"ARVO PÄRT 24 PRELUDES FOR A FUGUE" "See, some of these are very pretty." "They are like ears of rye." "It doesn't mean so much to you." "If I had a camorder or a camera," "I would take pictures of flowers or grass." "I used to do that." "TOUCH" "How do you call this tempo?" "Moving." "With movement." "Con moto." "Con moto..." "Of course!" "SUNDAY" "The first memory I have..." "The most distant one," "is of our room." "One of our rooms in Paide, the town where I was born." "The living-room." "There was... a corner in the ceiling." "As if a beam was sticking out." "It was red, because it was covered with wallpaper." "A small red corner." "It was Sunday for me." "I remember I was two years old." "For me it was Sunday." "I don't know what it means." "But I do remember it was Sunday." "SOLITUDE" "There was a pretty house here." "I like curved roofs, they're like wings of a bird." "Here." "Come on now." "Or we'll never go." ""Once upon a time," ""There was a bent man who walked on a bending road." ""He bent down and found a bent coin."" "I don't know where all the stories come from." ""He bought a bent cat who hunted bent rats." ""They lived in a bent house, ate soup from a bent pot."" "EXPECTATION" "GUITAR" "The guitar was like a camel." "It was my motorbike." "It made the sound, too." "I remember clearly." "I was proud of that motorbike." "There was a motorbike in our yard, the one that Maks had." "It was one of two bikes in the whole town of Rakvere." "I had the other one." "AUFTAKT" "Let us have a look at Alina." "I'll show the beginning." "I don't like this timbre, I'll make it more sounding." "Listen to this voice." "Quite neutral." "Also neutral." "Both together." "A bit more serious or complicated." "Like two people whose paths seem to cross, and then they don't." "There is some neutrality here." "I'd say that I had a need to..." "I wouldn't call it neutrality." "A need to concentrate on each sound, so that every blade of grass" "would be as important as a flower." "This is actually..." "It could be like a break on the radio." "Such signals sometimes sound as if they lasted an entire life." "Or future, or past, outside time." "Like I said:" "A blade of grass has the status of a flower." "To see in this tiny phrase, something more than just the black and the white key." "And further..." "Hold that note..." "It's not the tune that matters so much here." "It's the combination with this triad." "It makes such a heart-rending union." "The soul yearns to sing it endlessly." "Listen..." "And so on..." "I imagine the conductor having an upbeat when the whole thing starts." "We can't hear anything yet." "And the people in the concert hall don't know what's coming." "Then the conductor makes the upbeat." "The upbeat, the moment when he raises his hand actually contains the formula of the entire work." "Its character, dynamics, tempo, and plenty of other things." "The conductor and the musicians know it from practising together." "I guess the composer is in a similar position before he starts writing." "He must have the knowledge or a perception of what's coming when the hand goes down." "What is the first note?" "And what's the second one?" "The first step is everything, decisive." "This is a complicated story." "I don't quite understand myself." "But I have an idea of what I want to say." "I'm always looking for it." "Sometimes it comes easily, sometimes it doesn't come at all." "Every time I feel I have to start from scratch." "TOMATO WITH SUGAR" "When I was little, we used to eat tomatoes with sugar." "You've never heard of it?" "As far as I know, one can only put salt on a tomato." "We ate them with sugar." "CECILIA" "Well..." "Let's start then." "Now..." "Is there any white paper?" "Music paper or ordinary?" "I'll just cross it out." " You wanted to paste paper on it?" " I will simply erase it." "What's not going to be played must be destroyed." " Shall we have tea?" " Which kind do you want?" "I've got camomile tea." "What do you prefer?" "I have camomile, green tea, black." "That's it." "Perfect." "We'll have a pause, but I don't know how to go on." "Let's have a cup of tea." " Shall I give you camomile?" " Yes." "I have no idea how to do this." "One-two-three, two-two-three..." "Clarinet-clarinet..." "Two clarinets." "That's how it goes." "This is the first measure." "Take your tea, dear." "JANITOR" "I once had a chat with the janitor in front of our house." "I was waiting for the trolley-bus." "It was cold." "He worked and was warm, but I was freezing." "I asked his opinion:" ""How should a composer write his music?"" "He looked at me." ""What a question!"" ""I think he has to love each single sound."" "Love each sound!" "I had never heard anything like that." "Love each sound!" "This is how a composer must understand music." "This knowledge opens an entirely new world." "How to reach that understanding...?" "That's probably a secret which requires much work." "But if you know it," "then it's easier to know what it's all about." "SMELL OF HOME" "It smells delicious." "What a pity the camera can't smell it." " These are whistles?" " I don't think so." "These are whistles?" "These ones are." "In the same key." "Is it possible to sew on a button with your machine?" "Yes, but I haven't the stand with me." "Good heavens, why do you want to do it now?" " It seems to be coming off." " Where's your wife?" "She didn't bring any thread." "White thread won't do." "You're right." "I could dye it later." "It wouldn't look good, anyway." "A" "I must say I'm happy to work with you." "Thank you." "This ultimate A must sound like music." "Not like tuning the instruments before the concert." "There must be something, but I don't know what." "Pay attention to it." "Should the beginning be together or more quiet?" "I don't know." "You decide on it." " The last A?" " Yes." "The G was beautiful." "But A..." "Maybe a different balance." "More mysterious." "Yes." "Fine." "Good." "Thank you." "Would you please do me another favour?" "All of you, please, sign the poster." "FIRST CONCERT" "I was told that when I first performed in Rakvere theatre, at a school concert..." "I sat at the piano and my feet did not reach the floor." "And my feet dangled like this while I was playing." "All the time." "My hands too, but feet as well." "When the music stopped, they stopped too." "FRATRES" "It's extremely important to show the jump between the middle crotchets." "Did you get it?" "So it was too flat?" "The jump must be more expressive." "It's like a thermometer." "Don't exaggerate!" "But you must show the pattern." "That's good." "I think we'll do the next bit." "Let's go on now." "Maybe the bit that starts with open strings, A, E." "Maybe it could be made a bit quicker." "Especially after the culmination." "Perhaps it lasted too long." " It says ritardando here." " Really?" " Did the composer write that?" " Yes, he did!" "PERFECT SILENCE" "The sound is beautiful here." "Can you record it?" "PIANO" "When I went to the children's music school..." "I practised