Werk ohne Autor (Original Motion Picture Soundtrack) Max Richter
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- 1The Mind’s Eye02:48
- 2Kurt & Elisabeth02:51
- 3Enemy Lines06:47
- 4Memory Lane02:56
- 5Sleeping Lions02:17
- 6The Professor’s Portrait03:22
- 7The Interrogation05:48
- 8To Belong01:32
- 10Your Pen, Your Sword06:06
- 11A Way Out05:39
- 13Fat & Felt04:44
- 14Begin Again01:50
- 15Art School01:24
- 16The Exhibition05:28
- 17A Blank Canvas02:44
Info for Werk ohne Autor (Original Motion Picture Soundtrack)
With „Never Look Away“ (German title „Werk Ohne Autor“), inspired by the early life and career of renowned contemporary artist Gerhard Richter, Florian Henckel von Donnersmarck once again looks into the dark corners of his country's recent history. The German candidate for the Oscar in the „Best Foreign Language Film“ category, the drama passes through three periods of German history to recount the story of the dramatic life of the artist Kurt (Tom Schilling), his passionate love for Elisabeth (Paula Beer), and the far-reaching relationship with his devious father-in-law Professor Seeband (Sebastian Koch) whose hand in fateful events in Kurt‘s life ultimately comes to light in his art and paintings. The soundtrack was scored by composer Max Richter.
About the film: With Never Look Away, inspired by the early life and career of renowned contemporary artist Gerhard Richter, Florian Henckel von Donnersmarck once again looks into the dark corners of his country's recent history. As with von Donnersmarck's Academy Award-winning The Lives of Others (TIFF '06), postwar East Germany provides fertile ground on which to explore the role of the individual within a totalitarian system that disregards the rights of its citizens. He also delves fearlessly into the reprehensible legacy of prewar Germany: eugenics, and the extermination of those considered subhuman or undesirable.
Opening with the notorious exhibition of so-called Degenerate Art organized by the Nazis in 1937, the film tells the parallel stories of a doctor involved in "cleansing" allegedly racially inferior people, and of a young boy who is fascinated by art. That child later comes of age amid the chaos of postwar German partition: as a man in the DDR, Kurt (Tom Schilling) has a job creating propaganda billboards while pining to be an artist. Meanwhile, the doctor, Seeband (Sebastian Koch, in a perfectly clipped and chilling performance) is captured by the Soviets and interrogated for his role in the Nazi eugenics program.
The way the fates of these two men intertwine becomes the dramatic focus of von Donnersmarck's remarkable reflection on the two sides of East Germany's political and ideological past. Kurt enters art school, where social realism is the only accepted form, but longs to express himself freely. Seeband, formerly an agent of fascism, manages to adapt and prosper in the new communist state, but his past will return to haunt him. Never Look Away is both a historical epic and an intimate tragedy about misdirected ambition, and the voyage of an artist trying to discover his voice.
The work of the award-winning British composer Max Richter includes concert music, film scoring, and a series of acclaimed solo albums.
Working with a variety of collaborators including Tilda Swinton, Robert Wyatt, Future Sound of London, and Roni Size, Max's work explores the meeting points of many contemporary artistic languages, and, as might be expected from a student of Luciano Berio, Max’s work embraces a wide range of influences.
Recent projects include the ballet INFRA, for Wayne McGregor at The Royal Ballet, with scenography by Julian Opie, the award-winning score to Ari Folman's Waltz with Bashir, and the music installationThe Anthropocene, with Darren Almond at White Cube.
Max's music has formed the basis of numerous dance works, including pieces by Lucinda Childs, NDT, Ballet du Rhin, American Ballet Theatre, Dresden Semper Oper, The Dutch National Ballet, Norwegian National Ballet, among many others, while film makers using work by Max include Martin Scorsese (Shutter Island).
Recent commissions include the opera SUM, based on David Eagleman’s acclaimed book, premiered at The Royal Opera House, London and Mercy, commissioned by Hilary Hahn.
Current projects include Vivaldi Recomposed for Deutsche Grammophon, recorded by British violinist Daniel Hope and the Konzerthaus Orchester, Berlin, as well as a variety of other recording and film projects.