I really liked the choice to not use any soundtrack except for sparse diegetic music. It's historically grounding since this is a time where you couldn't hear music without someone performing it live, and that makes it more powerful when it does show up. I'll admit when I first saw it I thought it was a bit cheap to lean on Vivaldi so much in the final shot, but you know what I love 2001 and if Kubrick can get away with shoving Strauss into every scene then dammit, Sciamma can tap the Four Seasons for the money shot at the end because it fucking works. The relative absence of music also leaves a lot of room for the sound design to go full asmr with the brushes on canvas, crashing waves, whipping wind, crackling fire. Those details really stood out in the theater. Also, I feel like everyone is constantly whispering, was that just me?
i didn't really notice about the music until you pointed it out but it's a lightbulb 'oh' moment for sure that makes me appreciate the film more. and yeah even as someone who has next to no classical music knowledge i had similar thoughts about the Four Seasons usage. like the fact that i even know the name of the piece is a testament to how omnipresent it seems to be but yes by the end i was like ehhhhh fuck it, the ending is GREAT.