Arvo Pärt turned 70 this year, and it's been nearly three decades since the first works of his distinctive mature style began to attract widespread attention under the derogatory label "holy minimalism". Placing them at the centre of a programme otherwise devoted to Mozart and Stravinsky, Vladimir Jurowski made a strong case for their inclusion in classical music's longstanding tradition of spiritual exploration.

However simple the basic materials of the brief Cantus in Memory of Benjamin Britten - descending minor scales overlapping on the strings, with occasional single notes on a bell - it instils an indelibly grief-laden atmosphere that was persuasively recreated here. In the two-movement double violin concerto Tabula Rasa, also written in 1977, it's the fineness of judgment in the spare selection of the notes that impresses. Pärt's meticulous procedures, subtle shifts of texture and carefully smudged harmony are fascinating to follow in a work that aspires to - and eventually achieves - the sublimity of silence.

Despite some backstage noise (unforgivable in a major concert hall), the audience's intense concentration was also testament to the refined intricacy of the solo parts as propounded by Boris Garlitsky and Pieter Schoeman, and to the overall sense of control exerted by Jurowski, who combined certainty of direction with local flexibility.

But this was a trick he pulled off throughout the programme. Maintaining an easy rapport with his players, he began with an eloquent account of Mozart's Masonic Funeral Music and followed with an assured reading of Stravinsky's hieratic Symphonies of Wind Instruments.

The second half was Mozart's Requiem, in the familiar Süssmayr completion. With singing of discipline and strength from the London Philharmonic Choir and characterful work from the soloists, this was a performance that revealed the work's dynamism and grace.