Journal articles on the topic 'Arvo Pärt'

"This article comprises an analysis of two of the religious works signed by the Estonian composer, Arvo Pärt, both written in the tintinnabuli technique, 9 years apart - De profundis and Miserere. After an overview of the tintinnabuli concept and after indicating their technical features, I have observed how the minimalist compositional method, specific to Pärt, has acquired elasticity, as years went by. Nonetheless, the hermeneutical principles which the composer intended to soundly integrate in his composition style are preserved, regardless of how the tintinnabuli technique arises (strict or elastic). In both musical works analyzed, the tintinnabuli technique (technique used in composition since 1976) does not refer to serialization of sound parameters, but addresses the algorithmizing process of the musical material, which originates from formal and philosophical thinking. Keywords: tintinnabuli, minimalism, holy minimalism, Arvo Pärt."

The current standing of the Estonian-born composer Arvo Pärt (b.1935) rests almost exclusively on the works he has composed since 1976, the year the composer unveiled the first fruits of his newly-discovered modal formulae, or what has now become known as the ‘tintinnabuli’ style. There is, however, a large, important and up until now relatively unexplored series of experimental works that predate this seemingly radical change of style. For example, Pärt's first orchestral piece, Nekrolog (1960), was the very first piece of Estonian music to employ the 12-note technique, incurring the wrath of no less a person than Tikhon Khrennikov, the all-powerful general secretary of the Soviet Composers’ Union. Indeed at the Third All– Union Congress of Soviet Composers held in Moscow in March 1962 Khrennikov singled out Pärt for criticism.

Passio, is Arvo Pärt’s first large scale vocal-instrumental work in the tintinnabuli style and remains today one of his most significant compositions. In this setting of the Passion text according to St. John, Pärt codifies procedures of tintinnabuli that will remain his principle means of musical communication for years to come while implying a very important perspective of Johannine theology. His compositional design utilizes both small-scale and large-scale chiastic constructions and gives prominence to John’s observance in Chapter 18, verse 4, that Christ knows all that will occur in the events leading to his crucifixion. Seen in this light, the Passion narrative unfolds according to a pre-ordained plan; it is this subtle perspective of the Gospel that Arvo Pärt reveals musically in his Passio. This paper approaches a musical analysis of Passio in relation to John’s perspective that Christ knew all that was to follow. It illustrates that virtually every note is linked in some way to Pärt’s musical pilgrimage to the cross. With a microscopic lens, the analysis connects Pärt’s use of melody, texture, inversion and tintinnabuli to a poignant marriage of music and the biblical text. And on a macroscopic level, it is shown that musical events unfold over time to reveal the inevitability of the crucifixion. It is revealed that within the work’s tonal centres, large-scale textural procedures, pedal points and the music of the Exordium and Conclusio the path to the cross is present from beginning to end. In this way, the listener is taken through the narrative only to realize afterward that the Gospel’s outcome was present from beginning to end.

Abstract The story of Estonian Orthodoxy, as often told through the narrative of collective trauma, is not homogeneous and uncontested. The co-existence of two Orthodox communities in present-day Estonia, each insisting on exclusive canonical legitimacy and holding different views of the past, the incomplete work of transitional justice, and the untold story of political collaboration appear as irreconcilable differences that challenge the ideals of Christian unity. In order to address these unresolved problems of a traumatic past, the paper will turn to the ascetic theology of twentieth-century Orthodox saints St Silouan (1866–1938) and St Sophrony Sakharov (1896–1993) and to the musical oeuvres of the Estonian composer Arvo Pärt (b. 1935). The approach of these Orthodox ascetics, the article argues, provides an important perspective on Christian mission in a wounded world.

Of all recent art music styles, few have relied upon technological developments for their composition, performance and recording to the same degree as minimalism. In both the output of the principal composers of the more recent minimalist canon (namely in the objet trouvé works of Reich and Adams, the film scores by Glass and Nyman as well as through the reliance on electronic amplification common to them all) and in the counter-cultural movements characterized by music whose content is absolutely dependent on electronic media, repetitive styles have been transformed. The sophistication of these procedures has naturally resulted in a diminished sense of human labour within the compositional process and, at times, the total loss of a composer's authorial voice. The tintinnabuli music of Arvo Pärt stands out against the general tendency of such repetitive-based composers to harness the latest technology, to the extent that some commentators have baulked at the term ‘minimalist’ as an appropriate category. Robert Schwarz, for example, believes ‘neo-medievalist’ to capture something of Pärt's particular adoption of a supposedly pre-modern, non-technological attitude, while Josiah Fisk opts for the ‘new simplicity’ to describe (negatively) Pärt's monochromaticsm.

