Brilliantly produced and engineered, this set is most highly recommended. 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. 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. TIDAL is the first global music streaming service with high fidelity sound, hi-def video quality, along with expertly curated playlists and original content.
To open this concert of energy and reinvention, a version of John Tavener’s exquisite choral miniature, a pulsing, ecstatic hymn that burst into the public consciousness when used to devastating effect during the funeral of Princess Diana, a quarter of a century ago this month.Leave it to Deutsche Grammophon to reinvent itself as a luxe electronica publisher for the modern age. His music loosens the strict minimalism of Steve Reich and Philip Glass’s ‘loops’ with melodic elegance and rhythmic energy. The composer was later to find fame in his politically charged operas such as Nixon in China and Doctor Atomic as well as his brilliant orchestral showpiece Short Ride in a Fast Machine. Artfully, but faithfully, Richter rearranges the notes on the page, revealing anew the radiant melodies and lush timbres of the music, and transforming a piece dulled by over-familiarity into something luminously relevant to the present day.įrom one cult classic for strings to another – Richter’s work is preceded by an early John Adams piece (and one of his most performed). This iconic piece has featured on the soundtrack for everything from The Crown to Bridgerton to Chef's Table, and has topped the charts in 22 countries.
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