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Susi Evans is a classically trained musician, performing and teaching Klezmer, Balkan and other folk music styles, on the clarinet, accordion, bagpipes and w. Vivaldi Sleep by Orchestra of the Swan & Bruce O'Neil on Apple Music. Vivaldi preventing my pc from going to sleep mode Vivaldi preventing my pc from going to sleep mode. This topic has been deleted. Only users with topic management privileges can see it. Badhonraj last edited. I can not put my pc to sleep mode while vivaldi is running. How can I fix it?

Recomposed by Max Richter: Vivaldi – The Four Seasons is a composition that features on a 2012 album by neo-classical composer Max Richter, released on August 31, 2012 on Universal Classics and Jazz (Germany), a division of Universal Music Group, and Deutsche Grammophon,^[1] and further recorded by Fenella Humphreys and released on Rubicon Classics in 2019.^[2] The piece is a complete recomposition and reinterpretation of Vivaldi's The Four Seasons.

Although Richter said that he had discarded 75 percent of Vivaldi's original material,^[3] the parts he does use are phased and looped, emphasising his grounding in postmodern and minimalist music.^[4]

• For the Vivaldi Sleep Project Susi took inspiration from Jewish wedding folk music, where the tradition sees musicians tasked with making brides cry with emotional and atmospheric music. Susi revisited a number of historical recordings from the 1940s, for her inspiration and uses Yiddish phrases including repetition and trills to produce such a unique sound.
• Vivaldi Browser is a fast, private and secure browser that blocks ads and trackers. It puts you in control with unique features. Get Vivaldi for Windows, macOS, Linux, and Android!

The Deutsche Grammophon album was played by the violinist Daniel Hope and the Konzerthaus Kammerorchester Berlinsymphony orchestra, and conducted by André de Ridder. On the album, Hope plays the 'Ex-Lipinski' violin, an instrument made by Giuseppe Guarneri del Gesù in 1742 and made available to the violinist by a German family who asked to remain anonymous.

The Rubicon Classics recording features soloist Fenella Humphreys and the Covent Garden Sinfonia, conducted by Ben Palmer. Humphreys recorded using a violin from the circle of Peter Guarneri of Venice, made in 1727.

Release[edit]

Richter’s recomposed version of Vivaldi's The Four Seasons was premiered in the UK at the Barbican Centre on 31 October 2012, performed by the Britten Sinfonia, conducted by André de Ridder, with violinist Daniel Hope the soloist.^[5] The album topped the iTunes classical chart in the UK, Germany, and the US.^[6] The US launch concert in New York at Le Poisson Rouge was recorded by NPR and streamed live.

Critical reception[edit]

Recomposed by Max Richter: Vivaldi – The Four Seasons received widespread acclaim from contemporary classical music critics.

Ivan Hewett of the Telegraph gave the album a very positive review, stating:

As you would expect of a composer who once studied with the great modernist Luciano Berio, Richter is very self-aware. He notices that his own taste in repeating patterns doesn’t mesh with the apparently similar patterns in Vivaldi. They obey a different logic, and the friction between them generates a fascinatingly ambiguous colour. Richter teases out and heightens this colour, sometimes with Vivaldi uppermost, sometimes himself. It is a subtle and often moving piece of work, which suggests that after years of tedious disco and trance versions of Mozart, the field of the classical remix has finally become interesting.^[7]

Track listing[edit]

All tracks are written by Max Richter.

Personnel[edit]

Main personnel

• Max Richter – composer, mixing, producer, quotation author
• André de Ridder – conductor
• Daniel Hope – primary artist, violin [solo]
• Raphael Alpermann – harpsichord
• Konzerthaus Kammerorchester Berlin – orchestra
• Alexander Kahl – cello
• David Drost – cello
• Nerina Mancini – cello
• Ying Guo – cello
• Ernst-Martin Schmidt – viola
• Felix Korinth – viola
• Katja Plagens – viola
• Matthias Benker – viola
• Alicia Lagger – violin [first]
• Christoph Kulicke – violin [first]
• Karoline Bestehorn – violin [first]
• Sayako Kusaka – violin [first], concertmaster
• Cornelia Dill – violin [second]
• Jana Krämer – violin [second]
• Johannes Jahnel – violin [second]
• Ulrike Töppen – violin [second]
• Ronith Mues – harp
• Georg Schwärsky – double bass
• Jorge Villar Paredes – double bass
• Sandor Tar – double bass

Additional personnel

• Antonio Vivaldi – original material
• Felix Feustel – product manager
• Neil Hutchinson – recording engineer, mixing
• Christian Kellersmann – original concept
• Nick Kimberley – liner notes
• Götz-Michael Rieth – mastering engineer
• Mandy Parnell – mastering engineer
• Matthias Schneider – project manager
• Erik Weiss – photography
• Jenni Whiteside – editing
• Double Standards – art direction

Charts[edit]

References[edit]

1. ^Recomposed by Max Richter – Antonio Vivaldi – Die vier Jahreszeiten – The Four Seasons: Deutsche Grammophon Catalog
2. ^'Rubicon Classics'. rubiconclassics.com. Retrieved 2019-06-12.
3. ^'Recomposed by Max Richter: Vivaldi, The Four Seasons'. Retrieved 27 December 2012.CS1 maint: discouraged parameter (link)
4. ^Tania Halban (28 November 2012). 'Recomposed or refragmented?'. Retrieved 1 February 2013.CS1 maint: discouraged parameter (link)
5. ^'Max Richter: Vivaldi Recomposed'. 31 October 2012. Archived from the original on 9 November 2012. Retrieved 10 December 2012.CS1 maint: discouraged parameter (link)
6. ^'RECOMPOSED | Chart-Erfolg für Max Richters 'Vivaldi Recomposed' in den USA | News'. Klassikakzente.de. Retrieved 29 November 2013.CS1 maint: discouraged parameter (link)
7. ^Hewett, Ivan (2012-10-31). 'Vivaldi remixed: classical music reinvents itself'. The Telegraph. ISSN0307-1235. Retrieved 2017-11-21.
8. ^'NZ Heatseeker Albums Chart'. Recorded Music NZ. March 26, 2018. Retrieved March 23, 2018.CS1 maint: discouraged parameter (link)

Conductor and Violinist Rachell Ellen Wong leads the Seattle Symphony for the complete performance for Antonio Vivaldi’s The Four Seasons, on Thursday, October 22, 2020 at 7:30pm on Seattle Symphony Live.

ANTONIO VIVALDI

Le quattro stagioni (“The Four Seasons”), Op. 8, Nos. 1-4
La primavera (“Spring”), RV 269 Allegro—Largo—Allegro: Danza pastorale
L'estate (“Summer”), RV 315 Allegro non molto—Adagio—Presto
L'autunno (“Autumn”), RV 293 Allegro—Adagio molto—Allegro
L'inverno (“Winter”), RV 297 Allegro non molto—Largo—Allegro

BORN: March 4, 1678 in Venice, Italy
DIED: July 28, 1741 in Vienna, Austria
WORK COMPOSED: 1716–1725

Italian composer Antonio Vivaldi (1678–1741) famously said, “There are no words, there is only music there.” And yet, ironically, Vivaldi’s best-known work, Le Quattro stagioni (“The Four Seasons”), Op. 8, Nos. 1–4, is based upon a series of sonnets. These concerti can arguably be considered among the first truly programmatic pieces; that is, music that tells or follows a narrative. Although Vivaldi composed a wide range of genres, his concerti endure as one of his greatest contributions to the Western classical canon.

Vivaldi Selenium

Vivaldi lived and worked in Baroque Venice. He was an ordained Catholic priest as well as a composer. For nearly thirty years he taught music and composed for an orphanage in the town, named Ospedale della Pietà. Vivaldi crafted an immense œuvre of concerti during this period, exploring the potential of conversations between soloist and orchestra. Although he did not compose The Four Seasons for the orphanage, the works were undoubtedly influenced by his compositions from that period.

