The Blue Notebooks
by Max Richter
Added 2004-07-01 00:00:00Z
Limited availability
Avg rating: 8.6 | 65 plays | 3 reviews
Opening with a text from Franz Kafka over a sparse piano melody, the album moves through gorgeous, heart-wrenching string swells of ‘On The Nature Of Daylight’ (which quotes a tune from ‘Memoryhouse’); through to sparse but lyrical piano pieces; hazy, swirling atmospherics, avalanche pulse-beats and partially occluded melodies that recall Aphex twin’s ‘Ambient Works’ albums; and to reverberant organ / choir recordings.
Utilising piano, cello, violin and viola, alongside electronic beats (made using a variety of antique electronics and Reaktor), spoken word passages and the occasional field recording, other sounds were generated via old guitar pedals and vocoders. The organ music was made for a chapel near Tourtres in South-West France, whilst the environmental sounds are mainly recorded around London. The tone of the album is generally domnbeat – a series of bittersweet articulations that seem suspended somewhere between a certain dreamy sense of wonder / awe and a heavy melancholia.
Peppered across Richter’s music like diary entries (and backed with attendant typewriter clatter) are a number of literary texts or ‘shadow journals’ (lifted from Kafka’s ‘the Blue Octavo notebooks’, and from Polish author Czseslaw Milosz’s ‘Hymn Of The Pearl’ and ‘Unattainable Earth’). Apparently chosen by Richter on instinct, they were recorded by acclaimed British actress, Tilda Swinton, who has starred in films including ‘Adaption’, ‘Orlando’, ‘The Garden’, and ‘The Beach’. These brief passages muse over time, memory, and the impermanent nature of things.
Utilising piano, cello, violin and viola, alongside electronic beats (made using a variety of antique electronics and Reaktor), spoken word passages and the occasional field recording, other sounds were generated via old guitar pedals and vocoders. The organ music was made for a chapel near Tourtres in South-West France, whilst the environmental sounds are mainly recorded around London. The tone of the album is generally domnbeat – a series of bittersweet articulations that seem suspended somewhere between a certain dreamy sense of wonder / awe and a heavy melancholia.
Peppered across Richter’s music like diary entries (and backed with attendant typewriter clatter) are a number of literary texts or ‘shadow journals’ (lifted from Kafka’s ‘the Blue Octavo notebooks’, and from Polish author Czseslaw Milosz’s ‘Hymn Of The Pearl’ and ‘Unattainable Earth’). Apparently chosen by Richter on instinct, they were recorded by acclaimed British actress, Tilda Swinton, who has starred in films including ‘Adaption’, ‘Orlando’, ‘The Garden’, and ‘The Beach’. These brief passages muse over time, memory, and the impermanent nature of things.
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