Artist : Max Richter
Album : Vivaldi The Four Seasons Recomposed By Max Richter (Live From Berlin)
Year : 2014
Genre : Classical
Quality : 234kbps / 48.0KHz / Joint Stereo
Source : DVD (LPCM / 48kHz / Stereo / 16bit)
Playtime : 0h 43m
Size : 78.01mb
Label : Deutsche Grammophon
Catalognr : 479 2776
Tracklist:
01. Spring 0 (Live From Berlin) 0:54
02. Spring 1 (Live From Berlin) 2:38
03. Spring 2 (Live From Berlin) 3:21
04. Spring 3 (Live From Berlin) 3:04
05. Summer 1 (Live From Berlin) 3:51
06. Summer 2 (Live From Berlin) 3:23
07. Summer 3 (Live From Berlin) 5:01
08. Autumn 1 (Live From Berlin) 5:42
09. Autumn 2 (Live From Berlin) 2:53
10. Autumn 3 (Live From Berlin) 1:40
11. Winter 1 (Live From Berlin) 3:03
12. Winter 2 (Live From Berlin) 2:52
13. Winter 3 (Live From Berlin) 4:11
14. Closing Credits (Shadow 4) (Live From Berlin) 1:13
Releasenotes:
Some works are so familiar that it is almost impossible to hear them afresh, but
that is what Max Richter has achieved with Vivaldi "Recomposed". This is no mere
arrangement; instead Richter has absorbed Vivaldi's The Four Seasons into his
own musical bloodstream. At first Richter followed the example of other works in
the "Recomposed" series, which re-mix existing recordings, but, he says, "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. That became
frustrating. 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 calculates that,
in the process, he has discarded around three-quarters of Vivaldi's original. He
opens with what he describes as "a dubby cloud which I've called Spring 0. It
functions as a sort of prelude, setting up an electronic, ambient space for the
first Spring movement to step into. I've used electronics in several movements,
subtle, almost inaudible things to do withthe 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's
relentless pulsed music, which is a quality that contemporary dance music has;
and perhaps I was also thinking about John Bonham's drumming. 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. That was partly because I didn't want the harpsichord part to be
attention-seeking, but also because that style connects to various pop records
from the 1970s where the harpsichord or Clavinet was featured, including various
Beach Boys albums and the Beatles' Abbey Road." Clearly, Richter has brought his
own frame of reference to the project. As he says, "Vivaldi's music is made of
regular patterns, and that connects with post-minimalism, which is one strand in
the music that I write. That felt like a natural link, but even so it was
surprisingly difficult to navigate my way through it. At every point I had to
work out how much is Vivaldi and how much is me. It was difficult but also
rewarding because the raw material is so fascinating."Just as Richter's Seasons
plays tricks with the way we hear Vivaldi's original, so it also asks questions
of the soloist, Daniel Hope. "Violinists have Vivaldi's The Four Seasons
hardwired in their brain. Daniel is likely to play the original I don't know how
many times in a year, and for him to have my parallel text going on in another
part of his brain is a challenge. I think he did a wonderful job. He brought to
it a deep engagement with the original, but he was fully prepared to cut this
new swathe through the text."
Source: LPCM - 48kHz - Stereo - 16bit
http://www.deutschegrammophon.com/en/cat/4792776