in which the events of each day will eventually fade into oblivion.
All will continue ??? under outstretched heavens As if I'd never been!
Everything will carry on beneath the vast and open sky as if my existence had never been part of it.
Like children changeable in every mien And angry not for long, Who loved the times when in the fireplace Into ash turned the log,
Like children who change their mood frequently and quickly forget their anger, who enjoyed watching logs being turned into ash in the fireplace,
Violin and cavalcade within the forest And in the village, bell...
Just like the sound of violins echoing in the forest and the distant sound of church bells in the village,
Upon this dear earth ??? I will be no longer That was alive and real!
On this beloved planet, I will cease to exist in my vibrant and living form.
To all ??? who are the friends and strangers To never having known the measure, me?
To all of those who might know of me but never truly understood me, whether friend or stranger,
I turn to you with this my faith's demand And love's query.
I implore you to take note of my earnest search for faith and inquire about the authenticity of my love.
Both day and night, in word and letter both: For truth of yes and no, For that though I am but twenty I am So often in such sorrow,
Whether in day or night, spoken or written words alike, I yearn for the truth, whether it is positive or negative. Despite my young age, I have experienced deep regret and despair many times.
For unavoidably my slights and trespasses Will be forgiven me ???
I hope that people will forgive me for my mistakes and weaknesses that are inevitably part of human nature.
For all of my impetuous tenderness And look too proud and free ???
I ask for tolerance and understanding towards my impulsive and oversensitive behaviors, and my tendencies to appear arrogant and unrestrained.
For quickness of events as they come rushing, For truth, for play, say I ???
I urge you to cherish the fleetness of life as events rush by, and to value both the sincerity of truth and the spontaneity of play.
Please hear me! But do also please love me For this that I will die.
Please pay attention to my words and listen to my plea for love and empathy. For the fact that I am mortal, I hope that you will also cherish me.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@xrahmonx
Уж сколько их упало в эту бездну,
Разверзтую вдали!
Настанет день, когда и я исчезну
С поверхности земли.
Застынет все, что пело и боролось,
Сияло и рвалось.
И зелень глаз моих, и нежный голос,
И золото волос.
И будет жизнь с ее насущным хлебом,
С забывчивостью дня.
И будет все — как будто бы под небом
И не было меня!
Изменчивой, как дети, в каждой мине,
И так недолго злой,
Любившей час, когда дрова в камине
Становятся золой.
Виолончель, и кавалькады в чаще,
И колокол в селе…
— Меня, такой живой и настоящей
На ласковой земле!
К вам всем — что мне, ни в чем не знавшей меры,
Чужие и свои?!-
Я обращаюсь с требованьем веры
И с просьбой о любви.
И день и ночь, и письменно и устно:
За правду да и нет,
За то, что мне так часто — слишком грустно
И только двадцать лет,
За то, что мне прямая неизбежность —
Прощение обид,
За всю мою безудержную нежность
И слишком гордый вид,
За быстроту стремительных событий,
За правду, за игру…
— Послушайте!- Еще меня любите
За то, что я умру.
@anonymous-rs8nh
How many have already fallen there-
Far land with no way back-
As everyone in turn,I'm also destined
To reach the last instant.
My grass-green eyes,my soul that sang and fought
And spread her blinding beams,
My golden hair and enchanting voice
Will vanish like a dream!
The search of bread,the things of day's importance
Perpetually will last,
And there'll be all-as if my own life-span
Was nothing but the dust!
@vanessas7498
Español!
Cuánta gente cayó en este abismo,
¡Yo comprendo desde lejos!
Habrá tiempo, y también desapareceré.
Desde el exterior de la tierra.
Todo estará quieto, que cantó y que luchó,
Que brillaba y se regocijaba:
El verdor de mis ojos, el oro de mi cabello.
Y esta mi tierna voz.
La vida continuará con su suave pan caliente,
Con el olvido del día.
Todo continuará - bajo cielos extendidos
Como si nunca hubiera estado!
Como niños cambiantes en cada semblante.
Y enojado no por mucho tiempo,
¿Quién amó los tiempos cuando en la chimenea?
En ceniza volvió el registro,
Violín y cabalgata en el bosque.
Y en el pueblo, campana ...
Sobre esta querida tierra - ya no estaré
¡Eso fue vivo y real!
A todos - ¿Quiénes son los amigos y los extraños?
¿Por no haber conocido nunca la medida, yo?
Me dirijo a ti con esta exigencia de mi fe.
Y la consulta del amor.
Tanto de día como de noche, tanto en palabra como en letra:
Por la verdad del sí y el no.
Por eso aunque sólo sea veinte soy
Muy a menudo en tal dolor,
Por inevitablemente mis desaires y transgresiones.
Me será perdonado
Por toda mi impetuosa ternura.
Y parece demasiado orgulloso y libre -
Para la rapidez de los eventos como vienen corriendo,
Para la verdad, para jugar, digo yo ...
Por favor escuchame Pero también por favor amame
Por esto que moriré.
@sashartii
enjoy )
How many people fell in this abyss,
I fathom from afar!
