Chef's Table - Music from & inspired by the Netflix Original Series, "Chef's Table".  Available now exclusively on Netflix. All music written, recorded, mixed & produced by Silas Hite. All Rights Reserved.

Chef's Table - Original Score

Chef's Table

Chef's table

Chefs Table

Chefs table

eccentric composition

Prokofiev: Piano Sonata No.2 in D minor, Op. 14: IV. Vivace

Emmy nominated score by Duncan Thum for Netflix's documentary series "Chef's Table", featuring Francis Mallmann. Additional Music by Tyler Sabbag and Steve Gernes.

A Path On The Edge Of Uncertainty

Making Of A Master

Emmy nominated score by Duncan Thum for Netflix's documentary series "Chef's Table", featuring Francis Mallmann. Additional Music by Tyler Sabbag and Steve Gernes.

*Update* Here is a lead sheet for anyone interested!
http://i.imgur.com/trgATNX.png

Call Of The Wild

Maitransa

Patagonia

Pursuit Of Beauty

Music from and inspired by the Netflix Original Series "Chef's Table"

Welcome To Attica

Turn This Around Revisited

Remember New Zealand

Pure Theatre

Playful Palette

Experimental Tuesdays

A Monks Offering

Music from & inspired by the Netflix Original Series, "Chef's Table".  Available now exclusively on Netflix. All music written, recorded, mixed & produced by Silas Hite.
All Rights Reserved.

A Monk's Regret

Pure Necessity

No More Doubt - Part 1

No More Doubt - Part 2

Natural Beauty

Osteria from the Netflix series Chef's Table. 

Composed & produced by Sarah Schachner.

Osteria

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.”


Recomposed By Max Richter: Vivaldi, The Four Seasons

Richter: Recomposed By Max Richter: Vivaldi, The Four Seasons: Winter 1 (2012)

Download

Silas Hite is an Emmy-winning composer with music in his DNA.  He began his career co-scoring blockbuster films like Cloudy With a Chance of Meatballs with his uncle, noted composer Mark Mothersbaugh (DEVO).  His music plays in television shows around the world, from a series of investigative crime specials for the BBC, to foodie favorites Chef's Table (Netflix) and The Big Brunch (HBO).

     He has scored hundreds of commercials for clients such as Apple, McDonalds, and Chevy, earning him an Emmy, Adweek's Campaign of the Decade, and most recently a Titanium Grand Prix from Cannes.  He’s contributed memorable music to top selling video games such as The Sims 2, Skate 3 and The Simpsons.  His music has played in such venerable institutions as the San Francisco Museum of Modern Art, the Los Angeles Museum of Contemporary Art, the New York Museum of Modern Art, The Whitney Museum, and The Rock & Roll Hall of Fame.