“I think about how we create rules and then we break them,” says Adam. But the recent political chaos, war and autocratic leanings are starting to spawn broader responses to what could be the world of the future and not just a passing phase amid a return to a pre-COVID life.Įach year Lucich comes up with the theme for the presentation and Adam runs with it.
#MAX RICHTER VIVALDI SERIES#
“Resili3nce” is their latest endeavor in the series of creations that meld community, art, food, and the natural world.Įmerging from the deep shadow of the pandemic, the recent work of many artists in various fields expresses what it means to survive during these unprecedented times. Adam and Lucich envisioned a more holistic way of experiencing art and the elements that nurture us physically and emotionally. For artists and observers alike, it was time to leave the confining walls of the studio and the theater. Russell Torrance presents Classic Breakfast on ABC Classic (Monday to Friday, 6am–10am).But she still wanted an even bigger shift in the way audiences looked at dance. And one which has helped its creator – and the listener too – fall in love all over again.
A modern classic that has one foot in 18th century Venice and another in 21st century London. It's far from a quick and nasty exploitation, riding on the coattails of a favourite. Richter's music shows his great love for the Vivaldi original, and treats it with great respect. As a composer whose music is often built around repetition and shifting patterns, Richter found the act of uncovering Vivaldi's patterns and developing them as he would with his own music the most intuitive and rewarding. His approach was to pore over the scores for The Four Seasons, and dig out the gems, the essence of Vivaldi's work, and build them into something new, which retained the DNA of the original. Vivaldi's melodic fragments, rhythm vitality.Īnd, most importantly, the patterns. Richter's work shows such reverence and devotion to Vivaldi's original music. The essence of geniusĪnd here's the third part of the argument. Fall back in love with The Four Seasons by immersing himself in Vivaldi's music, and by allowing it to be filtered by his own compositional style. Richter came up with a very creative and novel solution to his problem. But then over the years I heard it in contexts which didn't make sense to me. Ringtones, elevators, shopping centres.
"I fell in love with the Vivaldi original when I was a child, and was enchanted by this beautiful music. Secondly, the idea for this project came to Max Richter in 2012, from a place of love. Vivaldi music has always been special to him, but had lost its sheen. They were pragmatists and didn't seem in any way to put their own music, or that written by others, on a pedestal.
Too much of a good thing?įirst of all, reworking old music has a proud tradition. Max Richter's take on Vivaldi's Four Seasons has been called all of these things. And if the idea of what he did with the music makes you positively nauseous then let me explain a few things in Richter's defence. Is it wrong to take a well-loved piece of classical music, and rework it to make it more up to date? An act of reverence and genius, or vandalism, sacrilege? Controversial Concertos
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