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          Arvo Pärt’s Passio: An Introduction

          Few post-Baroque Passion settings have had anything like the impact of Bach’s masterpieces the St. Matthew and St.

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          5. John Passions. Apart from Stainer, whose Passion oratorio The Crucifixion of 1887 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.

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          John), Osvaldo Golijov (St. Mark) and Tan Dun (St. Matthew). Arvo Pärt’s Passio Domini Nostri Jesu Christi secundum Joannem of 1982 is perhaps one of the best-known, and ranks as one of the greatest late-twentieth-century choral works.

          As in earlier musical settings of the Passion narratives, in Passio Pärt uses the choir (with and without organ) to represent the crowd, or ‘turba’, along with Peter and other minor charac