AbstractThis essay explores the perceptions of value that circulate around Arvo Pärt’s early tintinnabuli works Tabula Rasa (1977) and Spiegel im Spiegel (1978). Western reception hears Pärt’s music as either ‘spiritually deep’ or musically ‘flat’. By understanding how modernist subjectivity translates into standards of musical value, I attempt to dismantle the biases inherent in both camps and go on to consider Pärt’s early tintinnabuli works in terms of both spirituality and postmodernism. Couched in the religious revivalism of the 1970s, Tabula Rasa offers a narrative of transcendence that performs a Neoplatonic model of subjectivity built directly from Orthodox praxis and supplies an alternative to dominant Soviet cultural narratives. By the 1980s Western marketing of tintinnabuli transformed the influence of religion into the visual and linguistic rhetoric of ‘holy minimalism’. Does commodification leech out spiritual ‘depth’ from Pärt’s music? The essay responds to this question by turning to Fredric Jameson’s ‘antinomies of postmodernism’ and an analysis of Spiegel im Spiegel’s musical stasis, process, surface, and depth. While Jameson’s postmodernism still finds value in modernist subjectivity, this essay suggests an alternative way of understanding musical value through a consideration of Pärt reception and experiences of illness.

Abstract This article examines the compositional history and early reception of Soviet composer Andrey Volkonsky's two earliest and most important serial compositions, Musica Stricta and Suite of Mirrors (Syuita zerkal). These two works spurred on the formation of an unofficial music culture in the Soviet Union during the Thaw of the late 1950s and 1960s. Volkonsky (b. 1933) was the first and initially the most visible of a group of young Soviets known by officialdom as the “young composers” (“molodïïye kompozitorïï”). These “young composers”—among them Sofia Gubaidulina, Alfred Schnittke, Arvo Pärt, and Edison Denisov—came of age in the years following Stalin's death in 1953. Their compositions reflected their attempts to “catch up” with the Western avant-garde following decades of musical development that had been denied them under Stalin. The first “new” technique these composers adopted was serialism, and Volkonsky's early compositions illustrate the specifically Soviet approach to the method and demonstrate the meanings it held for Soviet officials and Soviet audiences. Volkonsky's early works also force a broadening of current interpretations of postwar European and American serialism. Much of the information in the article stems from personal interviews with Volkonsky and the other leading composers and performers of the Thaw, as well as archival research conducted in Russia.

Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. The Singer; Songs of the Ancient Sea; Plague Memory; Bridge of Song; Going to War; Dialectical Aphorisms; Song about a Level Land; We Are Given; An Aboriginal Song; The Estonians' Political Parties Game; Song about Keeping Together; Martinmas Songs; Shrovetide Songs; Three I Had Those Words of Beauty. Estonian National Male Choir c. Ants Soots. Alba NCD 23.TAMBERG: Cyrano de Bergerac. Soloists, Orchestra and Chorus of Estonian National Opera c. Paul Mägi. CPO 999 832-2 (2-CD set).ROSENVALD: Violin Concerto Nos. 11 and 2, Quasi una fantasia2; Two Pastorales3; Sonata capricciosa4; Symphony No. 35; Nocturne6. 1,2Lemmo Erendi (vln), Tallinn CO c. Neeme Järvi, 2Estonian State SO c. Jüri Alperten; 3Estonian State SO c. Vello Pähn; 4Valentina Gontšarova (vln); 56Estonian State SO c. Neeme Järvi. Antes BM-CD 31.9197.DEAN: Winter Songs. TÜÜR: Architectonics I. VASKS: Music for a Deceased Friend. PÄRT: Quintettino. NIELSEN: Wind Quintet. Berlin Philharmonic Wind Quintet, with Daniel Norman (tenor), c. Hermann Bäumer. BIS-CD–1332.TULEV: Quella sera; Gare de l'Est; Adiós/Œri Ráma in memoriam; Isopo; Be Lost in the Call. NYYD Ensemble c. Olari Elts. Eesti Raadio ERCD047.ESTONIAN COMPOSERS I: MÄGI: Vesper.1 KANGRO: Display IX.2 SUMERA: Shakespeare's Sonnets Nos. 8 & 90.3TAMBERG: Desiderium Concordiae.4 TULEV: String Quartet No. 1.5 EESPERE: Glorificatio.6 TORMIS: Kevade: Suite.71Estonian National SO c. Aivo Välja; 24NYYD Ensemble c. Olari Elts; 3Pirjo Levadi (soprano), Mikk Mikiver (narrator), Estonian National Boys' Choir, Estonian National SO c. Paul Mägi; 5Tallinn String Quartet; 6Kaia Urb (sop), Academic Male Choir of Tallinn Technical University c. Arvo Volmer; 7Estonian National SO c. Paul Mägi Eesti Raadio ERCD 031.ESTONIAN COMPOSERS II: TULVE: Traces.1 TALLY: Swinburne.2 KÕRVITS: Stream.3 STEINER: Descendants of Cain.4 KAUMANN: Long Play.5 LILL: Le Rite de Passage.6 SIMMER: Water of Life.71,5,6NYYD Ensemble c. Olari Elts; 2Ardo-Ran Varres (narrator), Iris Oja (sop), Alar Pintsaar (bar), Vambola Krigul (perc), Külli Möls (accordion), Robert Jürjendal (elec guitar); 3Virgo Veldi (sax), Madis Metsamart (perc); 4The Bowed Piano Ensemble c. Timo Steiner; 7Teet Järvi (vlc), Monika Mattieson (fl). Eesti Raadio ERCD032.ESTONIAN COMPOSERS III: GRIGORJEVA: Con misterio;1On Leaving. SUMERA: Pantomime; The Child of Dracula and Zombie. 1Tui Hirv (sop), 1Iris Oja (mezzo), 1Joosep Vahermägi (ten), 1Jaan Arder (bar), Hortus Musicus c. Andres Mustonen. Eeesti Raadio ERCD 045ESTONIAN COMPOSERS IV: KRIGUL: Walls.1 JÜRGENS: Redblueyellow.2 KÕRVER: Pre.3 KOTTA: Variations.4 SIIMER: Two Pieces.5 KAUMANN: Ausgewählte Salonstücke.6 AINTS: Trope.7 STEINER: In memoriam.81,6New Tallinn Trio; 2Liis Jürgens (harp); 3,8Voces Musicales Ensemble c. Risto Joost; 4Mati Mikalai (pno); 5Mikk Murdvee (vln), Tarmo Johannes (fl), Toomas Vavilov (cl), Mart Siimer (organ); 7Tarmo Johannes (fl). Eeesti Raadio ERCD 046.BALTIC VOICES 2: SISASK: Five songs from Gloria Patri. TULEV: And then in silence there with me be only You. NØRGÅRD: Winter Hymn. GRIGORJEVA: On Leaving (1999). SCHNITTKE: Three Sacred Hymns. Estonian Philharmonic Chamber Choir c. Paul Hillier. Harmonia Mundi HMU 907331.SCHNITTKE: Concerto for Chorus; Voices of Nature. PÄRT: Dopo la vittoria; Bogoróditse Djévo; I am the True Vine. Swedish Radio Choir c. Tõnu Kaljuste. BIS-CD-1157.PÄRT: Es sang vor langen Jahren; Stabat Mater; Magnificat; Nunc Dimittis; My Heart's in the Highlands; Zwei Sonatinen; Spiegel im Spiegel. Chamber Domaine; Stephen de Pledge (pno), Stephen Wallace (counter-ten), Choir of St Mary's Cathedral, Edinburgh c. Matthew Owens. Black Box BBM1071.