on my piano." "Not all keys produced sounds." "So I sang... the missing sounds." "And when it got too complicated," "I had to change the hammers, taking them from the side and bringing them to the middle." "The basses have big hammers... and at the top the hammers are small." "The keys were all mixed up." "Some were heavy, some were light." "In short..." "It was most peculiar music." "Then I tried to tune the piano myself, but I had no tuning key." "I did it with pincers." "You can do it only a few times, because the screws become round, and you can't get hold of them with the pincers." "I inflicted that piano a great deal of pain." "But it kept going to the end." "I really had no other option." "32 STEPS" "Be careful." "I'm so hot." "Riding a bike to the moon!" "TOBACCO CABINET" "We keep all our valuables here." "Let's see where it all starts." "The first notebook." "This is by no means the first one." "It's the first of those I had bound." "And then..." "The true bloodletting started." "I read a psalm, number 11." "And then, very quickly, I wrote down the notes." "I may have done this in one day." "Let me see." "May 20 to 25, 1976 in Rakvere." "One, two, three..." "Seven notebooks." "One notebook every day." "And it went on like this for years." "Here it goes on, 101." "And 147, 150." "Then the road to Calvary again, see." "Jesus Christ, Son of God, have mercy on me for I have sinned." "The same prayer goes on." "Here the line breathes differently." "Not like in the dry notebooks, which are like sawdust." "And the tune itself goes on for ever." "As long as the heart beats and the lungs breathe, you can sing them forever." "That's why the notebooks are full of such songs." "They don't mean anything." "They are not meant to be performed." "You must not applaud them." "The author must not bow during the applause." "There's no need for that." "This is natural breathing." "More like intimate." "But not entirely." "It's like communication between two friends." "They are also like exercises." "Exercises to oppose evil thoughts." "The words save you." "They direct the melodious line and perception." "It's learning the perception that the words tell about." "Tens, hundreds, thousands, millions of versions." "As many as there are people in the world, there are different prayers and sighs." "It's like the embracing." "You search here and there and everywhere to get in touch with the material." "You want it to be alive and fresh." "Relations with a word are much the same." "You look at it at every angle." "But you cannot grasp it." "You can never capture it." "This cabinet has an exquisite smell." "We bought it from a tobacco manufacturer." "It smelled of tobacco inside." "It's almost vanished, mixed with that of incense." "Interesting, smoke and smoke!" "STONE" "I'm just looking at this mosaic..." "SAD DAY" "It was quite funny." "My mother couldn't do anything to prevent me." "I had to practise on that very piano." "It was not in the least interesting." "Then I just added something to the music myself." "My mother did not understand what sort of music I was studying at school." "She believed I was practising my lessons." "I remember a very sad day in my life:" "When my piano teacher and my mother met in the street." "The teacher told her:" ""Arvo's not doing too well." "Obviously he's not practising."" ""How come?" "He's playing all day long."" "That's how my lie was exposed." "SEVEN MINUTES" "This part which is like a requiem is beginning to be all right." "He feels the heavy tread." "He should now start performing the piece." " Then he'll get there himself." " I don't think he can." "For me, the bow stroke is too sharp." "You like it, I don't." "What I like is that nothing happens." "Attention is focused on the rhythm of the canon." "There are accents you don't normally hear." "Otherwise it is played softly, turning into legato, into one amorphous shape, but here we have a sharp idea." "In more fragile acoustics it would be perfect." "There is this problem for my ear..." "That, too, is too sharp for me." "Here it is." "I have to ask how they tackle the bow stroke here." "Maybe they had it a bit longer here." "It was longer, it was good." "Made everything softer." "Must ask them." " We must go." " Indeed, in seven minutes." "ATTACCA" "Beautiful, isn't it?" "Or like this?" "CADENCE" "On the 2nd of July." "He was a good man." "BIRTHDAY" "TO ALINA" "Arvo, notebook no. 3, page 9." "7 February 1975." "TO ALINA." "I've written it myself." "The First Triad." "Here is where Tintinnabuli began." "Entirely irregular." "Perceptible only here." "It's so exciting." " It's the start." " And the date?" "The date must be here." "6 February." "Incidentally, it's the 8th today." "No, it's the ninth." "The next day, 7 February." "Turn to the next page." "7 February!" "All in one day!" " Where was it?" " Here." "Here's a fermata." "The flower was drawn by me!" " That's the one." " Absolutely!" "How did Saale Kareda find it?" "What a Sherlock Holmes!" ""Organ"." "I don't remember why..." "He found the melody as well." "Please read us what it says there." "Look at the notes with all those colours." "Red notes may stay." "The others won't do at all." "They are to be erased." "Well, maybe not the blue." "What's the brown for?" "This pattern cannot be met." "But could you play this pattern for us?" "Green is for counterpoint." "The next... minor triads from the bottom." "But to which voice?" "The Orient score is upstairs." "We'd better go now." "TEACHER" "She was an angel." "She put up with everything." "And every time I went home, she gave me a chocolate bar." "I feel so bad that I don't have the notebooks she gave to me when I finished school anymore." "She had written a quotation in it." "I vaguely remember what it said." "I'd truly like to know it exactly now." "There was something I didn't understand at all back then." "Something about the biggest mystery in music, about entering a single sound." "Something like that." "It was like a blessing she gave me for my entire life." "And I really..." "I truly tried to understand... its value." "I made an effort but too late." "At least in the sense that I didn't know how to thank her enough" "for that thought." "Her name was Ille Martin." "DREAM" "Dotted crotchets became separate notes at this tempo." "It is difficult to build up a phrase with two-three measures." "Maybe a little, concealed movement would be good here." "Let's try to unite this." "The tempo is slower than yesterday." "I have an idea!" " I must have a chance to breathe." " No." "But it's difficult to start singing at once." "You breathe here." " I need to breathe somewhere." " Here's where you can breathe." "That's better." "Do you understand?" "No, no!" "Now!" "And the percussion too." "A bit jazzy!" "This is better." "Syncope." "Thanks!" "I must write the words here." "Here's the problem of attacca." "They are extremely different." "She produced a big crescendo, which was not nice." "This part will be quite beautiful." "We did it today for