There will be time, and I will vanish too
From earth's exterior.
All will be still, that sang and that did struggle,
That glistened and rejoiced:
The greenness of my eyes, the gold of my hair,
And this my tender voice.
Life will continue with its soft hot bread,
With day's oblivion.
All will continue - under outstretched heavens
As if I'd never been!
Like children changeable in every mien
And angry not for long,
Who loved the times when in the fireplace
Into ash turned the log,
Violin and cavalcade within the forest
And in the village, bell...
Upon this dear earth - I will be no longer
That was alive and real!
To all - who are the friends and strangers
To never having known the measure, me?
I turn to you with this my faith's demand
And love's query.
Both day and night, in word and letter both:
For truth of yes and no,
For that though I am but twenty I am
So often in such sorrow,
For unavoidably my slights and trespasses
Will be forgiven me -
For all of my impetuous tenderness
And look too proud and free -
For quickness of events as they come rushing,
For truth, for play, say I -
Please hear me! But do also please love me
For this that I will die.
and here you can find more!
http://cvetaeva.ouc.ru/the-best-of-marina-tsvetayeva-translated-by-ilya-shambat.html
@beefquiche
@@MrPopcornXY
How many people fell in this abyss
I fathom from afar!
There will be time, and I will vanish too
From earth's exterior
All will be still, that sang and that did struggle
That glistened and rejoiced:
The greenness of my eyes, the gold of my hair
And this my tender voice
Noah Kahan 'Forever' Official Lyrics & Meaning | Genius Verified
Life will continue with its soft hot bread
With day's oblivion
All will continue — under outstretched heavens
As if I'd never been!
Like children changeable in every mien
And angry not for long
Who loved the times when in the fireplace
Into ash turned the log
Violin and cavalcade within the forest
And in the village, bell...
Upon this dear earth — I will be no longer
That was alive and real!
To all — who are the friends and strangers
To never having known the measure, me?
I turn to you with this my faith's demand
And love's query
Both day and night, in word and letter both:
For truth of yes and no
For that though I am but twenty I am
So often in such sorrow
For unavoidably my slights and trespasses
Will be forgiven me —
For all of my impetuous tenderness
And look too proud and free —
For quickness of events as they come rushing
For truth, for play, say I —
Please hear me! But do also please love me
For this that I will die
@anonymous-rs8nh
How many have already fallen there-
Far land with no way back-
As everyone in turn,I'm also destined
To reach the last instant.
My grass-green eyes,my soul that sang and fought
And spread her blinding beams,
My golden hair and enchanting voice
Will vanish like a dream!
The search of bread,the things of day's importance
Perpetually will last,
And there'll be all-as if my own life-span
Was nothing but the dust!
@beatitbeatit100
Удивительный синтез Марины Цветаевой с этой современной музыкой. Рихтер сумел проникнуть в самую суть этого стихотворения потрясающего русского поэта, где выражено поистине библейско-христианское ощущение вечной жизни, где душа не умирает никогда. Все наши души разлиты в вечном космосе навсегда - об этом Стихи Цветаевой.
@xrahmonx
Уж сколько их упало в эту бездну,
Разверзтую вдали!
Настанет день, когда и я исчезну
С поверхности земли.
Застынет все, что пело и боролось,
Сияло и рвалось.
И зелень глаз моих, и нежный голос,
И золото волос.
И будет жизнь с ее насущным хлебом,
С забывчивостью дня.
И будет все — как будто бы под небом
И не было меня!
Изменчивой, как дети, в каждой мине,
И так недолго злой,
Любившей час, когда дрова в камине
Становятся золой.
Виолончель, и кавалькады в чаще,
И колокол в селе…
— Меня, такой живой и настоящей
На ласковой земле!
К вам всем — что мне, ни в чем не знавшей меры,
Чужие и свои?!-
Я обращаюсь с требованьем веры
И с просьбой о любви.
И день и ночь, и письменно и устно:
За правду да и нет,
За то, что мне так часто — слишком грустно
И только двадцать лет,
За то, что мне прямая неизбежность —
Прощение обид,
За всю мою безудержную нежность
И слишком гордый вид,
За быстроту стремительных событий,
За правду, за игру…
— Послушайте!- Еще меня любите
За то, что я умру.
@2k2f2k
Прекрасно!
@Ptnxyjlolalalalala
@p i j o n Цветаева же
@zoyashchurova3915
Спасибо за слова поэмы, в ролике они не слышны в конце строки... ещё раз благодарю 🌹
@suzi-c
Thank you kindly for the words ☺️
@ManpreetSingh-oi5kn
I usually prefer just the music in pieces like this; but something about this piece along with the poem, before even knowing what the translation was, hit me right in the centre of my being.
@frankcavaciuti5947
Just left "Lost German Girl", This music is hypnotic.
@TheHerrUlf
I did too. Indeed it is. - Frank, if you search the internet you will find an article in which she tells her story of those final days of WW2.
@CraigCanberra
@@TheHerrUlf Could you please post a link to this article? There is huge speculation about who this girl is and no-one is sure so finding a link is difficult.