Jean-Luc Godard
- The Rise and Fall of a Small Film Company / Grandeur et décadence d'un petit commerce de cinéma
1986
David Darling – Cello (1992)
Christopher Bowers-Broadbent – Trivium (1992)
Cover images from the opening scene of Passion (1982) directed by Jean-Luc Godard.
Design: Barbara Wojirsch (for ECM Records)
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Arvo Pärt under a blanket on a plane.
Arvo Pärt accepting birthday wishes at the window of his Tallinn Old Town home this morning.
(Photo: Peeter Langovits/Arvo Pärt Center).
Source: news.err.ee
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Arvo Pärt has a banana in his ear.
From And Then Came the Evening and the Morning (1989)
Directed by Dorian Supin
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Gerhard Richter Doppelgrau, 2014
Enamel on back of glass
200 cm x 400 cm each
Doppelgrau, is four large grey diptych paintings behind glass – a stripped-back work to match the composer (Arvo Pärt)’s minimalist style. The twinned, subtly different shades of pure grey might be a reference to Pärt’s tintinnabuli system, where each note is paired with a harmonising chord so it recalls the vibrating peal of a bell, and, as Pärt has said, “the melody and the accompaniment is one”. Or perhaps they’re an oblique comment on Pärt’s quest for oneness: “the complex and multifaceted only confuse me, and I must search for unity”, he has said. Richter’s glass panes conceal as much as they reveal, reflecting their audience back at itself. Behind the glass, the paintings are in a world of their own, impossible to clearly see in one look.
Composer Arvo Part
Photo by Roberto Masotti
Manfred Eicher and Arvo Pärt at the recording session of Miserere in Rouen, 1989, Photo: Jean-Pierre Larcher, ECM Records.
Arvo Pärt with his piano.
Arvo Pärt with a bell.
Arvo Pärt with his piano.
Arvo Pärt at a rehearsal for the 1977 world premiere of "Tabula Rasa," in Tallinn, Estonia.
Source: The New York Times
Underlying the apparent simplicity of Arvo Pärt’s music are his compositional systems. Above, ‘‘melodical drawing’’ (1976) meant to convey a bird’s wing movements.
Source: The New York Times