Events – Zene
Music
Opening Concert - The Call
Arvo Pärt: Estländler
Joseph Haydn: Trio for flute, cello, and piano in G major, Hob. XV:15
Arvo Pärt: And I Heard a Voice
Arvo Pärt: Variations for the Healing of Arinushka
Joseph Haydn: Missa Rorate Coeli desuper in G major, Hob. XXII:3
Joseph Haydn: String Quartet No. 26 in G minor, Op. 20. No. 3. Hob. III:33
Arvo Pärt: Salve Regina
Music and film
Arvo Pärt – Robert Wilson: The Lost Paradise
A film by Günther Atten
Music
Morning concert - The separation
Joseph Haydn: String Quartet in D major, Op. 76 No. 4, Hob. III:78 „Sunrise”
Transcript by Samuel Arnold
Arvo Pärt: Sonatine No.2
Arvo Pärt: Mozart’s Adagio
Joseph Haydn: String Quartet No. 40 in F major, Op. 50 No. 4, Hob. III:48 „Dream”
Music
Walking concert - The Way
All tickets for the first part of our walking concert are sold out, but you can still join the second part of the concert in St. Martin's Basilica by clicking on the ticket purchase link. ticket
Joseph Haydn: Flute quartet Op. 5 No. 1 in D major, Hob II:D9, I. Presto assai
Arvo Pärt: Ein Wallfahrtslied
Joseph Haydn: Andante con variazioni in F minor, Hob. XVII No. 6
Arvo Pärt: Da Pacem Domine
Walk to the Basilica
Arvo Pärt: In Spe
Arvo Pärt: Te Deum
Joseph Haydn: Symphony No. 19 in D major, Hob.I:19 (1760/61)
Arvo Pärt: Kuss kuss kallike
Music
Early morning concert - The contemplation
Arvo Pärt: Spiegel im Spiegel
Joseph Haydn: Adagio in F major, Hob. XVII No. 9
Arvo Pärt: Morning Star
Arvo Pärt: „Vater unser” adapt. for Cello and Piano
Arvo Pärt: Für Alina
Joseph Haydn: Piano Trio No. 28. in D major, Hob. XV:16, II. Andantino più tosto allegretto
Joseph Haydn: Wunsch, No. 43
Joseph Haydn: Frag und Antwort zweier Fuhrleute, No. 41
Arvo Pärt: Pari Intervallo
Music and prayer
Mid-day prayer
Arvo Pärt: Annum per annum
Joseph Haydn: Flötenuhr variations
Spirituality and music
"Rosary without inspiration" - performance by Ádám Bősze
on the sacred music of Joseph Haydn
There are legends about the method Joseph Haydn used to compose. How he only sat down at his desk properly dressed, how he always made up a story before writing a symphony and then 'set it to music', and how he would take out his rosary if he had nothing else on his mind. I do not promise to confirm or disprove any of this, but I do promise to introduce the listener to the world in which the religious Haydn lived and worked by showing the church music of the Esterházy court and some of the composer's sacred compositions. /Ádám Bősze/