Vocal score 057150616X and libretto 0571506291 on sale, full score and parts for hire

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

Harvey's liturgical drama is sometimes claimed as the first operatic setting since the middle ages of the passion story (Michael Wadsworth's text is a translation of a 12th-century Latin passion play). However, more relevant comparisons would be with Bach's Passions - it's set within the context of the Eucharist, and includes hymns sung by the audience - or with Britten's church parables, which were clearly a model for the plainsong-rooted calls and responses with which Harvey's work begins. What begins austerely and ritualistically, though, becomes more florid in the final scenes. It's an effective musical plan, and this BBC recording… should encourage other choirs to investigate it further. The Guardian (Andrew Clements) 3 September 2004 … the sound of dispersing brasses leading the congregation back into the world after the final Amen is a masterstroke… The Wire (Brian Morton), November 2004 Passion and Resurrection is without doubt an outstanding sacred work of the 20th century. Choir & Organ, November 2004 … it left a remarkable impression - a 90-minute work of controlled mastery, economical in its forces, sure in their employment, and hypnotically powerful in overall effect… The sum is a purposeful, compelling modern revival - from the inside, as it were - of an ancient artistic form. Financial Times (Max Loppert) 13 March 1993 The work is austere but intently composed, with Harvey's command of eloquent interval, telling rhythmic declamation, exactly spaced harmony… instant-ecstasy holy music that stands high on today's charts. The Observer (Andrew Porter) 21 March 1993 … a cunning blend of simple dramatic imagery and apparently effortless music subtlety and elegance. The Observer, 29 March 1981