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Music is often described as the most abstract of all the arts, and arguably the least visual as well. But these qualities, which seem so basic to the nature of the form, have been challenged for at least three centuries, not least by co*posers themselves. Take Antonio Vivaldi, whose Le quattro stagioni, or The Four Seasons, of 1718–1720 evoke not just broad impressions of the eponymous parts of the year, but a variety of natural and human elements characteristic to them. In the course of less than an hour, its listeners — whether of the early eighteenth century or the early twenty-first — “see” spring, summer, autumn, and winter unfold vividly before their mind’s eye.

Now, co*poser Stephen Malinowski has visualized The Four Seasons in an entirely different way. As previously featured here on Open Culture, he uses his Music Animation Machine to create what we might call graphical scores, which abstractly represent the instrumental parts that make up widely loved classical co*positions in time with the music itself.

On this page, you can watch four videos, with each one visualizing one of the piece’s concerti. Fans of the Music Animation Machine will notice that its formerly simple visuals have taken a big step forward, though what can look at first like a psychedelic light show also has a clear and legible order.

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For “Spring” and “Autumn,” Malinowski animates performances by violinist Shunske Sato and musicians of the Netherlands Bach Society; for “Summer” and “Winter,” performances by Cynthia Miller Freivogel and early-music ensemble Voices of Music (previously featured here for their renditions of Bach’s Brandenburg Concertos and “Air on the G String,” Pachelbel’s Canon, and indeed The Four Seasons). Generally understandable at a glance — and in many ways, more illuminating than actually seeing the musicians play their instruments — these scores also use a system called “harmonic coloring,” which Malinkowski explains here. This may add up to a co*plete audiovisual experience, but if you’d also like a literary element, why not pull up The Four Seasons’ acco*panying sonnets while you’re at it?

Related content:

Why We Love Vivaldi’s Four Seasons: An Animated Music Lesson

Watch All of Vivaldi’s Four Seasons Performed on Original Baroque Instruments

Vivaldi’s Four Seasons Brought to Life in Sand Animations by the Hungarian Artist Ferenc Cakó

Yes’ Rick Wakeman Explores Vivaldi’s Four Seasons, and Why It Was the First Concept Album

Watch Classical Music co*e to Life in Artfully Animated Scores: Stravinsky, Debussy, Bach, Beethoven, Mozart & More

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities and the book The Stateless City: a Walk through 21st-Century Los Angeles. Follow him on the social network formerly known as Twitter at @colinmarshall.