Max Richter - Sleep at Sydney Opera House 3.6.2016

Added 4 months ago
Title: Max Richter - Sleep at Sydney Opera House 3.6.2016
Category: Misc
Size: 2.19 GB
Added: December 6, 2018, 1:21 pm
Though not minimalist like La Monte Young and Marian Zazeela's "The Well-Tuned Piano In The Magenta Lights," (which I will be reseeding soon), it rivals that performance in its sheer stamina. While I have watched the latter in a full non-stop candle-burning session I have not watched all of this one...yet. It's quite beautiful and more obstensibly dynamic than Young and Zazeela's show. I recommend both, though the Well-Tuned piano really does demand committment to true minimalism. It's so subtle. I'll make sure to let everyone know when I reseed that. Needless to say, headphones or a good stereo setup is essential (for both of these). Also, while the Young DVD is untouched, this one is not and results on less of a ratio dent while maintaining great quality. - psom


This is one of the more extraordinary musical experiences you will ever witness. max richter brought the full eight-hour performance of SLEEP to the sydney opera house for the Vivid Festival this year, and amazingly the ABC broadcast the whole thing live. the performance started just before midnight and ended after sunrise [though the night was one of the stormiest in sydney for years, so there was no sun on the harbour]. i was one of the lucky few who spent the night there for the performance, and whatever reservations i might have about richter's music, it was a quite astonishing event.

'The audacious composer Max Richter has created an eight-hour piece meant to serve as a sleep aid. But it is more than that. For these 31 uninterrupted pieces, Richter accepts the extraordinary challenge of not only aiding sleep but also translating the act into art. If you listen while youre awake, many of these pieces conjure dreamy states, where ideas seem fluid and flexible and the world around you seems somehow softer.

It is hard to know what to make of Sleep, the new eight-hour album and therapeutic project from the perennially audacious British composer Max Richter. On one hand, the purpose is simple: Richter intends for the listener to press "play" on the full-length digital version, nod off to sleep somewhere between the patient piano chords of "Dream 1" and the vocal-and-organ ululations of "Path 3," and re-emerge after eight hours of music to a gentle crescendo of stretching strings, wordless harmonies, and long-tone bass near the close of "Dream 0". By consulting with famed neuroscientist and past collaborator David Eagleman, Richter has created a slow-motion, electronics-and-chamber-ensemble hybrid meant to reirce and reflect natural sleep cycles. "An invitation to dream," Richter has called it.

On the other hand, the third-of-a-day span between the beginning and the end isnt some inert, sustained tone, simply meant to maintain a snooze. Instead, its an ever-shifting set of meticulously performed pieces that both affirm and expand Richters reach as a composer. He webs together string quartets and electronic drones, tense duets for piano and violin, and somnolent keyboard meditations. Richter brings most of his interests as a composer to bear here, too. He blends an Arvo Prt-like sense of motion with deep, low notes and shimmering drones that reflect his past in electronica and adoration of Brian Eno. His love of high-minded concepts, previously reflected by the likes of his essential The Blue Notebooks, meets his exquisite, human touch as a pianist.

So should you use Sleep as directed, as "a landscape where people could fall asleep"? Or should you sit upright and let the beguiling Richter ease your daylight hours? Can you actually do both?

Richter, of course, is not alone in his quest to help listeners rest better. Sleep is an active avenue of both art and commercein large part, it would seem, because we do not get enough of it. The ceaseless streams of social media feeds and on-demand entertainment have intensified that diagnosis. According to Sleepless in America, a National Institutes of Health-supported documentary aired last year by National Geographic, the average person now dozes thousands of hours less than they once would have, a condition that comes with profound physical and mental symptoms. Instead, we spend billions of dollars every year on ways to get more sleep, from medicines that induce it and conditions that foster it to beds that support it and systems that monitor it. We write books meant to reward children for falling asleep, and in a rather Orwellian twist, we weed out employees whose sleep disorders might disrupt productivity.

