“It’s a paradoxical situation: It is a beautiful piece of music, but you end up sort of hating it.” “Many people fall out of love, because you hear it all the time,” says Richter.

Perhaps it’s because we love the music so much we play the meaning out of it, then back into it, like a word you repeat over and over until you’re briefly uncertain of its sense. There are a lot of iconic classical pieces and a lot of attempts to modernize them (remember the disco-era “A Fifth of Beethoven?”), but I can’t think of another work that has inspired so many direct spinoffs. Nigel Kennedy, Mark O’Connor, Philip Glass, Max Richter: All have written responses to the “Four Seasons” in recent years in the form of new violin concertos. Composers and performers try to make the piece their own, not only by playing it, but by answering it, changing it, creating new works in its image. For those uncertain about what they are supposed to be listening for in so-called classical music, concrete illustrations are a welcome point of orientation.Īnother part of the alchemy is the urge to replicate: The creative cells continue to divide. They are also among the first examples of program music, illustrating the world around them: This is a cold winter wind, this is a spring cuckoo. They’re filled with catchy tunes that propel the music forward and never overstay their welcome. Why have “The Four Seasons” prevailed when equally strong Vivaldi works are far less known? They’re good music, certainly. There’s a weird alchemical process involved in the crowning of cultural icons. Even if you don’t know classical music, or think you know them, you’ve heard “The Four Seasons” - in movie soundtracks, on TV ads or playing on Muzak loops. They may not even be his best concertos, but they’re ubiquitous.

But those four - commonly known as “The Four Seasons” - have become part of our cultural fabric. Antonio Vivaldi wrote more than 500 concertos.

Seasons classical music