My first thought when I heard about British composer Max Richter’s eight-hour opus, Sleep, was of Andy Warhol’s avant-garde film of the same name, made in 1963, and depicting a man in various phases of slumber over a six-hour period. It was met with boos back then, but its conceptual quirkiness is now seen as yet another aspect of the Warhol genius.
Richter is considered a bit of a genius himself in contemporary classical music circles. I first became familiar with him via his masterful reworking of Vivaldi’s baroque chestnut, The Four Seasons, released on the Deutsche Grammophon label in 2012. In a piece for Blogcritics which appeared that year, this reviewer wrote that “His [Richter’s] magnificent melding of past and present shows again that great works of art are organic things, which, in respectful hands, can be reshaped into something fresh and wondrous and altogether new.”
Read the full review at Blogcritics.org