The texture and rhythmic repetition are nice, as is the added bolstering of synthesizer in the bass. I felt a “Spring” treatment might have been more apt. The middle movement plays with the main solo theme but in an almost infantile way. It’s subtle but the whole thing might be lost on someone not listening too closely. But once those descending fifth chords start, things change a bit rhythmic accents shift, and so does the music, a beat stolen here, re-positioned over there. The opening might as well be a version by, say, Nigel Kennedy. This one is next best this one is more literal than Spring. The third movement, like the first, may be simple in concept but works well. It’s preceded by a quiet opening movement but the extra seconds of one track are hardly worth noticing.

It’s well played and I have thoroughly enjoyed listening to it. The iconic motives are maintained while introducing to us a whole new piece. And as unappetizing a soup that might seem, it’s quite well done. It’s almost as if he’s deconstructed it into a minimalist soup. But it’s in Richter’s Spring that we get the most re-composition ( arrangement seems to unkind a word here, but more apt elsewhere). Spring is the iconic piece from the Four Seasons (maybe alongside the Winter I). But in this review I wanted to focus on the composition more so than the performance. This edition of one of his Recomposed pieces features Vivaldi’s Four Seasons. His renown has something, likely, to do with the fact his music is released on the Deutsche Grammophon label. Max Richter is a living composer German born and currently he lives in England. As it turns out, the 2014 release of Max Richter’s album featuring violinist Daniel Hope was the material from which the television show gets its theme music.

I was late to the party, but I’d already realized that the opening to the Netflix show A Chef’s Table featured Vivaldi, but it had been edited.

Max richter spring