Artist: Helsinki Chamber Choir, Nils Schweckendiek
Album: Arvo Pärt: Passio
Genre: Classical
Release Date: 2021
Audio Format:: FLAC (tracks) 24 bit, 96 kHz
Duration: 01:11:09
Total Tracks: 11
Total Size: 1,24 GB

Tracklist:

01. Helsinki Chamber Choir & Nils Schweckendiek – Pärt: Passio: Passio Domini Nostri Jesu Christi (01:15)
02. Helsinki Chamber Choir & Nils Schweckendiek – Pärt: Passio: Haec cum dixisset Jesus (05:29)
03. Helsinki Chamber Choir & Nils Schweckendiek – Pärt: Passio: Jesum Nazarenum (06:02)
04. Helsinki Chamber Choir & Nils Schweckendiek – Pärt: Passio: Quia expedit, unum hominem mori (10:54)
05. Helsinki Chamber Choir & Nils Schweckendiek – Pärt: Passio: Numquid et tu ex discipulis ejus es? (06:16)
06. Helsinki Chamber Choir & Nils Schweckendiek – Pärt: Passio: Et vocavit Jesum, et dixit ei (14:13)
07. Helsinki Chamber Choir & Nils Schweckendiek – Pärt: Passio: Crucifige, crucifige eum (08:46)
08. Helsinki Chamber Choir & Nils Schweckendiek – Pärt: Passio: Erat autem Parasceve Paschae (06:35)
09. Helsinki Chamber Choir & Nils Schweckendiek – Pärt: Passio: Noli scribere, Rex Judaeorum (07:05)
10. Helsinki Chamber Choir & Nils Schweckendiek – Pärt: Passio: Postea sciens Jesus quia omnia consummata sunt (02:52)
11. Helsinki Chamber Choir & Nils Schweckendiek – Pärt: Passio: Qui passus es pro nobis (01:37)

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Composed in 1982, Arvo P”art’s Passio has retained its place as one of the foremost works of sacred music of the late 20th century. It has been called a minimalist masterpiece, and is a seminal work in the composer’s oeuvre – the culmination of his so-called tintinnabuli style, and the first in a line of large-scale choral works on religious themes. Passion settings have a long history, with polyphonic settings for choral performance beginning in the 15th century and continuing up until the high baroque and the monumental works by Johann Sebastian Bach.In his Passion, P”art looks back to an older tradition, however – the medieval one of a single voice chanting the text. As a result, the narrative – chapters 18 and 19 of the Gospel of St. John – becomes the basis for sustained spiritual contemplation rather than the drama of Bach’s Passions. Another important distinction from earlier Passion settings is P”art’s treatment of the Evangelist, who narrates the story. Rather than a single voice, he employs a quartet: soprano, alto, tenor and bass, accompanied by an ensemble of four instruments. The only other instrument used in the work is the organ, again in contrast to the larger instrumental forces of the Bach Passions. This contemplative work is here performed by the Helsinki Chamber Choir under Nils Schweckendiek.