Passion settings developed from medievalintoned readings of the Gospel texts relating Christ's Passion, to which later polyphonic settings were added. Passion Plays, another tradition that originated in the Middle Ages, could be provided with music such as hymns, contributing to Passion as a genre in music.
Later musical settings of the Passion of Christ, such as the Jesus Christ Superstar Rock opera, or Arvo Pärt's Passio refer to these earlier Christian traditions to varying degrees.
History
The reading of the Passion from one of the Gospels during Holy Week dates back at least to the 4th century[1] and is described by Egeria. In the 5th century Pope Leo the Great specified that the gospel of Matthew be used on Palm Sunday and the following Wednesday and that of John on Good Friday; by the 10th century Luke replaced Matthew on Wednesday and Mark was added on Tuesday.
The passion began to be intoned (rather than just spoken) in the Middle Ages, at least as early at the 8th century. 9th-century manuscripts have "litterae significativae" indicating interpretive chant, and later manuscript begin to specify exact notes to be sung. By the 13th century different singers were used for different characters in the narrative, a practice which became fairly universal by the 15th century, when polyphonic settings of the turba passages began to appear also (Turba, while literally meaning "crowd," is used in this case to mean any passage in which more than one speaker speaks simultaneously). The formula of the present Graduale Romanum was the most widespread, with Christ singing in the lowest register and Synagogus (denoting not only the high priest but all characters besides Christ) singing higher than the evangelist/narrator. In Spain a Toledan tone with the evangelist's part recto tono (on a monotone) was used in Castile and a Saragossan tone with a bass evangelist and a florid tenor Christus was used in much of Aragon, where the Roman tone also had a foothold in Valencia.
Testimony – in parallel fifths – of the false witnesses from Guerrero's responsorial Matthew's Passion (1585).
In the later 15th century a number of new styles began to emerge:
'Responsorial Passions in which the narration is chanted but the turba parts and sometimes Christ's words are set polyphonically.
Through-composed Passions, also called motet Passions, in which all text is set polyphonically. The earliest extant example of this type is sometimes attributed to Jacob Obrecht .
Summa Passionis settings, drawing on all four Gospels. These were never incorporated into the liturgy of the church use but circulated widely nonetheless. The Seven Last Words (a text later set by Haydn and Théodore Dubois) are included in this category.
A later development of the Catholic passion was the reflective passion-oratorio such as Metastasio's Italian libretto La passione di Gesù Cristo set by Caldara, Salieri and many other composers between 1730 and 1812.
Latin passions continued in parallel with the style of Metastasio, often set by minor composers such as little known Carlo Sturla, music master at the Convent of Santa Brigida, who also set a Latin passion in 18th Century operatic style, Passio di Venerdì Santo, for the Oratory of St Philip Neri in Genoa in 1736.
Protestant music
Martin Luther wrote, "The Passion of Christ should not be acted out in words and pretense, but in real life." Luther felt that elaborate polyphony would distract from the importance of the sacred passion text. Despite this, sung Passion performances were common in Lutheran churches right from the start, in both Latin and German, beginning as early as Laetare Sunday (three weeks before Easter) and continuing through Holy Week. Luther's friend and collaborator Johann Walther wrote responsorial Passions which were used as models by Lutheran composers for centuries, and “summa Passionis” versions continued to circulate, despite Luther's express disapproval. Later sixteenth-century passions by G.M. Asola, Samuel Besler, William Byrd, Leonard Lechner, and Jakob Meiland included choral “exordium” (introduction) and “conclusio” sections with additional secular texts.[3]
Thomas Strutz wrote a passion (1664) with arias for Jesus himself, pointing to the standard oratorio tradition of Schütz and Carissimi. The practice of using recitative for the Evangelist (rather than plainsong) was a development of court composers in northern Germany, such as Johann Meder and Schütz, and only crept into church compositions at the end of the 17th century. The recitative was used for dramatic expression.[3]
In the 17th century came the development of “oratorio” passions which led to J.S. Bach’s passions, accompanied by instruments, with interpolated instrumental interludes (often called "sinfonias" or "sonatas") or with interpolated texts (then called “madrigal” movements) such as other Scripture passages, Latin motets, chorale arias, and more. Such settings were created by Bartholomäus Gesius and Heinrich Schütz.
The best known Protestant musical settings of the Passion are by Johann Sebastian Bach, who, according to his obituary, wrote five Passions in his lifetime. Two have survived to the present day: one based on the Gospel of John (the St John Passion), the other on the Gospel of Matthew (the St Matthew Passion). Additionally, a libretto for the St Mark Passion survives. Although Bach's settings are now among the most popular Passions today, they were rarely performed during his lifetime.
In 2000 Helmuth Rilling and the Internationale Bachakademie commissioned four modern composers to compose passions on the four Gospels; Matthew was allocated to Tan Dun - Water Passion After St Matthew, Mark to Osvaldo Golijov - La Pasión Según San Marcos, Luke to Wolfgang Rihm - Deus Passus, and John to Sofia Gubaidulina - St John Passion (Страсти по Иоанну).
More recent examples include James MacMillan's Seven Last Words from the Cross (1993), the Passion According to St. Matthew (1997), by Mark Alburger, The Passion According to the Four Evangelists by Scott King, and The Passion and Resurrection According To St. Mark (2015/2017) by Christian Asplund.
Stanzas of the medieval hymn Salve mundi salutare[4] – also known as the Rhythmica oratio –, a poem formerly ascribed to St. Bonaventure or Bernard of Clairvaux, but now thought more likely to have been written by medieval poet Arnulf of Leuven (died 1250) was arranged as a cycle of seven cantatas in 1680 by Dieterich Buxtehude, Membra Jesu Nostri. Franz Liszt included an arrangement of Paul Gerhardt's O Haupt voll Blut und Wunden in the sixth station of his Via crucis (Stations of the Cross), Saint Veronica wipes the Holy Face.