the first time." "Maybe a bit later." "It's certainly too much." "Let's say two or three last measures, but no more." "I agree." "MEETING" "There was something I ran into." "It was a recording of Gregorian chant." "I can't even remember where I heard it." "Maybe in a Tallinn bookshop." "The music was so simple, and so clear and so lucid." "I was amazed." "And suddenly I realized that this was the truth." "I mean this kind of musical thinking." "It was a turning point." "I became interested in the notes of Gregorian chant." "I studied them this way and that way." "For years I played and sang but nothing helped." "No drastic change happened within me." "The language remained alien to me." "...THERE IS YOUR HEART" "I know I had a great hunger for music." "It was so great that practically" "all the time I was involved in music." "I either played it or listened to it." "I listened to the radio as much as possible." "All day long." "Especially when nobody was at home." "They wouldn't have put up with such pressure." "I also had a thick notebook where I wrote everything I listened everyday." "A few pages a day, titles only." "In the evenings, when they broadcast symphony orchestras," "I couldn't torture the others at home with the radio." "So I took my bike and kept riding around the telephone pole on the deserted market square" "for an hour or two." "The pole carried a loudspeaker that transmitted the concerts." "I took my bike because I thought leaning against the pole for hours might have looked strange." "Cycling might have looked even stranger." "This is how it happened anyway." "The music broadcast by the Tallinn radio" "or the Finnish radio." "I listened to it every day." "I'm sure it sounds a bit weird." "But I don't think it was as awful as it seems." "There must have been something else involved, but I cannot explain it even now." "I would say it was a secret wish of mine." "I wanted to become a composer." "But none of the kind I heard on the radio all the time." "TOUCH Orient  Occident Commissioned by Berliner Festwochen." "SUNDAY Pärt was born on a Wednesday, 11/09/1935 in Paide, Estonia." "SOLITUDE On November 13, 1979 Arvo Pärt was expelled from the Composers' Union of Soviet Estonia." "EXPECTATION Sarah Was Ninety Years Old (1976/1990)" "Rehearsal of ensemble "Hortus Musicus" in St. Nicholas Church in Tallinn, Estonia, November 1997." "GUITAR From 1938 to 1954 Arvo Pärt lived in Rakvere, Estonia." "AUFTAKT Seminar for music students at the Estonian Music and Theatre Museum, April 1 st 1999." "TOMATO WITH SUGAR In 1993, after a 13-year exile, Arvo Pärt visited Estonia." "CECILIA Cecilia, vergine romana Premiere in Rome on 19/11/2000." "Santa Cecilia Academy Choir and orchestra conductor:" "Myung-Whun Chung" "JANITOR F. Schorlemmer Culture Forum Wittenberg, Germany, 7/06/2000." "SMELL OF HOME Arvo Pärt Left the Soviet Union on January 18, 1980." "A Orient  Occident Main rehearsal in Berlin on September 30, 2000 Lithuanian Chamber Orchestra Conductor:" "Saulius Sondeckis" "FIRST CONCERT Pärt studied at the Rakvere Children's Music School between 1945 and 1953." "FRATRES Fratres (1977/1980) Rehearsal with Youth Orchestra, Saluzzo, Italy," "November 2000." "PERFECT SILENCE Arvo Pärt studied at Tallinn Conservatory in Heino Eller's composition class in 1957-1963." "PIANO The old "St. Petersbourg" concert piano was burnt a few years after Pärt left Rakvere." "32 STEPS Annum per annum (1980) Organist:" "C. Bowers-Broadbent" "TOBACCO CABINET The cabinet contains over 300 sketch books from 1975-1985." "STONE Since August 1981, Arvo Pärt lives in Berlin." "SAD DAY Pärt wrote his first compositions at the Children's Music School." "SEVEN MINUTES Cecilia, vergine romana (2000)" "St. Cecilia, patron saint of music, commemoration day on November 22." "ATTACCA Tabula rasa (1977) Rehearsal in Berlin, 30/09/2000." "Lithuanian Chamber Orchestra Conductor:" "Saulius Sondeckis" "CADENCE Pro et contra. (1966) Composer:" "Ulo Vinter (1924-2000)" "Estonia, Käsmu cemetery." "BIRTHDAY The collaboration between Pärt and the "Hilliard Ensemble" started in 1982." "TO ALINA To Alina (1976) The first work in tintinnabuli style." "TEACHER Ille Martin (1903- 1985) Heino Eller (1887-1970)" "DREAM Como cierva sedienta (1999):" "Rehearsal and concert 29/03/1999" "Tallinn Chamber Orchestra Conductor:" "Tõnu Kaljuste Soloist:" "Patricia Rozario" "MEETING (1968-1975) Seeking a way out of creative deadlock led to the discovery of the tintinnabuli style." "...THERE IS YOUR HEART My Heart's in the Highlands (2000)" "Rehearsal in Bose monastery, Italy, November 2000." "Organist:" "C. Bowers-Broadbent Countertenor:" "David James" "ARVO PÄRT 24 PRELUDES FOR A FUGUE" "See, some of these are very pretty." "They are like ears of rye." "It doesn't mean so much to you." "If I had a camorder or a camera," "I would take pictures of flowers or grass." "I used to do that." "TOUCH" "How do you call this tempo?" "Moving." "With movement." "Con moto." "Con moto..." "Of course!" "SUNDAY" "The first memory I have..." "The most distant one," "is of our room." "One of our rooms in Paide, the town where I was born." "The living-room." "There was... a corner in the ceiling." "As if a beam was sticking out." "It was red, because it was covered with wallpaper." "A small red corner." "It was Sunday for me." "I remember I was two years old." "For me it was Sunday." "I don't know what it means." "But I do remember it was Sunday." "SOLITUDE" "There was a pretty house here." "I like curved roofs, they're like wings of a bird." "Here." "Come on now." "Or we'll never go." ""Once upon a time," ""There was a bent man who walked on a bending road." ""He bent down and found a bent coin."" "I don't know where all the stories come from." ""He bought a bent cat who hunted bent rats." ""They lived in a bent house, ate soup from a bent pot."" "EXPECTATION" "GUITAR" "The guitar was like a camel." "It was my motorbike." "It made the sound, too." "I remember clearly." "I was proud of that motorbike." "There was a motorbike in our yard, the one that Maks had." "It was one of two bikes in the whole town of Rakvere." "I had the other one." "AUFTAKT" "Let us have a look at Alina." "I'll show the beginning." "I don't like this timbre, I'll make it more sounding." "Listen to this voice." "Quite neutral." "Also neutral." "Both together." "A bit more serious or complicated." "Like two people whose paths seem to cross, and then they don't." "There is some neutrality here." "I'd say that I had a need to..." "I wouldn't call it neutrality." "A need to concentrate on each sound, so that every blade of grass" "would be as important as a flower." "This is actually..." "It could be like a break on the radio." "Such signals sometimes sound as if they lasted an entire life." "Or future, or past, outside time." "Like I said:" "A blade of grass has the status of a flower." "To see in this tiny phrase, something more than just the black and the white key." "And further..." "Hold that note..." "It's not the tune that