Questo articolo esamina in primo luogo il dramma di Pirandello La vita che ti diedi del 1923 e in secondo luogo il film L’attesa, del 2015, in cui il regista Piero Messina, ispirandosi al lavoro di Pirandello, ha creato un’opera profondamente originale. Sia il dramma sia il film svolgono il tema di una madre che non riesce ad accettare la morte del suo unico figlio e cerca di mantenere l’illusione che sia ancora vivo nascondendo la notizia della sua morte alla donna che lo ama e che viene a trovarlo. Nel dramma la madre trova sollievo al suo stato d’animo attraverso il suo bisogno costante di comunicare i suoi sentimenti con vari personaggi e si difende dall’angoscia della perdita negando che sia avvenuta, anche se alla fine deve accettare la realtà. Nel film L’attesa, il regista Piero Messina, pur mantenendo intatto il tema principale del dramma, trasforma l’esperienza dello spettatore sostituendo ai lunghi discorsi di Pirandello la forza delle immagini e portando la vicenda ai giorni nostri. I protagonisti comunicano tramite messaggi telefonici e sono le musiche di Ben Lukas Boysen, Alexander Knaifel e Arvo Pärt che sottolineano i momenti più tristi della storia. Ma sono soprattutto i paesaggi, gli interni e il folclore siciliani che segnano l’originalità del film e ci comunicano i sentimenti dei protagonisti. Mentre il dramma di Pirandello si svolge in una villa solitaria della campagna toscana, il film ha luogo in vari luoghi della Sicilia orientale e le riprese vanno dalla villa ottocentesca della madre vicino a Ragusa, all’areoporto di Comiso, ai crateri Silvestri ricoperti di lava ai piedi dell’Etna, al lago artificiale vicino a Ragusa, agli antichi mosaici romani di Piazza Armerina e infine alle cerimonie di Pasqua a Caltagirone. La vicenda del film si svolge poco prima di Pasqua e termina con le cerimonie pasquali, quando la madre cerca invano di rintracciare suo figlio scrutando i volti spettrali degli incappucciati, crede in una impossibile resurrezione, ma alla fine deve accettare la realtà della sua perdita e della propria solitudine.

ABSTRACT A rare, sometimes horrific 74-minute assemblage of archival footage, Paolo Cherchi Usai's Passio encompasses themes of human suffering, wonder, and cruelty. The film captures the ““frenzy of the visible”” of life from the microscopic to the macroscopic as called for by the stark, minimalist music of Arvo Päärt.

