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It’s worth noting that no piece is too long for a 45, and as on Recomposed, only two top the four-minute mark.

“Spring 1” was the first single, but as the seasons change, “Summer 1” might serve the same purpose, due to its late surge or “Summer 3,” due to its immediacy, the piece jumping in both both feet and never letting up. This opens the possibility for the strangest of phenomena, a bona fide pop hit. Perhaps a simpler way to explain the difference is that Recomposed sounds like classical music, while The New Four Seasons sounds more like modern composition ~ which indeed it is, despite its pedigree. Instead, the synths burst the seams of nostalgia, comfortably nestled in a new setting. The other tonal change stems from Richter’s addition of “vintage” Moog synth, which again might have resulted in an older feel – the 1970s rather than the 1710s. And yet, violinist Elena Uriotse and the majority Black and ethnically diverse Chineke! Orchestra treat The New Four Seasons as a contemporary work, adding energy, exuberance and a sense of fun. This may seem like a curious statement, given that the album was recorded on period instruments (“gut strings”), which the performers had to learn: a Baroque touch that one would guess might make the music sound older. In contrast, The New Four Seasons sounds like now. Yet after only ten years, Recomposed has begun to settle into the same fate, licensed to multiple media outlets, growing familiar to even peripheral listeners.

Ten years ago, Max Richter unraveled Vivaldi’s work and stitched it back together, feeling that the original had “lost its impact through overexposure.” In doing so, he breathed new life into a classic. Let’s tackle the obvious question first: if a person already owns Recomposed, why might they want to purchase The New Four Seasons? The question is valid, the answer simple: they sound as different as two versions of the same work can be.