How, I wondered in awe, did Richter create this parallel, paradoxical, old-new and entirely beautiful thing? Over the years, I would try to fgure this out, in – say – late-night conversations, not necessarily with classical-music junkies, but with people who would listen religiously to And yet, as a long-term Vivaldi player and erstwhile Vivaldi fanatic, I also felt as though I was encountering a dear, old friend. Experiencing it, I felt as though I was being catapulted onto another plane, reverberated through the cosmos by this epiphanic soundworld. When Max Richter's Recomposed first exploded into our collective ears almost a decade ago, a 59-minutes-28-seconds sonic starburst, the effect on me, as for so many people, was total. This exclusive variant also contains an additional signed art print.

We hadn’t heard anything like that, ever… When Recomposed by Max Richter: Vivaldi – The Four Seasons Recomposed first exploded into our collective ears almost a decade ago the effect for so many people was total.

This CD edition is presented in a 6-panel digipack with a 20-page full-color booklet. This special, hand-numbered color vinyl edition features marbled yellow/red vinyl, a 4-page booklet, and three art prints on matte art paper with photos from the recording session. The new recording was produced on an analogue mixing desk at Richter’s own cutting edge Studio Richter Mahr, with the composer himself playing an early Moog from the 1970s. In this “alternative rendering”, Chineke! – the groundbreaking British ensemble consisting of majority Black, Asian and ethnically diverse musicians – and soloist, American violinist Elena Urioste, play on gut strings and period instruments, the kind that Vivaldi would have heard and played in his own time.

When Recomposed by Max Richter: Vivaldi – The Four Seasons Recomposed first exploded into our collective ears almost a decade ago the effect for so many people was total.

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