Because of Vivaldi's ties with Dresden musicians, some of his. Brilliantly produced and engineered, this set is most highly recommended. Richter's position in the Dresden Hofcapelle would have been influential among hautboists. 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. His influences-Philip Glass, the Beatles, Kraftwerk, Pink Floyd-seem readily identifiable throughout his work.Įven 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. Instead he created the piece from scratch, stripped Vivaldi bare, re. Richter brings virtually nothing to the party, unless turning Vivaldi into a sort of annoying elevator music appeals to your sensibilities.

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. Contemporary composer Max Richter re-imagines Vivaldis timeless set of Baroque concertos, The Four Seasons featuring the Konzerthaus Kammerorchester Berlin. Richter didn’t just re-mix extant recordings into pseudo-hip newishness, as DG’s Re-Composed series has done before. Leave it to Deutsche Grammophon to reinvent itself as a luxe electronica publisher for the modern age.

Richter vivaldi