The Works

New in Classical

Best Classical Music

Classical in Spatial Audio

Classica per aiutare la concentrazione

David Oistrakh: The Great Recordings

Violin Concerto in D Major, Op. 61: III. Rondo. Allegro (Cadenza by Kreisler)

Schubert: Du bist die Ruh', D. 776 (Transc. for Cello & Piano)

Chopin: Complete Works - Preludes (Golden Series)

24 Preludes, Op. 28: No. 1 in C Major

Kaldalóns: Ave María (Arr. Víkingur Ólafsson)

Kaldalóns: Ave María (Arr. Víkingur Ólafsson) (Upright Piano)

Classical Soul Vol. 1

Once

Forgotten Dances

English Suite No. 2 in A Minor, BWV 807: I. Prélude

Double Sky

Double Sky (Reprise)

Beethoven: The Early Quartets

String Quartet No. 1 in F Major, Op. 18 No. 1: II. Adagio affettuoso ed appassionato

Field: Nocturne No. 9 in E Minor, H. 46

Nocturne No. 9 in E Minor, H. 46

Bach, JS: Cello Suite No. 6, BWV 1012: IV. Sarabande

Cello Suite No. 6 in D Major, BWV 1012: IV. Sarabande (Arr. Thomas for Cello & String Orchestra)

Caledonian Canal

Gjeilo: Winter Light (Version for Saxophone & Ensemble)

Byrd: Pavana Lachrymae (After Dowland's "Flow My Tears")

Pavana Lachrymae (After Dowland's "Flow My Tears")

Classical Soul Vol. 1 - The Solo Piano Collection

Soar (Solo Piano Version)

Firedove

Flight (feat. Jess Gillam)

Dragon

Come to Me

Chopin: Berceuse in D-Flat Major, Op. 57

Berceuse in D-Flat Major, Op. 57

PRISM, Vol. 1

Auerbach: 24 Preludes for Violin & Piano, Op. 46: No. 15, Adagio sognando (Arr. Vennart for Saxophone & Ensemble)

Night

Kanten

Chopin: Piano Sonata No. 3 in B Minor, Op. 58: II. Scherzo. Molto vivace

En otra parte

An Idea

Tune Your Brain for Stress Relief

Liszt: Consolations, S. 172: No. 3 in D-Flat Major. Lento, placido

Ravel: Complete Works For Solo Piano

Le Tombeau de Couperin, M. 68: I. Prélude

Arensky: Trio, Op. 32 - Smetana: Trio, Op. 15

Piano Trio No. 1 in D Minor, Op. 32: III. Elegia, adagio

Arca

Reverie

For more information visit: http://www.klassikakzente.de/recomposed/home 

Some works are so familiar that it is almost impossible to hear them afresh, but that is what Max Richter has achieved with Vivaldi “Recomposed”. This is no mere arrangement; instead Richter has absorbed Vivaldi’s The Four Seasons into his own musical bloodstream. At first Richter followed the example of other works in the “Recomposed” series, which re-mix existing recordings, but, he says, “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.”Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do withthe bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.” Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.”Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”


Spring One - Vivaldi Recomposed - The Four Seasons

Spring 1 (2012)

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Chopin: Nocturnes Op. 9, 32, 37, 55, Nocturne in C-Sharp Minor. Lento con gran espressione

Nocturnes, Op. 9: No. 1 in B-Flat Minor

Saint-Saëns: Carnival of the Animals: The Swan

Bach: Italian Concerto in F Major, BWV 971: II. Andante

II. Andante

Berceuse in D-Flat Major, Op. 57

Benjamin Grosvenor