If you're a traditionalist who doesn't appreciate modern musicians messing with established classics, you may hate it. If you can accept his newly reconstructed view for itself, you may just find it fascinating fun. Whether you'll like Richter's approach, however, is a pretty big question mark. Richter has said he discarded about three-quarters of Vivaldi's original material, and the parts he does use he phased and looped, which recall the composer's roots in minimalist and postmodern music. He premiered it at London's Barbican Centre in October 2012, and it soon picked up a huge following for its reductive approach to the old warhorse. Such is the case with British composer Max Richter's reimagining of Vivaldi's perennial favorite The Four Seasons, which Richter recomposed for solo violin, Moog synthesizer, and chamber orchestra. I don't suppose there's anything new under the sun, and every now and then even the not-so-new becomes new again. Also, Shadows 1-5 "Remixes." Daniel Hope, violin Andre de Ridder, Konzerthaus Kammerorchester Berlin. This is a release that will please Hope's growing cadre of fans.Vivaldi: The Four Seasons. Hope's Zürcher Kammerorchester by now has very supple responses to what he is doing. The final America the Beautiful is pure Hope, schmaltzily appealing.
Hope moves into music where the violin fits logically, including longer sets of tunes by Bernstein and Weill, a piece of Ellington's Black, Brown & Beige (the program might have benefited from a few more of these), and more "classical" selections by Copland. However, the rest of the program is very strong. (The West Side Story Suite here is not the same as the one performed by Joshua Bell some years ago.) The jazzy Gershwin Song Suite doesn't work so well the violin isn't integrated with what's happening in the jazz trio, and a similar problem appears in A Change Is Gonna Come, despite a fine vocal by Joy Denalane. "We know a piece is from America the moment we hear it," Hope says, "But what makes music sound American?" One may not get an answer to this here, despite Hope's being pictured in front of a 1960s Ford Fairlane, but he does offer an attractive range of vernacular-tinged American pieces, arranged for violin and orchestra by Paul Bateman with a variety of accompaniments.
Violinist Daniel Hope perhaps overestimates the degree to which American music is terra incognita for his European listenership West Side Story has had many London productions, and for a long time, Gershwin was more common on European concert music programs than he was stateside.
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