Max Richter, the German-born British composer whose work has become synonymous with emotional resonance in film and television, is experiencing a remarkable moment in his career. Nominated for his first Oscar for the score to Chloé Zhao’s Hamnet, Richter’s ascent is particularly noteworthy given a past, unintentional role in another composer’s Oscar setback.
In 2016, Jóhann Jóhannsson’s score for Denis Villeneuve’s Arrival was disqualified by the Academy, with judges finding it too similar to Richter’s “On the Nature of Daylight.” The piece, a soaring and minimalist composition from Richter’s 2004 album The Blue Notebooks, had effectively become the go-to cue for moments of profound contemplation on screen. Now, a decade later, Richter finds himself nominated for an award with a score that, crucially, also relies heavily on “On the Nature of Daylight.”
The ubiquity of “On the Nature of Daylight” has, ironically, invited some criticism. Tom Service of the Guardian recently dismissed the piece as a “go-to cliche for moments of serious contemplation or emotional intensity.” Despite this, or perhaps because of it, Zhao chose to employ the track in the final moments of Hamnet, even after composing original music for the scene. She later stated that the existing piece “could not be replaced, spiritually” after it had been used during rehearsals.
Richter’s journey to this point has been anything but conventional. Raised in Bedford after being born in Hamelin, Lower Saxony, his introduction to minimalist music came through an unexpected source: his local milkman, who shared records by Terry Riley, Philip Glass, and John Cage. This early exposure sparked an epiphany, setting him on a path that diverged from traditional classical training.
His ability to bridge the gap between “high” and “low” music became a defining characteristic. While classically trained, Richter has always acknowledged his appreciation for electronic music, citing Kraftwerk and Stiff Little Fingers as influences. Before establishing himself as a composer, he collaborated with electronic acts like the Future Sound of London in the mid-1990s and contributed string arrangements to Roni Size & Reprazent’s 2000 album, In the Møde.
Christian Badzura, A&R vice-president at Deutsche Grammophon, recalled being struck by Richter’s 2002 debut, Memoryhouse, and its follow-up, The Blue Notebooks. “He clearly had these classical pen-and-paper skills, but he managed to create tonal music that never sounded thin. There was a lot of emotional intensity.” These albums are now recognized as landmarks in the “neo-classical,” “post-minimalism,” or “new repertoire” genres.
Much of Richter’s success has come through collaboration. Kevin O’Hare, director of the Royal Ballet, praised Richter’s reliability and ability to deliver on tight deadlines, a crucial quality in the world of ballet where commissions are often made years in advance. O’Hare highlighted the composer’s skill in crafting music that responds to sudden shifts in mood and setting, noting that his work doesn’t rely on constant melodrama but “has that ability to just hit the right emotions at the right moments.” Richter has collaborated with choreographer Wayne McGregor on productions like 2015’s Woolf Works and 2022’s MaddAddam.
His film work, beginning with Ari Folman’s 2008 animated documentary Waltz with Bashir, has solidified his reputation. “On the Nature of Daylight,” in particular, has become a staple in numerous films and television shows, appearing in everything from fantasy romances like Stranger than Fiction to thrillers like Shutter Island and even a 35th-anniversary episode of the British soap opera EastEnders. Its enduring appeal lies in its unique harmonic structure, described by Jono Buchanan, a TV composer and lecturer at the Guildhall School of Music and Drama, as possessing qualities familiar to both classical and pop music fans – “You are just as likely to find similar harmonic shapes in Coldplay’s Fix You as in Barber’s Adagio for Strings.”
Buchanan explains that the piece achieves a rare balance, being both bright and dark, warm and cold simultaneously. “It doesn’t nail its emotional colours to the mast, so you can nail it to any mast you like.” This adaptability, however, is precisely what has drawn criticism from some, with The New Yorker’s Alex Ross arguing that Richter’s music is ultimately “inoffensive” and “deferential.”
Richter’s work extends beyond purely emotional impact. His 2020 project, Voices, created with visual artist Yulia Mahr, incorporates text from the Universal Declaration of Human Rights into his music. Sam Jackson, controller of BBC Radio 3 and the BBC Proms, believes Richter’s music transcends its functional qualities. “Contemporary composers who embrace melody, like he does, are sometimes dismissed as making music to ‘lean back to’; to have on in the background to serve your mood. But his music also inspires people to lean forward.” Jackson notes that listeners often inquire about the deeper meaning behind Richter’s work, particularly after hearing “On the Nature of Daylight” on the radio.
As Richter approaches his 60th birthday, just a week after the Oscars ceremony, his nomination for Hamnet represents a culmination of a career spent blurring boundaries and connecting with audiences on a deeply emotional level. Whether he wins the award remains to be seen, but his influence on contemporary music and film is undeniable.
