{"id":1312,"date":"2015-08-18T09:16:58","date_gmt":"2015-08-18T08:16:58","guid":{"rendered":"http:\/\/studiozenz.nl\/master\/?p=1312"},"modified":"2015-08-18T09:24:51","modified_gmt":"2015-08-18T08:24:51","slug":"richter-en-part-mif15-samengaan-van-beeld-en-koormuziek","status":"publish","type":"post","link":"http:\/\/studiozenz.nl\/master\/richter-en-part-mif15-samengaan-van-beeld-en-koormuziek\/","title":{"rendered":"Richter en P\u00e4rt &#8211; MIF15, samengaan van beeld en koormuziek"},"content":{"rendered":"<p><iframe loading=\"lazy\" title=\"Richter \/ P\u00e4rt - MIF15\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/tsJuVgY9HkQ?wmode=transparent&amp;rel=0&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>This extraordinary project, several years in the planning, brings together two of the world\u2019s most influential and enduring cultural figures &#8211; Gerhard Richter &amp; Arvo P\u00e4rt. MIF CEO &amp; Artistic Director Alex Poots &amp; Curator, Hans Ulrich Obrist introduce their new work presented at the Whitworth Art Gallery. <sup>1<\/sup><\/p>\n<p><!--more--><\/p>\n<h3>The Guardian<sup>2<\/sup><\/h3>\n<p><span class=\"drop-cap drop-cap--wide\"><span class=\"drop-cap__inner\">J<\/span><\/span>udging by the warm smiles, joyful tears and gleeful hugs between them, Manchester international festival nurtured a profound friendship when it introduced two of the world\u2019s great artists, <a class=\" u-underline\" href=\"http:\/\/www.theguardian.com\/artanddesign\/gerhard-richter\" data-link-name=\"auto-linked-tag\" data-component=\"auto-linked-tag\">Gerhard Richter<\/a> and composer Arvo P\u00e4rt, and suggested they work together. It\u2019s a match made in heaven.<\/p>\n<p>Richter has a long, symbiotic relationship with music. One of his paintings was used as an album cover by Sonic Youth in 1988; a book of overpainted photographs in homage to Steve Reich followed and then came <em>Bach<\/em> (1992), four large abstract paintings, using strict horizontal and vertical lines to echo the order of Johann Sebastian\u2019s genius. Fourteen years later, he became fascinated by the chance procedures of John Cage\u2019s music and produced a cycle of six abstract \u201csqueegee\u201d pictures influenced by Cage\u2019s compositional technique (<a class=\" u-underline\" href=\"http:\/\/www.tate.org.uk\/art\/artworks\/richter-cage-1-6-l02818\" data-link-name=\"in body link\" data-component=\"in-body-link\">and today on show at Tate Modern<\/a>).<\/p>\n<p>Curiously, Arvo P\u00e4rt straddles both Bach and Cage in that his music is largely tonal, strictly ordered and yet also experimental and thoroughly contemporary. Both P\u00e4rt and Richter are advanced in years and are the product of the turmoil of the 20th century; both brought up under difficult communist regimes and both deeply affected by the second world war. The parallels seem limitless.<\/p>\n<p>The men met in Dresden in 2013 and immediately a rapport was obvious. Last year, <a class=\" u-underline\" href=\"http:\/\/www.theguardian.com\/artanddesign\/2014\/oct\/12\/gerhard-richter-marion-goodman\" data-link-name=\"in body link\" data-component=\"in-body-link\">Richter created <em>Double Grey<\/em><\/a>, four diptychs, each enamelled with a different tone of grey on glass. Then this year he produced <em>Birkenau<\/em>, four large abstract paintings, based, it is said, on photographs taken by a prisoner in Auschwitz-Birkenau in 1944. These now hang at Manchester\u2019s newly extended and refurbished <a class=\" u-underline\" href=\"http:\/\/www.theguardian.com\/artanddesign\/2015\/feb\/01\/whitworth-gallery-manchester-muma-redesign\" data-link-name=\"in body link\" data-component=\"in-body-link\">Whitworth Gallery<\/a>, named last week as the <a class=\" u-underline\" href=\"http:\/\/www.artfund.org\/prize\" data-link-name=\"in body link\" data-component=\"in-body-link\">ArtFund Museum of the Year<\/a>.<\/p>\n<p>They are wonderful creations; the deeply subtle <em>Double Grey<\/em> reflecting the streaked reds, greys, greens and blues of the <em>Birkenau<\/em> set. And yet they don\u2019t truly come into their own until you hear P\u00e4rt\u2019s response to them.<\/p>\n<p>His piece, entitled <a class=\" u-underline\" href=\"https:\/\/www.youtube.com\/watch?v=YeQco8EFxqU\" data-link-name=\"in body link\" data-component=\"in-body-link\"><em>Drei Hirtenkinder aus Fatima<\/em><\/a>, is sung at intervals throughout the day. On preview afternoon last week there was no warning of its start; the singers of the Estonian choir Vox Clamantis mingled with the crowd and simply sang where they stood \u2013 an electrifying moment. It\u2019s vintage P\u00e4rt; at first it could be a gentle, lilting folk-song as old as time but it unfolds into a multi-layered, densely harmonised acclamation of alleluia, which both triumphs over the horrors of Birkenau and bestows a profound nobility on the victims of that terrible place. From today for a week local chamber choirs will take turns to sing P\u00e4rt\u2019s small gem of a piece. Lucky them. They will never forget it.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>bronnen<\/strong><br \/>\n1.\u00a0<a href=\"https:\/\/www.youtube.com\/watch?v=tsJuVgY9HkQ\" target=\"_blank\">https:\/\/www.youtube.com\/watch?v=tsJuVgY9HkQ<br \/>\n<\/a>2.\u00a0<a href=\"http:\/\/www.theguardian.com\/music\/2015\/jul\/12\/gerhard-richter-arvo-part-review-manchester\" target=\"_blank\">http:\/\/www.theguardian.com\/music\/2015\/jul\/12\/gerhard-richter-arvo-part-review-manchester<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; This extraordinary project, several years in the planning, brings together two of the world\u2019s most influential and enduring cultural figures &#8211; Gerhard Richter &amp; Arvo P\u00e4rt. MIF CEO &amp; Artistic Director Alex Poots &amp; Curator, Hans Ulrich Obrist introduce their new work presented at the Whitworth Art Gallery. 1<\/p>\n","protected":false},"author":1,"featured_media":1314,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,53],"tags":[24,25,111,110,112,69],"class_list":["post-1312","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-actuele-posts","category-kunst-en-muziek","tag-kunst","tag-muziek","tag-part","tag-richter","tag-schilderkunst","tag-zangkoor"],"_links":{"self":[{"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/posts\/1312","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/comments?post=1312"}],"version-history":[{"count":10,"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/posts\/1312\/revisions"}],"predecessor-version":[{"id":1323,"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/posts\/1312\/revisions\/1323"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/media\/1314"}],"wp:attachment":[{"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/media?parent=1312"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/categories?post=1312"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/studiozenz.nl\/master\/wp-json\/wp\/v2\/tags?post=1312"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}