Knez of Egoslavia: Cassandra, Weathervane, Canary, Fool
In Simon Schama's 'Power Of Art' series from 2006, "Rothko" was the final episode. Schama closed the series, standing in the Rothko Room (most of the Segram Murals hang there) and said, "Can there be anything less 'cool' than this room in the heart of Tate Modern? Further away from the razzle-dazzle of contemporary art, the frantic hustle of Now? This isn't about now; this is about forever. This is a place where you come to sit in the low light and feel the eons rolling by -- to be taken toward the gates that open to the thresholds of eternity; to feel the poignancy of our comings and goings, our entrances and our exits, our births and our deaths; womb, tomb, and everything between. Can art ever be more complete, more powerful? I don't think so."
Rothko - Feldman, Feldman - Rothko, they're two (click) two (click) two gods in one. Or at least each makes the other better.
Sacrilege: Feldmann's choral minimalism in 'Rothko Chapel' sounds eerily like the soundtrack to Invaders From Mars (1953), now believed to be the work of another Morton, Mort Glickman. I also recognize codas in 'Chapel' that appear to have been, uh, borrowed by Jürgen Knieper for his soundtrack to Wim Wenders' 1987 'Wings Of Desire'.