In Dona Nobis Pacem (1996), we are back in the mainstream of Vasks‘ musical vision of the world, the chorus taking the role of the violin and cello in the concertos. This work reveals the power of dissonance and minor keys in speaking of ultimate matters. Calling for eternal peace with poignant disharmonious musical phrases mixes anxiety and yearning into the prayer where, alas, they must probably henceforth forever be. In this music, it is the pain and yearning that make the prayer credible to us.