matters so much here." "It's the combination with this triad." "It makes such a heart-rending union." "The soul yearns to sing it endlessly." "Listen..." "And so on..." "I imagine the conductor having an upbeat when the whole thing starts." "We can't hear anything yet." "And the people in the concert hall don't know what's coming." "Then the conductor makes the upbeat." "The upbeat, the moment when he raises his hand actually contains the formula of the entire work." "Its character, dynamics, tempo, and plenty of other things." "The conductor and the musicians know it from practising together." "I guess the composer is in a similar position before he starts writing." "He must have the knowledge or a perception of what's coming when the hand goes down." "What is the first note?" "And what's the second one?" "The first step is everything, decisive." "This is a complicated story." "I don't quite understand myself." "But I have an idea of what I want to say." "I'm always looking for it." "Sometimes it comes easily, sometimes it doesn't come at all." "Every time I feel I have to start from scratch." "TOMATO WITH SUGAR" "When I was little, we used to eat tomatoes with sugar." "You've never heard of it?" "As far as I know, one can only put salt on a tomato." "We ate them with sugar." "CECILIA" "Well..." "Let's start then." "Now..." "Is there any white paper?" "Music paper or ordinary?" "I'll just cross it out." " You wanted to paste paper on it?" " I will simply erase it." "What's not going to be played must be destroyed." " Shall we have tea?" " Which kind do you want?" "I've got camomile tea." "What do you prefer?" "I have camomile, green tea, black." "That's it." "Perfect." "We'll have a pause, but I don't know how to go on." "Let's have a cup of tea." " Shall I give you camomile?" " Yes." "I have no idea how to do this." "One-two-three, two-two-three..." "Clarinet-clarinet..." "Two clarinets." "That's how it goes." "This is the first measure." "Take your tea, dear." "JANITOR" "I once had a chat with the janitor in front of our house." "I was waiting for the trolley-bus." "It was cold." "He worked and was warm, but I was freezing." "I asked his opinion:" ""How should a composer write his music?"" "He looked at me." ""What a question!"" ""I think he has to love each single sound."" "Love each sound!" "I had never heard anything like that." "Love each sound!" "This is how a composer must understand music." "This knowledge opens an entirely new world." "How to reach that understanding...?" "That's probably a secret which requires much work." "But if you know it," "then it's easier to know what it's all about." "SMELL OF HOME" "It smells delicious." "What a pity the camera can't smell it." " These are whistles?" " I don't think so." "These are whistles?" "These ones are." "In the same key." "Is it possible to sew on a button with your machine?" "Yes, but I haven't the stand with me." "Good heavens, why do you want to do it now?" " It seems to be coming off." " Where's your wife?" "She didn't bring any thread." "White thread won't do." "You're right." "I could dye it later." "It wouldn't look good, anyway." "A" "I must say I'm happy to work with you." "Thank you." "This ultimate A must sound like music." "Not like tuning the instruments before the concert." "There must be something, but I don't know what." "Pay attention to it." "Should the beginning be together or more quiet?" "I don't know." "You decide on it." " The last A?" " Yes." "The G was beautiful." "But A..." "Maybe a different balance." "More mysterious." "Yes." "Fine." "Good." "Thank you." "Would you please do me another favour?" "All of you, please, sign the poster." "FIRST CONCERT" "I was told that when I first performed in Rakvere theatre, at a school concert..." "I sat at the piano and my feet did not reach the floor." "And my feet dangled like this while I was playing." "All the time." "My hands too, but feet as well." "When the music stopped, they stopped too." "FRATRES" "It's extremely important to show the jump between the middle crotchets." "Did you get it?" "So it was too flat?" "The jump must be more expressive." "It's like a thermometer." "Don't exaggerate!" "But you must show the pattern." "That's good." "I think we'll do the next bit." "Let's go on now." "Maybe the bit that starts with open strings, A, E." "Maybe it could be made a bit quicker." "Especially after the culmination." "Perhaps it lasted too long." " It says ritardando here." " Really?" " Did the composer write that?" " Yes, he did!" "PERFECT SILENCE" "The sound is beautiful here." "Can you record it?" "PIANO" "When I went to the children's music school..." "I practised on my piano." "Not all keys produced sounds." "So I sang... the missing sounds." "And when it got too complicated," "I had to change the hammers, taking them from the side and bringing them to the middle." "The basses have big hammers... and at the top the hammers are small." "The keys were all mixed up." "Some were heavy, some were light." "In short..." "It was most peculiar music." "Then I tried to tune the piano myself, but I had no tuning key." "I did it with pincers." "You can do it only a few times, because the screws become round, and you can't get hold of them with the pincers." "I inflicted that piano a great deal of pain." "But it kept going to the end." "I really had no other option." "32 STEPS" "Be careful." "I'm so hot." "Riding a bike to the moon!" "TOBACCO CABINET" "We keep all our valuables here." "Let's see where it all starts." "The first notebook." "This is by no means the first one." "It's the first of those I had bound." "And then..." "The true bloodletting started." "I read a psalm, number 11." "And then, very quickly, I wrote down the notes." "I may have done this in one day." "Let me see." "May 20 to 25, 1976 in Rakvere." "One, two, three..." "Seven notebooks." "One notebook every day." "And it went on like this for years." "Here it goes on, 101." "And 147, 150." "Then the road to Calvary again, see." "Jesus Christ, Son of God, have mercy on me for I have sinned." "The same prayer goes on." "Here the line breathes differently." "Not like in the dry notebooks, which are like sawdust." "And the tune itself goes on for ever." "As long as the heart beats and the lungs breathe, you can sing them forever." "That's why the notebooks are full of such songs." "They don't mean anything." "They are not meant to be performed." "You must not applaud them." "The author must not bow during the applause." "There's no need for that." "This is natural breathing." "More like intimate." "But not entirely." "It's like communication between two friends." "They are also like exercises." "Exercises to oppose evil thoughts." "The words save you." "They direct the melodious line and perception." "It's learning the perception that the words tell about." "Tens, hundreds, thousands, millions of versions." "As many as there are people in the world, there are different prayers and sighs." "It's like the embracing." "You search here and