That’s very much the way post-minimal music and electronic dance music operates, and I found plenty of touch points that enabled me to dive into his material in a natural, sculptural and architectural way. Vivaldi’s work is very pattern-based, and he generates his effects by juxtaposing contrasting kinds of material. The best way to do that, I decided, would be to take a voyage through Vivaldi’s landscape and to make new discoveries there.Īs I looked into the score I saw there was a natural meeting point between his baroque language and my own. I needed to resolve the love/hate relationship I had with the work – call it an exorcism – and reclaim Vivaldi’s original as a musical object rather than a sonic irritant. 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.Netflix’s Bridgerton, one of the many shows and events that Richter’s Recomposed has soundtracked. 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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