We were going to wait for each season to deliver Vickyās amazing Four Seasons, but you guys have asked for it, and itās feeling autumnal today in England! So here you goā¦Our amazing @lyonvic with @piccadilly_sinfonietta
As today feels like the first signs of Spring here in the Uk, we thought weād treat you to our very own virtuoso @lyonvic playing āSpringā from Vivaldiās Four Seasons with @piccadilly_sinfonietta .
Originally written and performed by Muse, āHysteriaā is already known for its driving bassline. But on Quadrasonic, we reinvent it through strings alone and somehow, it hits just as hard.
We donāt strip away the rock energy, we just translate itā¦sometimes you donāt need guitars to create chaosā¦just a female string quartet š
From our second album QUADRASONIC, āSweet Dreams (Are Made of This)ā is about ambition, power, and the reality of human desire.
When Annie Lennox and Dave Stewart wrote it, they were coming out of a difficult period - their previous band had failed and they were trying to rebuild. The song reflects that mindsetā¦a kind of cool, clear-eyed look at the world.
Sometimes we just write our version of a song a play it for one offs. This AC/DC song was just that.
āBack in Blackā is a rock anthem, and we wanted to see if we replaced guitars with strings if it would still sound as epic. We reckon it sounded PHAT!
āPalladioā is an absolute modern classic, and our favourite track to foot stomp to!
Originally written in 1995 by Karl Jenkins and inspired by the elegance of Renaissance architect Andrea Palladio, āPalladioā blends driving strings and bold harmonies, as well as capturing strength and symmetry.
āLouderā has always been about strength.
It was originally written as an anthem - a reminder to turn up your own voice, stand your ground, and not let anyone drown you out.
When we created our version of āLouderā, we connected to that message straight away. Even without lyrics, the feeling is still there.
āChildrenā is an absolute crowd pleaser every time we play it. In the 90ās Robert Miles was deeply affected by a series of fatal car accidents involving young people leaving nightclubs late, worse for wear and exhausted.
He wanted to create a track that would calm people down at the end of a night out - something reflective and emotional that DJs could play as the final song, helping clubbers leave in a more peaceful state.
āChildrenā was his answer.
Our version is swooping and cinematic, as well as reflective and nostalgicā¦..we LOVE it!
You may recognise the beginning of āLamentā that we re-imagined for Cheltenham. It is from the opera āDido and Aeneasā by Henry Purcell.
āDidoās Lamentā is sung as Dido prepares for death after Aeneas leaves her. The lament has echoed through the centuries due to its feeling of timeless heartbreak and the falling bass line beneath it feels almost inevitable, like grief itself unfolding.
We are so lucky to be asked to re-work pieces like thisā¦ Some music never loses its power - it simply finds new ways to speak.
Hereās our version of Live and Let Die at the Royal Albert Hall.
This song was written by Paul McCartney for the 1973 Bond film Live and Let Die and originally recorded with Wings.
Weāve reworked it for strings, using four-part harmonies in place of vocals and leaning into the contrasts that give the track its impact.
