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Richter himself is going back to his own childhood, to his love for Vivaldi’s Four Seasons as a kid. It was bringing me back to my own beginnings, reviving that fearlessness that I had playing the violin as a youngster, thankfully without forgetting my years of training and experience.
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Richter’s The Four Seasons Recomposed brought to me this raw, primitive reaction when playing the piece: a renewed commitment to my musical approach focused on instinct, intensity and raw emotion. Spring of 2016 came around and I started preparing Richter’s work, a brand new piece for me that aligned with this newfound obsession. These bridges between the Baroque tradition and music written in the past century have become a big part of my path as an artist and this album takes me one step further in that direction. I soon realized how deep the connections between both styles were, motivating me to research some more and to start obsessing over them. There was something so exciting about getting the audience to explore the connection between the two. In a casual subway conversation among musicians in New York, my friend brought up this “crazy piece, it’s amazing but good luck learning it.” And so: Isang Yun’sKönigliches Thema.Īfter learning and understanding Yun’s devilish work, I started performing it alongside Bach’s Chaconne during the 15/16 season. Let’s do it next Spring.” About a week later, I was finalizing a concert programme centred around Bach’s masterful Chaconne, and I was looking for one more piece to pair with it.
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It has your character written all over it, and trust me, you will thank me later. Max Richter’s The Four Seasons Recomposed. The first one was a phone call from the artistic director of the Chamber Orchestra of San Antonio: “I have the perfect piece for you. The concept for this album started with a couple of these “moments”: two seemingly separate conversations about a week apart from each other in early 2015.
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I got lucky, who knows what would have happened if Bernat Pomar, by far the best music pedagogue my hometown of Palma de Mallorca has ever seen, taught a different instrument instead of the one that has become my life. I liked playing with it and from there, my parents decided to find a music teacher. When I come to think of it, the fact I even started playing the violin is sort of a coincidence: my Mom bought me a plastic yellow toy violin at age three. Call it the butterfly effect, call it luck. Take out any one of hundreds of these moments, and chances are I would not be here today, writing these notes tucked in a corner of my favourite cafe in the Upper West Side of Manhattan on a windy autumn morning. In the case of musicians, our path and artistic approach is constantly being affected by the many ever-changing factors that shape our emotions and outlook on life: personal experiences in the realms of love, family and friendship, inspiring collaborations with other musicians and encounters with new works that resonate with something deeper, helping us discover the unknown within ourselves.
SCHNITTKE FUGUE FOR SOLO VIOLIN FULL
Life is full of coincidences, seemingly meaningless and isolated events that on their own are just that, meaningless, but when combined have the power to shape a person’s life. Vivaldi and Bach’s melodies inspired by Chris Potter’s saxophone and the twelve-tone system from the Roman Pantomime to Soviet cartoons, are you ready to come on a musical adventure through the centuries? I invite you to join me on a musical journey that stands at the crossroads between musical paths. Through the Lens of Time brings together four modern perspectives reimagining the Baroque tradition: a dialogue between Old and New that prompts both composers and performers to explore music from giants of the past and its place in their own lives.