Max Richter's "In A Landscape" & North American Tour with ACME: Apr 26 - May 10

Over the course of some 50 recordings, spanning soundtracks for dance, theater, installation and film, beginning with 2002's "Memoryhouse", Max Richter has marked out a body of work in a field shared with such 21st Century contemporaries as Jóhann Jóhannsson and Ólafur Arnalds. Backed by the American Contemporary Music Ensemble, he returns to North America this spring with dates in prestigious venues as varied as Chicago Symphony, BAM, Kennedy Center, and Seattle Symphony, to present selections from "In A Landscape", and his wider body of work. Many of the entries in Richter's prolific discography are commissioned works, such is the case with "Infra", a score for the modern dance choreographer, Wayne McGregor. Not limited to dance work with Company Wayne McGregor, their collaborations have also embraced cutting edge transmedia installations like those of Random International. Their "Future Self" was one of the first in a series of successful collaborations with a score supplied by Richter. Following in rapid succession, the trio's "Rain Room" made its premier at The Barbican London the following year, to then becoming a sensation stateside at MoMA's PS1, and eventually concluding its run at the Los Angeles County Museum of Art.

An unexpected turn by the composer who recently exclaimed "I'm a Low-key Raver! I Love all Kinds of Music", to the Baroque era produced another of Richter's major hits in his neoclassical reworking of Antonio Vivaldi's "The Four Seasons" for the Deutsche Grammophon Recomposed series. The project presented abundant opportunities to express these shared juxtapositions of angular mathic patterns and gradual, flowing, tectonic undertows. After "Max Richter gave The Four Seasons a Modern Update", with the original volume "The Four Seasons: Recomposed" in 2012, he then returned to the work a decade later, and convinced Deutsche Grammophon of the necessity of a new performance and recording. This "The New Four Seasons: Recomposed", may seem an exercise in indulgence and paradox, as Richter utilizes both classic period instruments alongside analog synthesizers, yet the composer convincingly rationalizes this reworking for The Guardian, "Max Richter on Rewriting The Four Seasons - for the Second Time".

Among his major works, in 2015 the composer realized his long developing 8 hour piece for the facilitation of "Sleep". The full night-long composition is available as a recording for home consumption both digitally, as a ultra high fidelity Blu-Ray audio release, as well as a separate edition of excerpt highlights conceived to represent the more engaged listening aspects, titled "From Sleep". But it is in performance that "Sleep" most explicitly realizes its intent. Premiering in atypical venues across Europe, such as the Welcome Collection Reading Room, wherein the attendees nestled their campbeds between the reading room’s bookshelves for the performance of Richter's "Eight-hour Lullaby for a Frenetic World". This bold venture was met with anticipation for its experiment in duration and setting, in both Rolling Stone's "Composer Max Richter to Perform Overnight L.A. Concerts with 560 Beds", and the Los Angeles Times' "Composer Max Richter Wants Fans to Spend the Night in Grand Park". There has been no shortage of coverage in the pages of The Los Angeles Times, Time and NPR connecting the ritualized durational performance of "Sleep", and its benefits in relation to the media abundant and time-scarce times in which we live.