MAX RICHTER Three Worlds

MAX RICHTER
Three Worlds:
Music from Woolf Works

Int. Release 27 Jan. 2017
1 CD / Download
0289 479 7158 0
Jewelcase Version


トラック・リスト

Max Richter (1966 - )
Three Worlds: Music From Woolf Works

Woolf Works

Mrs Dalloway

1.
1:02

Virginia Woolf

2.
5:17

Max Richter, Louisa Fuller, Natalia Bonner, John Metcalfe, Ian Burdge, Chris Worsey

3.
6:56

Deutsches Filmorchester Babelsberg, Robert Ziegler, Hila Karni

4.
6:07

Max Richter, Louisa Fuller, Natalia Bonner, John Metcalfe, Ian Burdge, Chris Worsey

Orlando

Sarah Sutcliffe

Deutsches Filmorchester Babelsberg, Robert Ziegler

7.
1:32

Max Richter

8.
2:06

Deutsches Filmorchester Babelsberg, Robert Ziegler, Mari Samuelsen

9.
3:07

Deutsches Filmorchester Babelsberg, Robert Ziegler, Max Richter

Deutsches Filmorchester Babelsberg, Robert Ziegler

11.
2:05

Max Richter, Ian Burdge

Deutsches Filmorchester Babelsberg, Robert Ziegler, Max Richter

14.
1:29

15.
2:34

Max Richter

The Waves

16.
21:38

Deutsches Filmorchester Babelsberg, Robert Ziegler, Mari Samuelsen, Hila Karni, Grace Davidson, Gillian Anderson

再生時間合計 1:06:19

. . . an outstanding modern score by Max Richter . . .

. . . [Richter] has consistently produced albums that manage to surprise with their creativity even as they subtly overwhelm with their emotional impact . . . "In the Garden" begins unhurriedly, caressingly, with melodies that immediately take their place among Richter's most beautiful. With its graceful strings mingling with piano lines that seem simple at first blush, it blossoms according to his penchant for gradually touching the transcendent . . . [the album's closing piece is] stunning in its quietude . . . The juxtaposition between the plaintive string tones and Anderson's performance of Woolf's note, poignant yet conversational in its intimacy, is truly transfixing . . . [in "Three Worlds", Richter seems to make an] argument for music, which speaks with its own language, and allows me to enter into Woolf's world . . . his music allows me to feel a connection to her emotions and the emotions of her characters . . . and further acquaints me with a composer to whom I am always eager to return.

The last time Max Richter was featured at "A Closer Listen", he was awarded the Album of the Year. This produced enormous expectations for the follow‑up, yet to no one's surprise he's come through again . . . The mood ranges from gorgeously lush ("In the Garden") to somber ("War anthem") to devastatingly aching ("Tuesday") . . . Richter's victory is to provide a soundtrack to Woolf's life, and even deeper, her heart . . .

. . . Richter weaves his characteristic ancient-modern magic, with simple piano and violin figures engaged in a courtly dance.

In his most iconic moments, Richter is an instantly satisfying composer, soundtracking to our dreams and memories . . . "Three Worlds" is morose and cryptic, like the best Richter. It begins with "Words" containing a beautiful church bell and a sample of Woolf reading . . . The calm piano on "In the Garden" which follows contrasts completely . . . The violin accompaniment is simple, but flowering, the passages build and blend and crescendo with ardent movement . . . the album travels back and forth across the familiar ground with mostly glowing results . . . "Three Worlds" is rewarding as a background record as well as cognitive listening. Richter's sound is best served without real pictures but paired with your dreams.

. . . much like Woolf's fiction, Richter seems to echo the stream of consciousness prose, and the exploration of memory and perception in her work . . . On "War Anthem" the cello's deep resounding throb gives way to lighter ascending stings full of heart-rending sorrow. But it's despair leavened with intense beauty . . . Richter ably reflects this progressive prose by combining traditional acoustic instrumentation with ambient electronics . . . [in "Tuesday"] the music swells and recedes, ebbs and flows; the crests crowned with Grace Davidson's pure and high vocal. The result is utterly immersive and makes for a highly emotive conclusion of fitting breadth . . . Max Richter has crafted something that feels like a timeless nod to the past, and yet is an inventive ode to Woolf's modernism. He has followed up the exceptional "Sleep" with yet another dazzling work . . .

