The melody, or the tempo, or the character of a given movement may be very similar to Vivaldi’s original, but Richter has processed, phased, looped, or combined new elements in a way that is unique to his compositional voice. Richter lovingly de- and re-constructs Vivaldi’s music with compositional techniques drawn from electronic music, club music, minimalist concert music, and the recording studio to reframe Vivaldi’s musical vocabulary. That mix of humility and hubris makes the music come alive, Hope says, and allows Recomposed to exist in a dynamic conversation with the source of its inspiration. Secondly, Hope believes Richter has struck the perfect balance between reverence for the original, and following his own mischievous spirit in the new score. Hope notes that Richter’s career as a composer for film and dance makes him uniquely suited to create music to match this psychological, richly visual sonic terrain. First, Vivaldi’s Four Seasons powerfully evokes images of the natural world, and the range of emotions that ebb and flood with the changing seasons. Richter’s score resonates with Hope on many levels. So this project is about reclaiming this music for me personally, by getting inside it and rediscovering it for myself-and taking a new path through a well-known landscape." "The Four Seasons is something we all carry around with us," Richter told the Guardian. But Richter’s compelling motives and vast musical imagination won the violinist over, and Hope eventually premiered and recorded the new work in 2012. Daniel Hope admits he was initially skeptical of Max Richter’s plan to “recompose” Antonio Vivaldi’s iconic set of violin concertos, the Four Seasons.
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