Serenity, kindness, and zealous humility: the Jinghui Guangxuan Symphonic Orchestra

On October 13, the Jinghui Guangxuan Symphonic Orchestra, the self-proclaimed world’s largest orchestra made up entirely of Buddhist monks, performed at Milan’s Arcimboldi theatre, the fifth of ten shows in their 2024 tour around Europe.

The first part of the performance featured a selection of European and Chinese orchestral pieces, drawn from the works of some of each culture’s most prominent composers, each preceded by an invitation to join the group in meditation as they played.

In the second part, the performance shifted to a collection of dances and choral music – again interweaving European and Chinese traditions – with further encouragements to meditate with the monks. Indeed, meditation was intended to be at the heart of the entire experience, the means for the orchestra to communicate to the audience its ambition for peace, togetherness and love throughout cultures.

The monks’ message, however, extended beyond the music and words, finding resonance in the very way they presented themselves. For instance, no individual names were shared – neither that of the Master who conducted, nor those of any performers. No member of the group was singled out to be noticed or praised on their own. Instead, all the applause was directed to each and every person standing on the stage. Visually, too, the sense of unity was striking: except for the Master, donning a blue velvet robe, no one monk could be told apart from the others, their red habits merging into a single choral organism. Even when the time came, before each piece, to announce it and its tie to the fil rouge of meditation, the monk tasked with speaking into the microphone never hesitated to walk back to her place among the others, her fleetingly unique voice rushing back to the choir, as if apologizing for the brief yet unavoidable display of hubris.

Overall, the concert was undoubtedly an enjoyable experience. However, the cultural gap between Milan and the monks’ monastery did surface at times. Frequent mispronunciations in the Italian translations of the monk’s words occasionally disrupted the intended solemnity of the event. Additionally, the dances – though captivating – might have benefitted from more detailed explanations. A clearer introduction to the symbolism and purpose behind the unfamiliar choreography might have enhanced the audience’s appreciation of these intricate, yet foreign, movements.

A few days before the concert, Radio Bocconi had the opportunity to meet the Master and three monks to offer them a tour of our campus and sit down with them for an interview. During the interview, the monks exuded the same serenity and happiness they then brought to the stage. They were incredibly kind and expressed genuine interest in our university, engaging with us in a way that felt both thoughtful and sincere. It was clear that their peaceful nature extended beyond their performances – it was simply who they were.

In the end, the Jinghui Guangxuan Symphonic Orchestra succeeded in sharing their message of peace and unity. Their serene presence and commitment to selflessness resonated with the audience, reminding us that sometimes the most powerful statements can be made without standing out. In a part of the world where individual achievement is often celebrated above all else, their performance offered a refreshing perspective: greatness can be achieved independently of recognition, and humility does not need to be sacrificed at the altar of success.

Mattia Filippo Baglietto