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The Hilliard Ensemble|Arvo Pärt: Passio

Arvo Pärt: Passio

Arvo Pärt, The Hilliard Ensemble, Paul Hillier

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Pärt's long-form The Passion of Our Lord Jesus Christ According to St. John dramatizes the apostle John's account of the arrest and crucifixion of Jesus. The form he adopts sounds as though it were centuries old, with its choral orchestration. But his choice of instruments, his choice of chords, his phrasing, and the basic construction of the piece itself are all based on 20th century ideas, most notably his own innovation, the "tintinnabuli" method. The overall sound is significantly bigger than the small ensemble performing it; this is an innovative work, despite the classic subject matter. The text is taken verbatim from the Vulgate.

© Mark W.B. Allender /TiVo

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Arvo Pärt: Passio

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Passio Domini nostri Jesu Christi secundum Joannem (Arvo Pärt)

1
Pärt: Passio Domini nostri Jesu Christi secundum Joannem
George Michael
01:10:52

Lynne Dawson, Soprano, AssociatedPerformer - Paul Hillier, Conductor, MainArtist - David James, Counter-Tenor, AssociatedPerformer - Arvo Pärt, Composer - Christopher Bowers-Broadbent, Organ, AssociatedPerformer - Michael George, AssociatedPerformer, Bass (Vocal) - John Potter, Tenor, AssociatedPerformer - Rogers Covey-Crump, Tenor, AssociatedPerformer - Melinda Maxwell, Oboe, AssociatedPerformer - Elizabeth Wilson, Cello, AssociatedPerformer - Gordon Jones, Baritone, AssociatedPerformer - Manfred Eicher, Producer - The Hilliard Ensemble, Ensemble, MainArtist - Elizabeth Layton, Violin, AssociatedPerformer - Peter Länger, Recording Engineer, StudioPersonnel - Western Wind Choir , Choir - Catherine Duckett, Bassoon, AssociatedPerformer

℗ 1988 ECM Records GmbH, under exclusive license to Universal Music Classics & Jazz - a division of Universal Music GmbH

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Pärt's long-form The Passion of Our Lord Jesus Christ According to St. John dramatizes the apostle John's account of the arrest and crucifixion of Jesus. The form he adopts sounds as though it were centuries old, with its choral orchestration. But his choice of instruments, his choice of chords, his phrasing, and the basic construction of the piece itself are all based on 20th century ideas, most notably his own innovation, the "tintinnabuli" method. The overall sound is significantly bigger than the small ensemble performing it; this is an innovative work, despite the classic subject matter. The text is taken verbatim from the Vulgate.

© Mark W.B. Allender /TiVo

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