In these final days before we witness the Resurrection, perhaps we enter the most traumatic part of the church year. From the betrayal of Maundy Thursday to the terror and heartache of Good Friday, to the joyful feast on Sunday morning, I invite you, as much as you are able, to sit with Christ in these three days. The Triduum (translated as “three days”) is not an easy thing to endure in the moment, though two millennia later, we’re fortunate to see how it ends.
This Good Friday, I invite you to a special service in the Sanctuary at 7:30 p.m., where a service of Worship will be presented, featuring Arvo Pärt’s haunting Passio, sung by the Chamber Singers, accompanied by a small chamber orchestra. Composed in 1982, this seventy-minute work recounts the Gospel of John (chapters 18 and 19), sung in Latin, and employs a particularly unique style of composition. Tintinnabuli was first ‘invented’ in the late 1970s by Pärt himself, and this work, Passio, uses it to its greatest extent. In essence, two vocal lines work together; one by stepwise motion, the other by small or large leaps. The resulting effect is both dissonant and consonant. Beyond this, rhythm and orchestration are treated carefully throughout, creating an almost trance–like quality to the work.
Pärt choral scoring for this work is interesting, too; Jesus (sung by a bass) and Pilate (sung by a tenor) sing solos throughout the piece, while a quartet narrates the story (the Evangelist Chorus), in addition to the “Coro,” the “Crowd Choruses” punctuating the story with short outbursts throughout.
What is our role here? I believe our role is to sit, listen, observe, wait, and watch. This powerful work speaks to the heart of our Christian life in a profound way, heightening the pain and anguish of the day ahead, all while preparing for the resplendence on Easter morn.