there and everywhere to get in touch with the material." "You want it to be alive and fresh." "Relations with a word are much the same." "You look at it at every angle." "But you cannot grasp it." "You can never capture it." "This cabinet has an exquisite smell." "We bought it from a tobacco manufacturer." "It smelled of tobacco inside." "It's almost vanished, mixed with that of incense." "Interesting, smoke and smoke!" "STONE" "I'm just looking at this mosaic..." "SAD DAY" "It was quite funny." "My mother couldn't do anything to prevent me." "I had to practise on that very piano." "It was not in the least interesting." "Then I just added something to the music myself." "My mother did not understand what sort of music I was studying at school." "She believed I was practising my lessons." "I remember a very sad day in my life:" "When my piano teacher and my mother met in the street." "The teacher told her:" ""Arvo's not doing too well." "Obviously he's not practising."" ""How come?" "He's playing all day long."" "That's how my lie was exposed." "SEVEN MINUTES" "This part which is like a requiem is beginning to be all right." "He feels the heavy tread." "He should now start performing the piece." " Then he'll get there himself." " I don't think he can." "For me, the bow stroke is too sharp." "You like it, I don't." "What I like is that nothing happens." "Attention is focused on the rhythm of the canon." "There are accents you don't normally hear." "Otherwise it is played softly, turning into legato, into one amorphous shape, but here we have a sharp idea." "In more fragile acoustics it would be perfect." "There is this problem for my ear..." "That, too, is too sharp for me." "Here it is." "I have to ask how they tackle the bow stroke here." "Maybe they had it a bit longer here." "It was longer, it was good." "Made everything softer." "Must ask them." " We must go." " Indeed, in seven minutes." "ATTACCA" "Beautiful, isn't it?" "Or like this?" "CADENCE" "On the 2nd of July." "He was a good man." "BIRTHDAY" "TO ALINA" "Arvo, notebook no. 3, page 9." "7 February 1975." "TO ALINA." "I've written it myself." "The First Triad." "Here is where Tintinnabuli began." "Entirely irregular." "Perceptible only here." "It's so exciting." " It's the start." " And the date?" "The date must be here." "6 February." "Incidentally, it's the 8th today." "No, it's the ninth." "The next day, 7 February." "Turn to the next page." "7 February!" "All in one day!" " Where was it?" " Here." "Here's a fermata." "The flower was drawn by me!" " That's the one." " Absolutely!" "How did Saale Kareda find it?" "What a Sherlock Holmes!" ""Organ"." "I don't remember why..." "He found the melody as well." "Please read us what it says there." "Look at the notes with all those colours." "Red notes may stay." "The others won't do at all." "They are to be erased." "Well, maybe not the blue." "What's the brown for?" "This pattern cannot be met." "But could you play this pattern for us?" "Green is for counterpoint." "The next... minor triads from the bottom." "But to which voice?" "The Orient score is upstairs." "We'd better go now." "TEACHER" "She was an angel." "She put up with everything." "And every time I went home, she gave me a chocolate bar." "I feel so bad that I don't have the notebooks she gave to me when I finished school anymore." "She had written a quotation in it." "I vaguely remember what it said." "I'd truly like to know it exactly now." "There was something I didn't understand at all back then." "Something about the biggest mystery in music, about entering a single sound." "Something like that." "It was like a blessing she gave me for my entire life." "And I really..." "I truly tried to understand... its value." "I made an effort but too late." "At least in the sense that I didn't know how to thank her enough" "for that thought." "Her name was Ille Martin." "DREAM" "Dotted crotchets became separate notes at this tempo." "It is difficult to build up a phrase with two-three measures." "Maybe a little, concealed movement would be good here." "Let's try to unite this." "The tempo is slower than yesterday." "I have an idea!" " I must have a chance to breathe." " No." "But it's difficult to start singing at once." "You breathe here." " I need to breathe somewhere." " Here's where you can breathe." "That's better." "Do you understand?" "No, no!" "Now!" "And the percussion too." "A bit jazzy!" "This is better." "Syncope." "Thanks!" "I must write the words here." "Here's the problem of attacca." "They are extremely different." "She produced a big crescendo, which was not nice." "This part will be quite beautiful." "We did it today for the first time." "Maybe a bit later." "It's certainly too much." "Let's say two or three last measures, but no more." "I agree." "MEETING" "There was something I ran into." "It was a recording of Gregorian chant." "I can't even remember where I heard it." "Maybe in a Tallinn bookshop." "The music was so simple, and so clear and so lucid." "I was amazed." "And suddenly I realized that this was the truth." "I mean this kind of musical thinking." "It was a turning point." "I became interested in the notes of Gregorian chant." "I studied them this way and that way." "For years I played and sang but nothing helped." "No drastic change happened within me." "The language remained alien to me." "...THERE IS YOUR HEART" "I know I had a great hunger for music." "It was so great that practically" "all the time I was involved in music." "I either played it or listened to it." "I listened to the radio as much as possible." "All day long." "Especially when nobody was at home." "They wouldn't have put up with such pressure." "I also had a thick notebook where I wrote everything I listened everyday." "A few pages a day, titles only." "In the evenings, when they broadcast symphony orchestras," "I couldn't torture the others at home with the radio." "So I took my bike and kept riding around the telephone pole on the deserted market square" "for an hour or two." "The pole carried a loudspeaker that transmitted the concerts." "I took my bike because I thought leaning against the pole for hours might have looked strange." "Cycling might have looked even stranger." "This is how it happened anyway." "The music broadcast by the Tallinn radio" "or the Finnish radio." "I listened to it every day." "I'm sure it sounds a bit weird." "But I don't think it was as awful as it seems." "There must have been something else involved, but I cannot explain it even now." "I would say it was a secret wish of mine." "I wanted to become a composer." "But none of the kind I heard on the radio all the time." "TOUCH Orient  Occident Commissioned by Berliner Festwochen." "SUNDAY Pärt was born on a Wednesday, 11/09/1935 in Paide, Estonia." "SOLITUDE On November 13, 1979 Arvo Pärt was expelled from the Composers' Union of Soviet Estonia." "EXPECTATION Sarah Was Ninety Years Old (1976/1990)" "Rehearsal of ensemble "Hortus Musicus" in St. Nicholas Church in Tallinn, Estonia, November 