By Max Richter, as featured in the film Arrival.
Suddenly obsessed with this Max Richter piece. Melancholic, a simmer of hope, and above all a masterful example of building a piece around a single repeating motif and dancing around it. The play within the minor key is wonderful too: slightly meditative and, with closed eyes, like the slow and steady zoom of a camera set on a scene of finality.
First noticed it in the splendid film Arrival, then read on Wikipedia that it’s been used a lot in other movies as well. No matter. Still good.