Kõige viimase, 2009. aasta rahvaloenduse järgi elab Kasahstanis 16 miljonit elanikku, kellest 40% ei ole kasahhid. Nende hulgas on pea 130 rahvuse ja etnilise grupi esindajad. Mitmerahvuselise Kasahstani tekkimisel on keeruline kahe sajandi pikkune ajalugu. Iga etnilise grupi ajalugu Kasahstanis on unikaalne ja tihti traagiline. Osa diasporaagruppide kujunemisele Kasahstanis on pööratud väga vähe tähelepanu, nende hulgas on ka sealsed eesti, läti ja leedu vähemused. 2009. aasta rahvaloendus registreeris riigis umbes 7000 nende rahvuste esindajat, mis on vähem kui 0,1% kogu elanikkonnast. See on üks võtmepõhjusi, miks on nende kohta nii vähe teavet. Teiseks põhjuseks on allikate vähesus. Kuna tänaste Balti riikide aladelt tulnud migrantide arv on alati olnud väike võrreldes teiste rahvustega (venelased, ukrainlased, valgevenelased, sakslased, poolakad jne), ei kajastu nende arv üldisemates statistilistes ülevaadetes, arhiivimaterjalides ega käsitlustes. Nii mainiti 19. sajandi lõpu ja 20. sajandi alguse talurahva ümberasumise ajal eestlasi ja lätlasi “saksa populatsiooni” osana. Stalini küüditamiste käigus varjutasid eestlaste, lätlaste ja leedulaste arve palju suuremad sakslaste, poolakate ja valgevenelaste arvud. Eesti, läti ja leedu diasporaa ajalugu Kasahstanis on huvitav ka sellepärast, et see on osa nende gruppide päritolumaade ajaloost. Ühest küljest on oluline teada, kuhu ja miks tänaste Balti riikide elanikud lahkusid või ümber asustati. Teisest küljest on isegi väikseimad diasporaagrupid osa Kasahstani elanikkonnast. Neil on oma ajalugu, mis on kui pusletükk, mis kuulub selle riigi 20. sajandi ajaloo tervikpilti. Käesoleva uurimuse eesmärk on anda üldine ajalooline ülevaade eesti, läti ja leedu diasporaade tekkimisest Kasahstanis 19. sajandi lõpust kuni 20. sajandi lõpuni, et tõmmata uurijate tähelepanu sellele temaatikale. Kitsas allikaline baas määras uurimismeetodi: andmekogu loomine Kasahstanis elanud eestlastest, lätlastest ja leedulastest. Täna koosneb see 1113 biograafiast, millest 577 on eestlaste, 374 lätlaste ja 162 leedulaste elulood. Teave iga isiku kohta on kogutud viit peamist tüüpi allikatest: monograafiad ja mälestused, publitseeritud ja publitseerimata arhiivimaterjalid, Kasahstani ajakirjandus ja kodu-uurimused, biograafilised käsiraamatud ja intervjuud ning võrguandmebaasid. Isikute kohta kogutud teabe kvantitatiivne ja kvalitatiivne analüüs aitas välja selgitada Kasahstani eesti, läti ja leedu diasporaade tekkimise põhilised staadiumid. Selgub, et vaatamata päritolurahvaste sarnasele ajaloole Vene impeeriumis ja hiljem Nõukogude Liidu koosesisus arenesid rahvuslikud vähemused erinevalt. Kokkuvõttes võib öelda, et lätlased ja eestlased ilmusid Kasahstani 19. sajandi lõpul talupoegade ümberasumise tulemusena. Esimene Eesti asundus Kasahstanis asutati 1893. aastal Novočerkasski vallas Akmola maakonnas Akmola provintsis ja sai nimeks Petrovskoe. Selle rajasid Liivimaalt Võru maakonnast pärit talupojad. 1905. aastal asutati Akmola maakonnas Shokai asundus, mis sai oma nime samanimeliste allikate järgi. Eestlased moodustasid seal 1906. aastal (või mõnede allikate järgi 1907. aastal) Liflyandskoe asunduse. Lisaks Kesk-Kasahstanile kolisid eestlased ka Ida-Kasahstani. Aastatel 1905–06 rajati Zaysani piirkonda Hiina piiril Markakoli järve ääres mitu asundust. 1908. aastal saabusid sinna eesti ümberasujad ning asutasid samuti mitu asulat. Hiljem moodustati neist Ülem-Elovka ja Alam-Elovka külad. Lätlased ei moodustanud eraldi asulaid ja elasid vene, saksa ja eesti külades ning linnades. Esimese Vene impeeriumi rahvaloenduse järgi 1897. aastal elas tänase Kasahstani aladel 322 lätlast. 1926. aastaks oli lätlaste arv kasvanud 1101 isikuni. Elanikkond suurenes tänu Stolõpini maareformidele ja Nõukogude rahvuspoliitikale, millega seoses jõudsid lätlased tähtsatele kohtadele parteis ja ettevõtetes. Läti diasporaad eristas lätlaste osa Nõukogude riigi ülesehitamisel ja nende tegevus avalikus sfääris erinevatel tasanditel. Leedu diasporaa erineb oluliselt läti ja eesti diasporaast. 1897. aasta rahvaloenduse järgi oli Kasahstanis vaid 20 leedulast. Vene impeeriumi ümberasumispoliitika 20. sajandi alguses viis siiski mõningase leedulaste arvu suurenemiseni. Eesti ja Nõukogude Vene vahel sõlmitud Tartu rahulepingu järgi said Eestist pärit Venemaal elavad isikud taotleda Eesti kodakondsust ja Venemaalt lahkuda. Eestlastel, kes elasid tänase Kasahstani territooriumil, lubati taotleda Eesti kodakondsust Omski kontroll-opteerimiskomisjoni kaudu. Tänaseks olen leidnud 81 Kasahstani eestlaste taotlust. Koos pereliikmetega soovis Eesti kodakondsust saada 251 isikut. Eesti kodakondsuse taotluste ja tegelike optantide täpne arv on hetkel veel teadmata. 1930. aastatel represseeriti Kasahstanis vähemalt 602 eesti, läti ja leedu rahvusest isikut, mis moodustab umbes 16% tollasest balti diasporaast. Lisaks sai Kasahstanist küüditamiste ja sunnitöölaagritesse saadetute sihtkoht Nõukogude Liidus. Eesti, läti ja leedu vangide täpne arv ja osakaal on samuti hetkel veel väljaselgitamisel. 1941. ja 1949. aasta küüditamiste tulemustena suurenes eestlaste ja lätlaste arv vaid veidi, samas kui leedulaste arv kasvas küüditamiste järel järsult. 1959. aasta rahvaloenduse järgi oli Kasahstanis 12 132 leedulast. Analüüsides isikute andmekogu äratas tähelepanu arreteerimiste laine, mis tabas aastatel 1941–42 Gurjevi piirkonna (tänane Atõrau Lääne-Kasahstanis) leedu rahvusest naisi. Tuvastasin 16 isikut, kes arreteeriti ja kellele mõisteti karistus ühe aasta jooksul, augustist 1941 augustini 1942. Koos teiste rahvuste esindajatega võtsid Kasahstani eestlased, lätlased ja leedulased Punaarmee koosseisus osa Teise maailmasõja lahingutest. Olen tänaseks leidnud enam kui 100 isikut, kes on saanud oma teenistuse eest autasu, kuid uurimistöö jätkub ka sel alal. 1970. aastate alguses oli Kasahstani eesti, läti ja leedu diasporaa arvuline tippaeg, kokku 20 000 isikut. Poliitilise režiimi pehmenemise tulemusena Nõukogude Liidu viimastel aastatel said mitmed represseeritud õiguse koju tagasi pöörduda, mille tulemusel balti diasporaa vähenes. Nende väljaränne toimus 1990. aastateni. Teine oluline faktor on elanikkonna loomulik vähenemine. 2009. aastaks oli balti diasporaa vähenenud 3,2 korda. Täna on leedu diasporaa balti vähemusrühmadest suurim. Nad on loonud rahvusliku kultuurikeskuse Karaganda piirkonnas, kus on võimalik õppida leedu keelt ja saada teavet leedu kultuuri kohta. Käesolev artikkel on esimene katse kirjeldada eesti, läti ja leedu diasporaa ajalugu ning see esitab mitmeid küsimusi edasiseks uurimiseks: miks otsustasid eestlased 20–30 aastat pärast ümberasumist Eestisse tagasi minna? Mitmel eestlasel õnnestus saada Eesti kodakondsus ning reaalselt Eestisse tagasi jõuda? Kui paljud eestlased, lätlased ja leedulased sunniti Kasahstani välja rändama 1930. ja 1940. aastatel? Milline oli nende edasine staatus? Kas nad jäid paigale või kolisid 1970. ja 1980. aastatel kodumaale tagasi? Eestlaste, lätlaste ja leedulaste osa uudismaade ülesharimise kampaanias on samuti vähe uuritud.

