4/6/2023 0 Comments Max richter vivaldi![]() ![]() Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. It’s relentless pulsed music, which is a quality that contemporary dance music has and perhaps I was also thinking about John Bonham’s drumming. I’ve used electronics in several movements, subtle, almost inaudible things to do with the bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as "heavy music for the orchestra. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. He opens with what he describes as "a dubby cloud which I’ve called Spring 0. Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. 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.” In order to do this Richter wrote an entirely new score and recorded it with Daniel Hope and The Konzerthaus Kammerorchester in Berlin. "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. Slowly you begin to blank it out” Richter yearned to reconnect with the piece and to re-start the conversation on Vivaldi’s work, and 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. Like many composers Richter was always fascinated by Vivaldi’s 1725 composition because "The Four Seasons is an omnipresent piece of music and like no other part of our musical landscape’ But he was also aware of that for many, including himself, it had long ago ceased to be something of beauty and had instead become an ever present piece of muzak "You hear it in the supermarket regularly, you’re confronted with it in adverts or hear it as muzak when on hold. He is the first in the series to employ an existing score, ‘inscribe’ his new composition into Vivaldi’s and record a ‘new’ version of a familiar work, thus creating a new hybrid work. However, Richter’s approach differs fundamentally from the preceding releases: in contrast to previous participants, such as Matthew Herbert or Moritz von Oswald & Carl Craig, who reworked recordings from the extensive Deutsche Grammophon catalogue, Richter actually ‘recomposed’ Antonio Vivaldi’s The Four Seasons. ![]() The idea of recomposing and re-processing musical works was common practice in Vivaldi’s time and the project presents an exciting opportunity to make favorite classics relevant to a wider audience. Composer Max Richter is now part of Deutsche Grammophon’s acclaimed Recomposed series, in which contemporary artists are invited to re-work a traditional piece of music.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |