In all cases Vivaldi’s carefully designed forms and schemes of color and contrast, as well as his programmatic intentions, are pretty much destroyed. In the slow movements he may preserve the melody but randomly alter the original accompaniment and harmonic framework. What Richter has done in some of these twelve movements is to take a bit of the original-the solo violin birdsong in the first movement of “Spring” for example-and repeat it mindlessly over a pop-ish chord progression. Now let’s face it, Vivaldi is not the most intellectual of composers to begin with, so it’s fair to ask if there is anything to be gained by dumbing down the music to the degree that happens here. Obviously the intent, using one of classical music’s most iconic label marquees, is to endow decomposer Max Richter with a commercial pedigree similar to that enjoyed musically by the object of his current affections (affectations?), Vivaldi’s The Four Seasons. This is the most classic-looking DG release in many a year, which should immediately raise suspicions.
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