Richter's fascination with the growing role of technology in everyday life was a major theme of releases spanning 2008's collection of bespoke ringtones to the music for a particularly paranoid 2016 episode of the TV series Black Mirror.
On early masterworks such as 2002's Memoryhouse and 2003's The Blue Notebooks, he united his childhood memories and commentary on war's devastating aftermath into gorgeous, aching music with 2015's eight-hour Sleep, he challenged the increasing disposability of art and music as well as audiences' ever-decreasing attention spans. And hats off to (le) Poisson Rouge for making it happen.Foobar2000 1.6.11 / Dynamic Range Meter 1.1.1Īnalyzed: Max Richter / The New Four Seasons - Vivaldi RecomposedĭR10 -12.08 dB -25.57 dB 2:58 09-Autumn 2ĭR13 -10.18 dB -28.37 dB 2:36 12-Winter 2Ĭombining the discipline of his classical background with the inventive spirit of electronic music, Max Richter's work as a producer and composer speaks to - and frequently critiques - 21st century life in eloquent and evocative ways. In The Guardian’s review of Richter’s album, Richter is quoted as saying: “My aim was to fall in love with the original again – and I have.” I have to admit, I agree with Richter.
This movement proved particularly tricky, as its melody sounded so similar to the original, barring one exception: the downbeat was skipped, bringing this 18th-century piece into modern times.Īlthough much of Richter’s recomposed concerto was unfamiliar and new, fragments of Vivaldi’s tunes were interspersed throughout. In “Winter” especially, Hope’s fingers dashed across the bow of his violin, with the entire string section following close behind. A complex concerto, at times the music is gentle and delicate, but at others, the tempo is incredibly quick. But just imagine the grueling work Hope had to go through, retraining his fingers and his memory to play Richter’s notes.
An incredible performer, one would assume that Richter’s avant-garde remix is the only Four Seasons Hope has ever heard or played.
0 kommentar(er)