1997." "GUITAR From 1938 to 1954 Arvo Pärt lived in Rakvere, Estonia." "AUFTAKT Seminar for music students at the Estonian Music and Theatre Museum, April 1 st 1999." "TOMATO WITH SUGAR In 1993, after a 13-year exile, Arvo Pärt visited Estonia." "CECILIA Cecilia, vergine romana Premiere in Rome on 19/11/2000." "Santa Cecilia Academy Choir and orchestra conductor:" "Myung-Whun Chung" "JANITOR F. Schorlemmer Culture Forum Wittenberg, Germany, 7/06/2000." "SMELL OF HOME Arvo Pärt Left the Soviet Union on January 18, 1980." "A Orient  Occident Main rehearsal in Berlin on September 30, 2000 Lithuanian Chamber Orchestra Conductor:" "Saulius Sondeckis" "FIRST CONCERT Pärt studied at the Rakvere Children's Music School between 1945 and 1953." "FRATRES Fratres (1977/1980) Rehearsal with Youth Orchestra, Saluzzo, Italy," "November 2000." "PERFECT SILENCE Arvo Pärt studied at Tallinn Conservatory in Heino Eller's composition class in 1957-1963." "PIANO The old "St. Petersbourg" concert piano was burnt a few years after Pärt left Rakvere." "32 STEPS Annum per annum (1980) Organist:" "C. Bowers-Broadbent" "TOBACCO CABINET The cabinet contains over 300 sketch books from 1975-1985." "STONE Since August 1981, Arvo Pärt lives in Berlin." "SAD DAY Pärt wrote his first compositions at the Children's Music School." "SEVEN MINUTES Cecilia, vergine romana (2000)" "St. Cecilia, patron saint of music, commemoration day on November 22." "ATTACCA Tabula rasa (1977) Rehearsal in Berlin, 30/09/2000." "Lithuanian Chamber Orchestra Conductor:" "Saulius Sondeckis" "CADENCE Pro et contra. (1966) Composer:" "Ulo Vinter (1924-2000)" "Estonia, Käsmu cemetery." "BIRTHDAY The collaboration between Pärt and the "Hilliard Ensemble" started in 1982." "TO ALINA To Alina (1976) The first work in tintinnabuli style." "TEACHER Ille Martin (1903- 1985) Heino Eller (1887-1970)" "DREAM Como cierva sedienta (1999):" "Rehearsal and concert 29/03/1999" "Tallinn Chamber Orchestra Conductor:" "Tõnu Kaljuste Soloist:" "Patricia Rozario" "MEETING (1968-1975) Seeking a way out of creative deadlock led to the discovery of the tintinnabuli style." "...THERE IS YOUR HEART My Heart's in the Highlands (2000)" "Rehearsal in Bose monastery, Italy, November 2000." "Organist:" "C. Bowers-Broadbent Countertenor:" "David James" "ARVO PÄRT 24 PRELUDES FOR A FUGUE" "See, some of these are very pretty." "They are like ears of rye." "It doesn't mean so much to you." "If I had a camorder or a camera," "I would take pictures of flowers or grass." "I used to do that." "TOUCH" "How do you call this tempo?" "Moving." "With movement." "Con moto." "Con moto..." "Of course!" "SUNDAY" "The first memory I have..." "The most distant one," "is of our room." "One of our rooms in Paide, the town where I was born." "The living-room." "There was... a corner in the ceiling." "As if a beam was sticking out." "It was red, because it was covered with wallpaper." "A small red corner." "It was Sunday for me." "I remember I was two years old." "For me it was Sunday." "I don't know what it means." "But I do remember it was Sunday." "SOLITUDE" "There was a pretty house here." "I like curved roofs, they're like wings of a bird." "Here." "Come on now." "Or we'll never go." ""Once upon a time," ""There was a bent man who walked on a bending road." ""He bent down and found a bent coin."" "I don't know where all the stories come from." ""He bought a bent cat who hunted bent rats." ""They lived in a bent house, ate soup from a bent pot."" "EXPECTATION" "GUITAR" "The guitar was like a camel." "It was my motorbike." "It made the sound, too." "I remember clearly." "I was proud of that motorbike." "There was a motorbike in our yard, the one that Maks had." "It was one of two bikes in the whole town of Rakvere." "I had the other one." "AUFTAKT" "Let us have a look at Alina." "I'll show the beginning." "I don't like this timbre, I'll make it more sounding." "Listen to this voice." "Quite neutral." "Also neutral." "Both together." "A bit more serious or complicated." "Like two people whose paths seem to cross, and then they don't." "There is some neutrality here." "I'd say that I had a need to..." "I wouldn't call it neutrality." "A need to concentrate on each sound, so that every blade of grass" "would be as important as a flower." "This is actually..." "It could be like a break on the radio." "Such signals sometimes sound as if they lasted an entire life." "Or future, or past, outside time." "Like I said:" "A blade of grass has the status of a flower." "To see in this tiny phrase, something more than just the black and the white key." "And further..." "Hold that note..." "It's not the tune that matters so much here." "It's the combination with this triad." "It makes such a heart-rending union." "The soul yearns to sing it endlessly." "Listen..." "And so on..." "I imagine the conductor having an upbeat when the whole thing starts." "We can't hear anything yet." "And the people in the concert hall don't know what's coming." "Then the conductor makes the upbeat." "The upbeat, the moment when he raises his hand actually contains the formula of the entire work." "Its character, dynamics, tempo, and plenty of other things." "The conductor and the musicians know it from practising together." "I guess the composer is in a similar position before he starts writing." "He must have the knowledge or a perception of what's coming when the hand goes down." "What is the first note?" "And what's the second one?" "The first step is everything, decisive." "This is a complicated story." "I don't quite understand myself." "But I have an idea of what I want to say." "I'm always looking for it." "Sometimes it comes easily, sometimes it doesn't come at all." "Every time I feel I have to start from scratch." "TOMATO WITH SUGAR" "When I was little, we used to eat tomatoes with sugar." "You've never heard of it?" "As far as I know, one can only put salt on a tomato." "We ate them with sugar." "CECILIA" "Well..." "Let's start then." "Now..." "Is there any white paper?" "Music paper or ordinary?" "I'll just cross it out." " You wanted to paste paper on it?" " I will simply erase it." "What's not going to be played must be destroyed." " Shall we have tea?" " Which kind do you want?" "I've got camomile tea." "What do you prefer?" "I have camomile, green tea, black." "That's it." "Perfect." "We'll have a pause, but I don't know how to go on." "Let's have a cup of tea." " Shall I give you camomile?" " Yes." "I have no idea how to do this." "One-two-three, two-two-three..." "Clarinet-clarinet..." "Two clarinets." "That's how it goes." "This is the first measure." "Take your tea, dear." "JANITOR" "I once had a chat with the janitor in front of our house." "I was waiting for the trolley-bus." "It was cold." "He worked and was warm, but I was freezing." "I asked his opinion:" ""How should a composer write his music?"" "He looked at me." ""What a question!"" ""I think he has to love each single sound."" "Love each sound!" "I had never heard anything like