Ten years after rewriting “The New Four Seasons” by Antonio Vivaldi, Max Richter is now releasing it on a three-part album. It was an unexpected surprise release with new interpretive details partly for trend-setting work.
Vivaldi is not only the inventor of the solo concerto, but in a way of solo profession he also mastered the unimaginable art of playing the violin. It was about emulating it if one dared to achieve playback roughly equivalent to the current recording.
With Chineke! The orchestra and soloist Elena Urioste were both performed. Right from the first bars, the listener is thrown into a fit of sound, a tornado of copious emotional moments, and a sensual flood, and not only because of the use of historical instruments, which members of the orchestra use for new interpretation.
It seems that Vivaldi’s discovery is far from complete, and the traditional love of experimenting with his work will not easily fade away.
Much of Vivaldi’s original scores were long lost and only discovered in 1930. This may have become a crucial contribution to his rediscovery in the 20th century.
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