Ten years ago, Max Richter unraveled Vivaldi’s work and stitched it back together, feeling that the original had “lost its impact through overexposure.” In doing so, he breathed new life into a classic.
They Have Gravitas.Let’s tackle the obvious question first: if a person already owns Recomposed, why might they want to purchase The New Four Seasons? The question is valid, the answer simple: they sound as different as two versions of the same work can be. I Mean, They Are Crude In A Way, But They Are Also Like Someone Inventing The Wheel. “They Have A Certain Presence And Authority About Them. “Those Are The First-Generation Synths, And I’ve Heard Them Described As The Stradivarius Of The Synthesiser,” He Laughs. “I Wanted To Match That Flinty, Haptic, Tactile Texture With The Electronic Elements.” The New Record Is Produced On An Analogue Mixing Desk, With The Composer Himself Playing An Early Moog, Dating From The Seventies. “I Love The Slight Grittiness And Earthy Feeling That Gut Strings Have,” He Says. Richter Is Enthusiastic About This Blend. In This “Alternative Rendering”, Chineke!, The Groundbreaking British Ensemble Consisting Of Majority Black, Asian And Ethnically Diverse Musicians, And The Brilliant Soloist, Elena Urioste, Are Playing On Gut Strings And Period Instruments: The Sort That Vivaldi Would Have Heard, And Played, In His Own Time. Experiencing It Felt As Though We Were Being Catapulted Onto Another Plane, Reverberated Through The Cosmos By This Epiphanic Soundworld. We Hadn’t Heard Anything Like That, Ever. When Max Richter’s Recomposed First Exploded Into Our Collective Ears Almost A Decade Ago, A 59-Minutes-28-Seconds Sonic Starburst, The Effect For So Many People Was Total. Richter, Max: Recomposed By Max Richter: Vivaldi, The Four Seasons Max Richter (Synthesizers), Elena Urioste (Violin)
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