His work is grounded in raw emotion and other worldly mystique, blending electronic and classical seamlessly together. He’s also contributed original scores to the theatre, ballet and film. Richter is regarded as one of Britain’s greatest living composers, with his records ‘Memoryhouse’ and ‘Infra’ among the standout achievements of contemporary classical music. If silence is more powerful or symbolic, then your job as a composer is to exercise some restraint.” Kubrick knew that if there wasn’t a piece of music that could match the pure spectacle on the screen then it was best to leave things silent, which is probably why so much of 2001 is in silence and based around the white noise of space.
“It’s a film I owe a lot to, it taught me the power of matching incredible images with incredible pieces of music. “I was already studying the piano but watching 2001 really consolidated my love for classical music,” says Richter. But even though the film’s highly subjective plot, which is centred around a mysterious monolith guiding humanity through pivotal moments on its evolutionary path, leaves more questions than answers, the German-born British composer was certain that director Stanley Kubrick’s use of classical music was groundbreaking. Is it cinema? Or is it supposed to be like an art installation? Why is a giant baby floating through space? These were some of the questions flying through Max Richter’s head when he first watched 2001: A Space Odyssey as a teenager.
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