Never one to dress up his religious work in ostentatious garb, Arvo Part has selected the most severe, Passio Domini nostri Jesu Christi secundum Johanne. Find album reviews, stream songs, credits and award information for Arvo Pärt: Passio – The Hilliard Ensemble, Paul Hillier on AllMusic – – Pärt’s long-form . Passio est la première grande fresque pour voix et orchestre d’Arvo Pärt dans le style tintinnabulant et demeure encore aujourd’hui l’une de ses oeuvres les.

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The pitch center for Christ is E, and it is accompanied by a drone and T-voice in the organ. Paul was Reviews Editor at Bachtrack from to February LukeJames MacMillan St.

Each constituent — Jesus, Pilate, the choir, passoi Evangelist double quartet — adheres strictly to its own musical material, with a distinctive harmonic and rhythmic character. Gramophone products and those of specially selected partners from the world of music.

The later twentieth and twenty-first centuries have seen a renewal of interest in the genre, with notable settings by Krzysztof Penderecki St. 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.

Never one to dress up his religious work in ostentatious garb, Arvo Part has selected the most severe, paasio and economical musical style for this Passion according to St John. Christ always has the longest and lowest notes, creating a stark contrast with the other characters.

An Introduction Paul Kilbey, 9th March. In addition, patt are four solo instruments, oboe, violin, cello and bassoon, organ and SATB choir. To the accompaniment of the wind buffeting the church of St Jude-on-the-Hill, London, the Hilliard Ensemble here solemnly perform what must surely be the bleakest, most ritualistic Passion to be composed since Heinrich Schutz’s settings of the mid seventeenth century.

Pilate, like Christ, is accompanied only by the organ, but sings in faster rhythmic values and has a higher tessitura. You will regularly receive information about new scores with free downloads, current prize games and news about our composers.

Passio (Pärt) – Wikipedia

JohnOsvaldo Golijov St. Mark and Tan Dun St. If you look at the score of Passio and analyse it, it is very, very spartan, very sparse in the sense that there are actually only three keys used.


Each character has a basic note value, and this is agvo depending on the punctuation and its position within the phrase. Our privacy policy was last updated on Friday 25 May View it here Dismiss. His website is here. For other Passions with a similar name, see St John Passion disambiguation.

But on record it makes its full impact. Retrieved from ” https: Authority control MusicBrainz work: For the turba, the pitch center is again E. To be able to use Universal Edition in full range, we recommend activating Javascript in your browser.

Arvo Pärt: Passio

Sign up for our newsletter! He eventually finished the work in and it was published in SATB soloists and choir, oboe, bassoon, violin, cello, organ. For the role of the Evangelist, Part writes for a mixed consort of four soloists accompanied by instruments.

The choice of St Jude’s, a richly resonant church, was inspired; the wind one may variously interpret as a startingly appropriate accident or as an act of God. Pilate’s part is the most unstable in the piece, created in part through the use of an M-voice centered on Xrvo and a T-voice centered on F a tritone apart and through the refusal of Pilate to be either a T-voice or M-voice, always alternating between these two roles.

What gives the setting its form and principal variety is, of lart, the Biblical text, which glows with uncanny radiance at the heart of the music. The rhythmic values are established by the text. Because its scale is relatively intimate, Part’s Passion is not the easiest work to project in concert, nor did it quite work in televised form.

Pwssio then at the very end, just for the very end, at the critical moment when Christ is on the cross and is about to die, suddenly, the four Evangelists come together on one unison A-note. It is also a piece that seems tailored to their individual voices: Not all of them sing or play at any given time, and indeed the texture constantly reduces in some way, occasionally paring down to a single voice; but in character even this central narrative part pasaio stylistically consistent from start to finish.

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By Paul Kilbey09 March Click here for conditions of use. The Prizes Bachtrack, 17th December.

Arvo Pärt: Passio – The Hilliard Ensemble, Paul Hillier | Songs, Reviews, Credits | AllMusic

Cuba for classical culture vultures Melanie Webb, 18th December. Stubbornly repetitive and monochrome, deliberately anti-dramatic and neutral, it achieves its extraordinary and noble effect through the simplest of means: This page was last edited on 11 Mayat The work lasts about 70 minutes and is not lassio into movements.

The alto and pary voices and oboe and bassoon are always M-voices Hillier’s coinage, referring to the melody voice in a tintinnabuli configuration ; the soprano and tenor voices and violin and cello are always T-voices again, Hillier’s coinage referring to the harmonizing voice. This website uses cookies to ensure you get the best experience on our website. To add a comment, please Login or register.

If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Since a period at the end of a sentence generates a note longer than does a comma in the middle of it, the hierarchy of the textual phrases is reflected in the music. Whether you want to see what we think of today’s latest releases or discover what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database.

David James on Passio. He has written on music and culture for publications including Culture Wars, the Huffington Post, the Independent and the Guardian. Read about Bach’s Passions here. More a liturgical act than a concert piece, it makes no concessions whatever to modern conventions of Passion music.

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