I can’t think of anyone who wouldn’t immediately recognize this piece of music—regularly featured in films, television and commercials. Finding something similar in today’s music scene would be a foolish undertaking. There’s nothing close to Vivaldi’s Four Seasons.
Given my adopted hometown, Los Angeles, doesn’t have real seasonality—hey, it’s always sunny in SoCal!— Four Seasons is probably the closest any resident will come to experiencing the wonders of seasonal changes. Whenever I feel a little homesick, I play Four Seasons and feel a little closer to spring, summer, autumn, and winter.
It would be a great soundtrack to a movie about life’s adventures. Common to many a life story is the seasonality in which we often find ourselves.
Leave it to Deutsche Grammophon to reinvent itself as a luxe electronica publisher for the modern age. Who better to lead the charge than German-born Max Richter who, growing up in England, took a fondness for fusing electronic, classical, and rock themes into what he labels the “post-classical” genre. His influences—Philip Glass, the Beatles, Kraftwerk, Pink Floyd—seem readily identifiable throughout his work.
Even as the term “remix” usually pertains to club sounds, here, Richter decomposes Vivaldi’s masterpiece by filtering the essentials of each season through various sound processors and digging into the digital ProTools maze. Fronted by noted contemporary violinist Daniel Hope, with Berlin’s Kammerorchestra conducted by André de Ridder in toe, Richter sustains and advances Vivaldi’s original to a level at once home in a classical music context as well as a more modern, coming-of-age cinematic experience. Brilliantly produced and engineered, this set is most highly recommended.
Last chance to change your mind...