Abstract
The article presents the results of studying the implementation of artistic time in the XXI-century music by the example of Max Richter’s re-composed version of Antonio Vivaldi’s cycle “The Four Seasons”. Analysing the intertextual dialogue of baroque and modernity, the paper examines the process of creating a new composition with the original conception of time. In Richter’s composition, the techniques of an old-fashioned instrumental concert as signs of the bygone age are adjusted to modern culture, they interact with minimalism, rock and electronic music, ambient style. As a result, in the re-composed version of “The Four Seasons”, artistic time is represented as multidimensional or multi-layered, where the past and the present are equally relevant.
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