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.

I mean, they are crude in a way, but they are also like someone inventing the wheel. “They have a certain presence and authority about them. “Those are the first-generation synths, and I’ve heard them described as the Stradivarius of the synthesiser,” he laughs. “I wanted to match that flinty, haptic, tactile texture with the electronic elements.” The new record is produced on an analogue mixing desk, with the composer himself playing an early Moog, dating from the seventies. “I love the slight grittiness and earthy feeling that gut strings have,” he says. Richter is enthusiastic about this blend. In this “alternative rendering”, Chineke!, the groundbreaking British ensemble consisting of majority Black, Asian and ethnically diverse musicians, and the brilliant soloist, Elena Urioste, are playing on gut strings and period instruments: the sort that Vivaldi would have heard, and played, in his own time. Experiencing it felt as though we were being catapulted onto another plane, reverberated through the cosmos by this epiphanic soundworld. We hadn’t heard anything like that, ever. When Max Richter’s Recomposed first exploded into our collective ears almost a decade ago, a 59-minutes-28-seconds sonic starburst, the effect for so many people was total.

Max richter vivaldi spring