The result is a new renovated species of Seasons. To re-write Vivaldi’s music, Richter describes his process as working “with the alchemy of the material itself.” Sitting down at the piano with the Seasons score, Richter went through it and chose his “favorite bits and kind of turning those up, and making new objects out of those.” And that kind of locks into the kind of thing I do anyway (…) I’ve looked at from my perspective–which is the perspective of someone who’s heard minimal music, electronics, who’s heard post-rock. And it almost reminds me a little bit of systems music–kind of minimal music from the 60s and 70s. “The Vivaldi is a kind of pattern-based music. As he observes in a video about his re-composing Vivaldi’s work: This stylistic quality resonated with Richter’s post-minimalism sensibility.
Why The Four Seasons? For one thing, it’s a beloved work of music that even the most casual music listener knows–or doesn’t even realize she knows! For another thing, perhaps the music has something very modern about it in its ordered and repeating melodies and its insistent, chugging-along rhythms. Richter chose Vivaldi’s warhorse as a starting point for Recomposed, which is essentially a new version of an old piece.
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