that." "Love each sound!" "This is how a composer must understand music." "This knowledge opens an entirely new world." "How to reach that understanding...?" "That's probably a secret which requires much work." "But if you know it," "then it's easier to know what it's all about." "SMELL OF HOME" "It smells delicious." "What a pity the camera can't smell it." " These are whistles?" " I don't think so." "These are whistles?" "These ones are." "In the same key." "Is it possible to sew on a button with your machine?" "Yes, but I haven't the stand with me." "Good heavens, why do you want to do it now?" " It seems to be coming off." " Where's your wife?" "She didn't bring any thread." "White thread won't do." "You're right." "I could dye it later." "It wouldn't look good, anyway." "A" "I must say I'm happy to work with you." "Thank you." "This ultimate A must sound like music." "Not like tuning the instruments before the concert." "There must be something, but I don't know what." "Pay attention to it." "Should the beginning be together or more quiet?" "I don't know." "You decide on it." " The last A?" " Yes." "The G was beautiful." "But A..." "Maybe a different balance." "More mysterious." "Yes." "Fine." "Good." "Thank you." "Would you please do me another favour?" "All of you, please, sign the poster." "FIRST CONCERT" "I was told that when I first performed in Rakvere theatre, at a school concert..." "I sat at the piano and my feet did not reach the floor." "And my feet dangled like this while I was playing." "All the time." "My hands too, but feet as well." "When the music stopped, they stopped too." "FRATRES" "It's extremely important to show the jump between the middle crotchets." "Did you get it?" "So it was too flat?" "The jump must be more expressive." "It's like a thermometer." "Don't exaggerate!" "But you must show the pattern." "That's good." "I think we'll do the next bit." "Let's go on now." "Maybe the bit that starts with open strings, A, E." "Maybe it could be made a bit quicker." "Especially after the culmination." "Perhaps it lasted too long." " It says ritardando here." " Really?" " Did the composer write that?" " Yes, he did!" "PERFECT SILENCE" "The sound is beautiful here." "Can you record it?" "PIANO" "When I went to the children's music school..." "I practised on my piano." "Not all keys produced sounds." "So I sang... the missing sounds." "And when it got too complicated," "I had to change the hammers, taking them from the side and bringing them to the middle." "The basses have big hammers... and at the top the hammers are small." "The keys were all mixed up." "Some were heavy, some were light." "In short..." "It was most peculiar music." "Then I tried to tune the piano myself, but I had no tuning key." "I did it with pincers." "You can do it only a few times, because the screws become round, and you can't get hold of them with the pincers." "I inflicted that piano a great deal of pain." "But it kept going to the end." "I really had no other option." "32 STEPS" "Be careful." "I'm so hot." "Riding a bike to the moon!" "TOBACCO CABINET" "We keep all our valuables here." "Let's see where it all starts." "The first notebook." "This is by no means the first one." "It's the first of those I had bound." "And then..." "The true bloodletting started." "I read a psalm, number 11." "And then, very quickly, I wrote down the notes." "I may have done this in one day." "Let me see." "May 20 to 25, 1976 in Rakvere." "One, two, three..." "Seven notebooks." "One notebook every day." "And it went on like this for years." "Here it goes on, 101." "And 147, 150." "Then the road to Calvary again, see." "Jesus Christ, Son of God, have mercy on me for I have sinned." "The same prayer goes on." "Here the line breathes differently." "Not like in the dry notebooks, which are like sawdust." "And the tune itself goes on for ever." "As long as the heart beats and the lungs breathe, you can sing them forever." "That's why the notebooks are full of such songs." "They don't mean anything." "They are not meant to be performed." "You must not applaud them." "The author must not bow during the applause." "There's no need for that." "This is natural breathing." "More like intimate." "But not entirely." "It's like communication between two friends." "They are also like exercises." "Exercises to oppose evil thoughts." "The words save you." "They direct the melodious line and perception." "It's learning the perception that the words tell about." "Tens, hundreds, thousands, millions of versions." "As many as there are people in the world, there are different prayers and sighs." "It's like the embracing." "You search here and there and everywhere to get in touch with the material." "You want it to be alive and fresh." "Relations with a word are much the same." "You look at it at every angle." "But you cannot grasp it." "You can never capture it." "This cabinet has an exquisite smell." "We bought it from a tobacco manufacturer." "It smelled of tobacco inside." "It's almost vanished, mixed with that of incense." "Interesting, smoke and smoke!" "STONE" "I'm just looking at this mosaic..." "SAD DAY" "It was quite funny." "My mother couldn't do anything to prevent me." "I had to practise on that very piano." "It was not in the least interesting." "Then I just added something to the music myself." "My mother did not understand what sort of music I was studying at school." "She believed I was practising my lessons." "I remember a very sad day in my life:" "When my piano teacher and my mother met in the street." "The teacher told her:" ""Arvo's not doing too well." "Obviously he's not practising."" ""How come?" "He's playing all day long."" "That's how my lie was exposed." "SEVEN MINUTES" "This part which is like a requiem is beginning to be all right." "He feels the heavy tread." "He should now start performing the piece." " Then he'll get there himself." " I don't think he can." "For me, the bow stroke is too sharp." "You like it, I don't." "What I like is that nothing happens." "Attention is focused on the rhythm of the canon." "There are accents you don't normally hear." "Otherwise it is played softly, turning into legato, into one amorphous shape, but here we have a sharp idea." "In more fragile acoustics it would be perfect." "There is this problem for my ear..." "That, too, is too sharp for me." "Here it is." "I have to ask how they tackle the bow stroke here." "Maybe they had it a bit longer here." "It was longer, it was good." "Made everything softer." "Must ask them." " We must go." " Indeed, in seven minutes." "ATTACCA" "Beautiful, isn't it?" "Or like this?" "CADENCE" "On the 2nd of July." "He was a good man." "BIRTHDAY" "TO ALINA" "Arvo, notebook no. 3, page 9." "7 February 1975." "TO ALINA." "I've written it myself." "The First Triad." "Here is where Tintinnabuli began." "Entirely irregular." "Perceptible only here." "It's so exciting." " It's the start." " And the date?" "The date must be here." "6 February." "Incidentally, it's the 8th today." "No, it's