Jonathan Harvey

Passion and Resurrection

Instrumentation: Principals: Jesus(Bar)/ Mary Magdalene(S)/Second Mary(S)/Third Mary(M-S)/Pilate(T)/Caiaphas(B)/Judas(B-Bar)/Priest(Bar) Small Roles: 2 Angels (2 Trebles)/Peter(B)/John(T)/Good Thief(B)/Procula(C)/Procula's Maid(S)/Thief(T)/Servant Girl(S)/Annas(B)/Chorus: SATB - 0000 – 1121 – perc(2): timp/t.bells/BD/2 gong/2 tpl.bl/susp.cym/ bronze sheet/vib/crot/tam-t/SD/bongos/roto-tom – 7 vln.vla.2 vlc.2 db – large organ/(chamber organ)

Passion and Resurrection was commissioned by Martin Neary. Reviving the practice of the beginning of Western drama, the two medieval Benedictine Latin church dramas I have used arise out of a liturgical event, in this case the Eucharist, with which the work begins and ends. “Do this in remembrance of me”. The audience or congregation may participate in the singing of the plainsong hymns, Sing My Soul, and The Royal Banners, upon which the musical fabric is based, thus emphasising the ritualistic rather than the conventionally operatic nature of the work. The eleven initial scenes move directly forward in austere, chant-like style: each character is accompanied by a musical halo more or less bright according to his sanctity. Instrumental interludes separate the scenes. Before the twelfth scene, which is concerned with the resurrection, the interlude idea becomes magnified to symphonic proportions as the crucifixion itself is acted out. The final, resurrection scene represents a musical blossoming of the previous style, where the inevitable and dire procession of events leading up to the crucifixion were depicted. Austere, dark, male-dominated music there, florid, bright, female-dominated music here. The instrumentation also reflects this division, with tuba, two trombones and two double basses (amongst others) on the one side, and trumpet, seven solo violins and viola on the other. Jonathan Harvey