Vivaldi composed The Four Seasons between 1716 and 1725. A typical Vivaldi concerto includes three movements, but there is only one sonnet to accompany each of the seasons. As a result, the sonnet breaks into three sections to follow the individual movements. As you listen to these concerti, let your imagination wander and fill with images. The first movement ofLa primavera (“Spring”), RV 269, arguably the most famous of Vivaldi’s works, reads: “Springtime is upon us. The birds celebrate her return with festive song, and murmuring streams are softly caressed by the breezes. Thunderstorms, those heralds of Spring, roar, casting their dark mantle over heaven. Then they die away to silence, and the birds take up their charming songs once more.” Many cues in this sonnet appear in the music, such as the celebrating bird in the solo violin and the murmuring streams in the string accompaniment. The second movement continues: “On the flower-strewn meadow, with leafy branches rustling overhead, the goat-herd sleeps, his faithful dog beside him.” In this Largo, pay attention to the branches rustling overhead in the ensemble and the slow breathing of the faithful dog. The final movement brings the frivolity and joy of spring: “Led by the festive sound of rustic bagpipes, nymphs and shepherds lightly dance beneath the brilliant canopy of spring.”

Following the whimsical wonders of spring is the intense heat and fierce thunderstorms found in L’estate (“Summer”), RV 315. The first movement begins with a slow introduction that reflects the opening lines of the sonnet: “Beneath the blazing sun’s relentless heat, men and flocks are sweltering, pines are scorched.” When the solo violin enters, however, the piece suddenly becomes fast and furious. During this movement, listen for the violin imitating the sounds of birds and Vivaldi’s subtle transition to the promise of a storm: “We hear the cuckoo’s voice; then sweet songs of the turtle dove and finch are heard. Soft breezes stir the air, but threatening north winds sweeps them suddenly aside. The shepherd trembles, fearful of violent storms and what may lie ahead.” The brief second movement features a slow meditation, highlighting the shepherd’s anxiety: “His limbs are now awakened from their repose by fear of lightning's flash and thunder's roar, as gnats and flies buzz furiously around.” Following this moment of reflection, the dramatic third movement brings the storm: “Alas, his worst fears were justified, as the heavens roar and great hailstones beat down upon the proudly standing corn.” Listen for the solo violin mimicking the rain pouring down while the accompanying orchestra plays bursts of thunder and lightning.

Vivaldi Select Address Bar

The subsequent concerto, L’autunno (“Autumn”), RV 293, celebrates the harvest with rousing dances and hunts. Listen for a lively dance in the first movement depicting the end of the harvest and the solo violin mimicking an overflowing cup of wine: “The peasant celebrates with song and dance for the harvest safely gathered in. The cup of Bacchus flows freely and many find their relief in deep slumber.” In contrast, the second movement brings peace and sleep: “The singing and the dancing die away as cooling breezes fan the pleasant air, inviting all to sleep without a care.” Vivaldi paints this serene picture with a slow tempo and harmonious chords. All instruments move together — including the solo violin — to transport listeners into a tranquil state. The third movement, however, features an exhilarating hunt: “The hunters emerge at dawn, ready for the chase, with horns and dogs and cries. Their quarry flees while they give chase. Terrified and wounded, the prey struggles on, but, harried, dies.” Listen for the strings imitating hunting horns, guns and dogs while the solo violin leads the chase.

Vivaldi’s The Four Seasons concludes with biting winds and idyllic images by the fire in L’inverno (“Winter”), RV 297. Imagine the brisk chill of winter upon you in the joyful first movement: “Shivering, frozen mid the frosty snow in biting, stinging winds; running to and fro to stamp one’s icy feet, teeth chattering in the bitter chill.” The runs in the solo violin perfectly encapsulate the brisk chill found in the air. In contrast, the second movement transfers indoors: “To rest contentedly beside the hearth, while those outside are drenched by pouring rain.” The solo violin presents a lyrical, reflective melody as the strings play simple accompaniment underneath. Vivaldi layers images in this movement, adding plucking strings in the background as a subtle nod to the rain outside. The final movement of tonight’s program is a fast and frenzied depiction of winter’s dangers: “We tread the icy path slowly and cautiously, for fear of tripping and falling. Then turn abruptly, slip, crash on the ground and, rising, hasten on across the ice lest it cracks up. We feel the chill north winds course through the home despite the locked and bolted doors. This is winter, which nonetheless brings its own delights.” The solo violin begins with runs before the strings join in for an ominous illustration of cracking ice and bracing winds. The concerto concludes with the solo violin scampering indoors in attempts to escape the winter frigidity.

Scored for solo violin; harpsichord; theorbo; strings

© 2020 Megan Francisco

Posted on October 15, 2020