Arvo P?rt: Passio
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Edition: Music CDCD Release Date: 2003-04-29
Music Label: Naxos
Soundtracks:
- Jesus Is Betrayed And Arrested In Gethsemane
- Jesus Is Interrogated By The High Priest And Denied By Peter
- Jesus Is Judged By Pilate And Reviled By The People
- Jesus Is Crucified At Golgotha
Free Music Notes for Arvo P?rt: Passio
Free Music Review: A Different Passion
Hit: 5 Stars
If you're looking for a nice passion setting, but something different from Bach, then you can't do much better than Arvo Part's "Passio," which uses his signature sacred minimalism and tintinnabuli. He defines his signature style this way on his website: "P?rt refers to his current style as 'tintinnabuli.' This can be defined as the application of various inversions of a certain chord. Also, it is a word 'which evokes the pealing of bells, the bells' complex but rich sonorous mass of overtones, the gradual unfolding of patterns implicit in the sound itself, and the idea of a sound that is simultaneously static and in flux.'"
"Passio" is a through-composed setting of John 18-19. There are 4 sections, with 50 phrases each, and a final 10-phase sequence. Each section begins with a different solo voice, an instrument then joins it, and this pattern continues until all 8 are sounding. The tonal center is D-A-E-B, a series of overlapping 5ths. Interestingly, Christ has the longest and lowest notes, with E being the tonal center. The music continues in a minimalist fashion until the final 10-phase sequence, when the tonality changes considerably, and the piece concludes in a powerful climactic chord of "amen."
Antony Pitts does a great job in pulling off Part's notoriously difficult music, and making it enjoyable. The choir is well-blended, well-trained, and execute the music beautifully. A must for any music lover looking for a passion setting that's a bit different.
Arvo P?rt: Passio Poster
Naxos is proud to present a brand new recording of Arvo P?rt's Passio Domini Nostri Jesu Christi secundum Joannem, a major milestone in Naxos' recording legacy and only the third recording of the work to be released on compact disc.One of the most significant choral works of the late twentieth century, P?rt's Passio has been described as "surely the bleakest, most ritualistic Passion to be composed since Heinrich Schutz's settings of the mid seventeenth century" (Gramophone). Composed in 1982, it is one of the works in which P?rt uses "tintinnabulist" techniques - the sound or music of bells. "I build with the most primitive materials - with the triad. . The three notes of a triad are like bells. And that is why I call it tintinnabulation". (Arvo P?rt)
This new recording by Oxford-based ensemble Tonus Peregrinus offers a radically different take on the music from existing recordings. When recording the work, the ensemble followed all P?rt's score markings to the letter. After the recording session, the disc was sent to the composer who listened carefully and decided to clarify exactly what he had intended by the score markings; the present recording was then edited according to his new "rules". This is therefore the very first recording of the Passio to take account of the composer's recent clarification of precise note and rest durations.
Composed in 1982 and later recorded by the Hilliard Ensemble on ECM, Arvo P?rt's Passio (Passion According to St. John) made its composer famous, and rightly so. It is a work of unique beauty. Its meditative, intensely spiritual quality is static; the listener will find no outbursts or overtly dramatic moments to latch on to as one does in Bach's Passions. Here the story is told with a lack of overt emotionalism which quickly becomes hypnotic. Jesus is a bass, he is accompanied by an organ, all his words are intoned slowly, on lengthy note values. The role of the Evangelist is taken by four voices--a soprano, alto, tenor, and bass--and they are accompanied, on short note values and in different groupings (and frequently dissonantly), by one each of violin, cello, oboe, and bassoon. Pilate is a tenor. This new performance cuts 10 minutes off the 71-minute timing on the ECM recording; still, it can't be accused of treating the music lightly or with anything other than the respect and dignity it deserves. The final eight-word prayer, which ends in a beautiful, life-affirming D-major chord is taken, in fact, too slowly--the novice listener may presume one of the too-long pauses is the work's end. But aside from this miscalculation, this new performance is glorious, and at less than half the price of the ECM (or one on Elektra), should be in the collection of anyone interested in devotional music, beautiful music, and/or the phenomenon that is Arvo P?rt. Very highly recommended. --Robert Levine
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