And when we do get it, we brandish it, whether bragging about how good it felt, analyzing our dreams, or funneling pieces of the experience into art. A recent show in New York sampled centuries of art inspired by hypnagogia, that surreal state of mind just between wake and sleep; in 2013, the hotel chain Ibis introduced a feature to guests that tracked their nocturnal movements and transformed them into a lysergic piece of "Sleep Art". Sleep fascinates exactly as it frustrates, creating a reflexive cycle that never actually ends.

For these 31 uninterrupted pieces, Richter accepts the extraordinary challenge of not only aiding sleep but also translating the act into artthat is, he scores a scene he sets himself. If you listen while youre awake, many of these pieces conjure dreamy states, where ideas seem fluid and flexible and the world around you seems somehow softer. "Aria 2", which arrives in the pieces final third, turns a sublime piano phrase into a seemingly infinite maze, as though you could follow it forever and never go anywhere. Strings and electronics wash around the melody in waves, oscillating glacially between a few glowing notes like Sigur Rs at their most romantic or Stars of the Lid at their most staid.

"If You Came This Way" suggests the sweeping, soaring motion of a symphony, though muted and slightly distant, as if it were being played in another room of the same building. The action grows grand only for an instant, testing the limits of your reverie only to galvanize it a moment later. And the gorgeous "Song / Echo" seems to do for chamber pop what Grouper has long done for folk rockdisassemble it and scatter the elements in a cloud, making something so wide and gentle that you think you might be able to live inside it. You can snooze in any of these songs. Just don't think about all you will miss.

In talking about this eight-hour nightlight of sound, Richter has often lamented the pace of the modern world and the torrent of irmation that many of us must face each day. "We have to curate our own irmation space and thats quite a big deal to do," he told The Quietus. "Youll still have to make tons and tons of choices and spend so much of the day reading all these different messages which will give you tons of reading. So sometimes a pause is a good thing."

That idea aligns Richter with the researchers and marketers trying to give people a chance to check out for eight consecutive, recuperative hours, yes. But his use of the word "pause" also reflects the way Ive enjoyed Sleep the mostnot as a sleep aid but instead as a relaxing agent. Most of this music is indeed calming not to the point of boredom, where I need to sleep through it, but so that I simply want to sit still and listen and ponder. And though Richter took considerable pains to make Sleep seamless, the payoff of hearing it as a whole (a rather exhausting proposition, ironically) versus the resources required to do so is incredibly low. The music shifts between and slowly recycles parts, so you consistently wind up at some place very close to the start. Instead, I like to push "play" in random places and listen for an hour or so, a move that allows me to hear Richter at glorious work and gives me the chance for the restorative "pause" for which hed hoped. This music is absorbing. You'll want to pay attention, to shut out other concerns. The stretch between the narcotic "Chorale / Glow" and the twinkling "Non-eternal" is perhaps my favorite segment for this reason; its an immersive sampler of Richters past successes and some new ideas, blurring into one.

Sleep, then, is simply too didactic as a name. Its a command that tells us how to enjoy something that clearly has other uses. That handle, combined with Richters conceit, has turned the record into a kind of clickbait story, too, which seems entirely antithetical to Richters point. ("That 8-Hour Sleep AlbumExplained," offers the Time headline.) Pause and Rest come closer to Richters ultimate goal of simply taking some time out from the whirlwind around you. At its best, Sleep feels like compositionally rigorous new age music. Its a place in which you can settle for a while, with or without a pillow, and emerge only when you are ready to rejoin the restive world.' - Pitchfork

SubtitlesUnknown if subtitles included

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Max Richter - Sleep at Sydney Opera House 3.6.2016.mkv
GeneralContainer: Matroska
Runtime: 8h 0mn
Size: 2.20 GiB
VideoCodec: H264
Resolution: 640x360
Aspect ratio: 16:9
Frame rate: Variable
Bit rate: Variable

Audio1: English 2.0ch AAC
Size2.20GB (2,357,642,677 bytes)
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