tintinnabuli: purified musical style and Arvo Pärt’s trademark
This concert took place in the concert hall without a live audience: you can (re)watch the livestream until 30 May.
An evening in the company of Arvo Pärt, in the unique setting of the Basilica of Koekelberg: we press the pause button as we take time and distance out from our daily lives and allow the music of Pärt to do its healing work.
How is it possible that Arvo Pärt is able to move us over and over again, to enthral us and lead us to rapture? Is it the relevance, the social engagement that comes through the notes? The religious polarisation along with the universal messages of freedom, tolerance and love? Whatever the reason, Arvo Pärt knows better than anyone how to touch a nerve, and to use his own distinctive language to go straight to the heart.
Paradise has been lost, that is the plaint we hear in Adam’s Lament – but not forever, as hope glimmers at the end of our path. Pärt shows us that path in Como cierva sedienta: swinging back and forth between suffering and consolation, doubt and insight, despair and hope, ultimately reconciliation awaits us. With one final message, the journey comes to an end: Da Pacem Domine – Lord, grant us peace.
„As the hart panteth after the water brooks,
so panteth my soul after thee, O God.
My soul thirsteth for God, for the living God.
Why art thou cast down, O my soul?
and why art thou disquieted in me?
hope thou in God:
for I shall yet praise him
for the help of his countenance, and my God. “
Adam’s Lament (2010)
Como cierva sedienta (1998 / 2002)
Da Pacem Domine (2004)
Want to learn more about the music and the artists? Read the lyrics? Download your programme booklet.download programme booklet
The Australian Chamber Orchestra about the significance of Arvo Pärt.listen to the podcast
Paul Wilkinson explains the tintinnabuli composition style of Arvo Pärt.watch the video
This concert will take place in the concert hall, even without a live audience: you can watch the concert via the livestream.