ARVO PART PASSIO PDF

John Passion, which would become the culmination of the tintinnabuli style. He eventually finished the work in and it was published in Since then, it has been recorded three times, and remains one of his most popular works. The St. John Passion is a through-composed setting of the text of John 18—19, preceded by a short introduction Exordio and followed by a brief conclusion Conclusio.

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Matthew and St. John Passions. Apart from Stainer, whose Passion oratorio The Crucifixion of continues to be performed today, few nineteenth-century composers even attempted to set the Passion narrative to music. The later twentieth and twenty-first centuries have seen a renewal of interest in the genre, with notable settings by Krzysztof Penderecki St.

Luke , James MacMillan St. John , Osvaldo Golijov St. Mark and Tan Dun St. A bass soloist sings the words of Jesus, and a tenor those of Pilate; both are accompanied by the organ.

The work begins with a short, striking choral introduction, or Exordio, which announces the Passion gospel and also establishes the A minor tonality upon which the entire piece is based. The work ends with a Conclusio, given like the opening Exordio by organ and choir, only now in the key of D major, thus giving a resplendent feel to the final words and concluding Amen.

Each constituent — Jesus, Pilate, the choir, the Evangelist double quartet — adheres strictly to its own musical material, with a distinctive harmonic and rhythmic character.

Despite its tight musical construction, the work has a powerfully direct impact.

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Arvo Pärt’s Passio: An Introduction

Matthew and St. John Passions. Apart from Stainer, whose Passion oratorio The Crucifixion of continues to be performed today, few nineteenth-century composers even attempted to set the Passion narrative to music. The later twentieth and twenty-first centuries have seen a renewal of interest in the genre, with notable settings by Krzysztof Penderecki St. Luke , James MacMillan St. John , Osvaldo Golijov St.

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