My aim was to fall in love with the original again – and I have.” “It’s so dynamic, so full of amazing images.
“The original Four Seasons is a phenomenally innovative and creative piece of work,” said Max Richter. “Max Richter’s new version of Vivaldi’s Four Seasons shows that the classical remix has finally come of age” stated The Telegraph, and remarked, “It’s almost impossible to come to Vivaldi’s Four Seasons with completely fresh ears, but this mesmerising album enables listeners to rediscover these amazing works, creating entirely new music with a minimalist Baroque twist.” Recomposed By Max Richter: Vivaldi – The Four Seasons, featuring violinist Daniel Hope and the Konzerthaus Kammerorchester Berlin symphony orchestra conducted by André de Ridder, topped the classical chart in 22 countries. The colours are brighter, but that is because it’s a collaboration with a brighter, sparkier composer.” It does have a different texture than my other works.
The one I had taken had begun to bore me and I wanted to see the surroundings in a fresh way I wanted to rediscover it. I suppose I was interested in finding a new route through the music. If your daily commute went through the Alps eventually you’d come to hate it, however beautiful the landscape. At the same time, intellectually, I knew it was a fantastic piece of music, and I thought about reclaiming it,” remarked Richter. It stopped being a great piece of music and became an irritant. As I got older I started to hear it everywhere and I started to hate it. For a child it was a perfect introduction to a whole language. “I fell in love with the Vivaldi as a kid: six or seven perfect, bite-size chunks of beautiful tunes. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way,” Richter explained. “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. He sought to do so in an accessible style that mirrored Vivaldi’s intentions with the piece, rather than to place a twentieth century Modernist imprint on it.
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