. . . ["Word"] is a stunning way to open the score, and gives credence to Richter's invisible hand shaping the narrative of the dance . . . dips and dives are telegraphed like a routine ballroom dance. Some of it is quite beautiful, foregrounding his graceful piano playing . . . Richter's singular ability to meld electronics into classical arrangements breathes life into this idea, and on pieces like the "The Explorers" or "Modular Astronomy", he deploys electronics that are both silken and pointedly mechanical . . . arresting . . .

Richter provides a perfect eulogy for Woolf . . . Richter's restraint makes "Tuesday" -- it doesn't go for a straight gut-punch, instead moving with grace . . . When it does roll into its climax, it is breathtaking and magnificent, one of Richter's finest singular pieces . . . "Tuesday", even at its most desolate, is still sublime, never allowing itself to be weighed down in sheer depression. And that, in a sense, is the genius of both Richter and "Woolf Works". He does not just blend disparate instruments together, but also a beautiful and painful mix of emotions.

Richter shows his versatility as a composer throughout this album . . . The music for "Mrs Dalloway" is incredibly intimate and has a small-scale setting to go with it. "Utterances like Words" and "In the garden" are simplicity itself and are subtly scored, while "War anthem" features a resonant cello, beautifully played by Hila Karni . . . "Morphology" has a lovely, open texture . . . ["Tuesday" is a powerful meditation where] Richter's musical development is subtle, the elegiac motif generating a deep and lasting power that leads to a final, exhausted coda . . . "Tuesday" is a really impressive piece of work, showing how he can command the attention of an audience over a longer structure . . . Not always the cheeriest album, "Three Worlds" does nonetheless become both a restful and emotionally powerful piece of meditation, a heartfelt response to the works of one of Britain's finest 20th century novelists.

His poignant, classically arranged pieces -- like "War Anthem" -- sit surprisingly well alongside more electronic compositions. It is most notable for its spoken-word entries . . . [like] the quietly swelling, affecting "Tuesday".

. . . ["Woolf Works" c'est] une réflexion sur le temps, la mémoire et la perte, où l'immense palette de Richter trouve pleinement à s'exprimer, allant d'orchestrations baroques à des dérives synthétiques, de mouvements de cordes enlevés à des drones patibulaires. C'est, comme souvent, le clair-obscur cher à Richter qui surnage, cette mélancolie tenace et profonde . . . [le disque se conclut sur "Tuesday",] un chant sans mots et une orchestration très cinématographique, lente mais jamais inerte, sombre mais toujours aérienne. En un mot: apaisante.

L'atmosphère de l'album est là. Spirituelle, magnétique: ces collages de piano, cordes, sons électroniques, rumeurs de la ville et des champs qui tissent le son post-minimaliste de Richter, au confluent de Glass, Xenakis, Eno et Mahler . . . Doucement envoûtant.

Max Richter répond de la plus belle des manières avec des disques toujours plus inventifs tel ce "Sleep". . . Il n'hésite pas à concasser sa musique qui finit par s'épurer à l'extrême comme le névrotique "Possibles". On devine, en sous-lecture, tout le poids du désespoir de Virginia Woolf, car bien plus que la seule évocation des écrits de l'auteur, c'est un peu Virginia Woolf qui revient à la vie . . . On y entend aussi la voix de Gillian Anderson (Dana Scully dans "X Files") dans cette longue pièce ("Tuesday"), superbe comme une aube qui se lève, comme la première aube, comme la dernière . . . On ne s'explique pas cet attrait renouvelé encore et toujours pour la musique de Max Richter, l'affection que l'on porte à ses climats changeants, à cette liberté qui constitue chacune de ses pièces, à cette lucidité dans le regard, à cette empathie pour la vie et les autres.

. . . [Max Richter] compose "Three Worlds: Music from Woolf Works" comme s'il peignait à main levée les souffrances de Woolf et ses personnages. Des sonorités orchestrales, des instruments solistes et des voix parfumées de mélancolie: la recette ne pouvait fonctionner qu'au-delà de la transcendance artistique, de cette sommité si particulière que Max Richter atteint à chaque fois . . . Richter est l'un des plus doués et influents compositeurs de sa génération . . . Richter nous offre une radiographie exaltante . . . Des cordes élégiaques, des harmonies en boucles et ardemment connectées avec les errances de l'héroine font de cette première partie une immersion totale . . . "Music from Woolf Works" libère une émotion sans précédent, extrêmement forte de sens et d'espoir . . . Son langage harmonique converge vers une extase délicieuse et terriblement envoûtante. Max Richter nous transcende en tous points.