the ninth." "The next day, 7 February." "Turn to the next page." "7 February!" "All in one day!" " Where was it?" " Here." "Here's a fermata." "The flower was drawn by me!" " That's the one." " Absolutely!" "How did Saale Kareda find it?" "What a Sherlock Holmes!" ""Organ"." "I don't remember why..." "He found the melody as well." "Please read us what it says there." "Look at the notes with all those colours." "Red notes may stay." "The others won't do at all." "They are to be erased." "Well, maybe not the blue." "What's the brown for?" "This pattern cannot be met." "But could you play this pattern for us?" "Green is for counterpoint." "The next... minor triads from the bottom." "But to which voice?" "The Orient score is upstairs." "We'd better go now." "TEACHER" "She was an angel." "She put up with everything." "And every time I went home, she gave me a chocolate bar." "I feel so bad that I don't have the notebooks she gave to me when I finished school anymore." "She had written a quotation in it." "I vaguely remember what it said." "I'd truly like to know it exactly now." "There was something I didn't understand at all back then." "Something about the biggest mystery in music, about entering a single sound." "Something like that." "It was like a blessing she gave me for my entire life." "And I really..." "I truly tried to understand... its value." "I made an effort but too late." "At least in the sense that I didn't know how to thank her enough" "for that thought." "Her name was Ille Martin." "DREAM" "Dotted crotchets became separate notes at this tempo." "It is difficult to build up a phrase with two-three measures." "Maybe a little, concealed movement would be good here." "Let's try to unite this." "The tempo is slower than yesterday." "I have an idea!" " I must have a chance to breathe." " No." "But it's difficult to start singing at once." "You breathe here." " I need to breathe somewhere." " Here's where you can breathe." "That's better." "Do you understand?" "No, no!" "Now!" "And the percussion too." "A bit jazzy!" "This is better." "Syncope." "Thanks!" "I must write the words here." "Here's the problem of attacca." "They are extremely different." "She produced a big crescendo, which was not nice." "This part will be quite beautiful." "We did it today for the first time." "Maybe a bit later." "It's certainly too much." "Let's say two or three last measures, but no more." "I agree." "MEETING" "There was something I ran into." "It was a recording of Gregorian chant." "I can't even remember where I heard it." "Maybe in a Tallinn bookshop." "The music was so simple, and so clear and so lucid." "I was amazed." "And suddenly I realized that this was the truth." "I mean this kind of musical thinking." "It was a turning point." "I became interested in the notes of Gregorian chant." "I studied them this way and that way." "For years I played and sang but nothing helped." "No drastic change happened within me." "The language remained alien to me." "...THERE IS YOUR HEART" "I know I had a great hunger for music." "It was so great that practically" "all the time I was involved in music." "I either played it or listened to it." "I listened to the radio as much as possible." "All day long." "Especially when nobody was at home." "They wouldn't have put up with such pressure." "I also had a thick notebook where I wrote everything I listened everyday." "A few pages a day, titles only." "In the evenings, when they broadcast symphony orchestras," "I couldn't torture the others at home with the radio." "So I took my bike and kept riding around the telephone pole on the deserted market square" "for an hour or two." "The pole carried a loudspeaker that transmitted the concerts." "I took my bike because I thought leaning against the pole for hours might have looked strange." "Cycling might have looked even stranger." "This is how it happened anyway." "The music broadcast by the Tallinn radio" "or the Finnish radio." "I listened to it every day." "I'm sure it sounds a bit weird." "But I don't think it was as awful as it seems." "There must have been something else involved, but I cannot explain it even now." "I would say it was a secret wish of mine." "I wanted to become a composer." "But none of the kind I heard on the radio all the time." "TOUCH Orient  Occident Commissioned by Berliner Festwochen." "SUNDAY Pärt was born on a Wednesday, 11/09/1935 in Paide, Estonia." "SOLITUDE On November 13, 1979 Arvo Pärt was expelled from the Composers' Union of Soviet Estonia." "EXPECTATION Sarah Was Ninety Years Old (1976/1990)" "Rehearsal of ensemble "Hortus Musicus" in St. Nicholas Church in Tallinn, Estonia, November 1997." "GUITAR From 1938 to 1954 Arvo Pärt lived in Rakvere, Estonia." "AUFTAKT Seminar for music students at the Estonian Music and Theatre Museum, April 1 st 1999." "TOMATO WITH SUGAR In 1993, after a 13-year exile, Arvo Pärt visited Estonia." "CECILIA Cecilia, vergine romana Premiere in Rome on 19/11/2000." "Santa Cecilia Academy Choir and orchestra conductor:" "Myung-Whun Chung" "JANITOR F. Schorlemmer Culture Forum Wittenberg, Germany, 7/06/2000." "SMELL OF HOME Arvo Pärt Left the Soviet Union on January 18, 1980." "A Orient  Occident Main rehearsal in Berlin on September 30, 2000 Lithuanian Chamber Orchestra Conductor:" "Saulius Sondeckis" "FIRST CONCERT Pärt studied at the Rakvere Children's Music School between 1945 and 1953." "FRATRES Fratres (1977/1980) Rehearsal with Youth Orchestra, Saluzzo, Italy," "November 2000." "PERFECT SILENCE Arvo Pärt studied at Tallinn Conservatory in Heino Eller's composition class in 1957-1963." "PIANO The old "St. Petersbourg" concert piano was burnt a few years after Pärt left Rakvere." "32 STEPS Annum per annum (1980) Organist:" "C. Bowers-Broadbent" "TOBACCO CABINET The cabinet contains over 300 sketch books from 1975-1985." "STONE Since August 1981, Arvo Pärt lives in Berlin." "SAD DAY Pärt wrote his first compositions at the Children's Music School." "SEVEN MINUTES Cecilia, vergine romana (2000)" "St. Cecilia, patron saint of music, commemoration day on November 22." "ATTACCA Tabula rasa (1977) Rehearsal in Berlin, 30/09/2000." "Lithuanian Chamber Orchestra Conductor:" "Saulius Sondeckis" "CADENCE Pro et contra. (1966) Composer:" "Ulo Vinter (1924-2000)" "Estonia, Käsmu cemetery." "BIRTHDAY The collaboration between Pärt and the "Hilliard Ensemble" started in 1982." "TO ALINA To Alina (1976) The first work in tintinnabuli style." "TEACHER Ille Martin (1903- 1985) Heino Eller (1887-1970)" "DREAM Como cierva sedienta (1999):" "Rehearsal and concert 29/03/1999" "Tallinn Chamber Orchestra Conductor:" "Tõnu Kaljuste Soloist:" "Patricia Rozario" "MEETING (1968-1975) Seeking a way out of creative deadlock led to the discovery of the tintinnabuli style." "...THERE IS YOUR HEART My Heart's in the Highlands (2000)" "Rehearsal in Bose monastery, Italy, November 2000." "Organist:" "C. Bowers-Broadbent Countertenor:" "David James" "Senkron ettin mi yavrýýýmmm?" "(teyze tonlamasýyla) by Arugunu..."