Arvo Pärt Benjamin SkippPhilip Glass Colin ClarkeDallapiccola Tim MottersheadFurther Reviews Bret Johnson, Paul Conway, Peter Palmer, Colin Clarke, Geoffrey Alvarez, Richard Leigh Harris, Tim Mottershead, Guy Rickards

The article aims at revealing a specific ultimate relation of the Baltic New Sacrality with chorale. Its subject-matter is chorale transformations through the ruination of architectonics of sanctum’s chorale, turning it into a horizontal and spreading space or “tower ruins” – inspiring a rise of vertical accordics to the transcendental “other space”. Examples can be three works of the Lithuanian composers for the organs: Mykolas Natalevičius’s “LA” dedicated to Loreta Asanavičiūtė (2014) and “Psalmus 150” (2017), also Algirdas Martinaitis’s “The Messenger from Heaven”, the prayer to St. Francis of Assisi (2014). In these works, there emerge the principles of transformation of architectonics of chorale’s “sanctum” – Natalevičius’s overflow to the horizontal and Martinaitis’s integration of different sphere outlines into the vertical of rising transcendental harmony. Baltic minimalism demonstrates the way of the New Sacrality as an ideological alternative, a response or even replication to still relevant postmodernism, the “carnival of simulacra” ( J. Ranciere), relating it with the discourse of modern Western cultural philosophy of the image. The works by Arvo Pärt (Trivium, 1976), Aivars Kalejs (“Via dolorosa”, 1990), Imants Zemzaris (“Field. Mandala”, 1984), Teisutis Makačinas (“Prayer for Lithuania”, 1980), Onutė Narbutaitė (“The Road to the Silence”, 1981), Peteris Vasks (“Musica serva”, 1988) are actualised by refusing “carnival simulacra” (after J. Ranciere) or representativity, going into silence of sacrality, seeking reduced choral architectonic and pulsation of Enlightening. In this way, the Baltic musical creation is especially relevant nowadays, it is renewing the global concept of sacrality.