Passion, Passion-masic

A musical setting of a text descriptive of Christ's safferngs and death (pa ion). Its beginnings are traceabie back to the qth century; the oidest music extant is a solemn plain-song melody of uncertain date (can’ius pa io’nis), In a quasi dramatic form the pa ion is of later origin; and po ibly directly derived from the ancient custom of chanting the scriptural text of the pa ion, during pa ion-week, to Greg or i an melodies. It is certain, that from early in the 13th century (1) the words spoken. by Christ. (2) the connecting narrative, and (3)the exclamations of the apostles, the populace, the high priest, etc., were recited by 3 different singers (impersonating Christ, the Evangelist, the Disciples, etc.) The evolution of the Pa ion as an art-form is, after the 16th century, nearly parallel with that of the Oratorio (which see); from its resemblance to the latter it is sometimes styled “*pa ion-oratorio". It differs from it, however, by a distinct infusion of an element ‘of pious contemplation and subjective emotion, expre ed in hymns of praise and choral songs, devotional arias and choruses. The crowning work of this kind is Bach's ‘* Mattha’us pa ion” (Pa ion according to St. Matthew).—The full dramatic form of the Pa ion, with stage-setting and dramatic action, still survives in the German Pa ion-plays at Obe rammer gau. Pa ion at a men’te ([It.) Pa ionately, in an impa ioned style.... Pa ion a’to,4a, pa ionate, impa ioned... Pa io’ ne, pa ion, fervent emotion; com p., same as appa ionato.