8 2 ) ▁by ▁Est onian ▁composer ▁Ar vo ▁P är t . ▁Rec ent ▁examples ▁include ▁The ▁Pass ion ▁According ▁to ▁St . ▁Matthew ▁( 1 9 9 7 ), ▁by ▁Mark ▁Al burger , ▁and ▁The ▁Pass ion ▁According ▁to ▁the ▁Four ▁Evangel ists , ▁by ▁Scott ▁King . ▁Andrew ▁Lloyd ▁Web ber ' s ▁Jesus ▁Christ ▁Super star ▁( book ▁and ▁lyr ics ▁by ▁Tim ▁R ice ) ▁and ▁Stephen ▁Schw art z ' s ▁God sp ell ▁both ▁contain ▁elements ▁of ▁the ▁traditional ▁passion ▁accounts . ▁Ch oral ▁med itations ▁on ▁aspects ▁of ▁the ▁suffering ▁through ▁which ▁Christ ▁hum bled ▁himself ▁on ▁the ▁cross ▁include ▁arrang ements ▁such ▁as ▁B ux te h ude ' s ▁ 1 6 8 0 ▁composition ▁M emb ra ▁Jes u ▁N ost ri , ▁the ▁first ▁such ▁Luther an ▁treatment , ▁incorpor ating ▁lyr ics ▁ex cer pt ed ▁from ▁a ▁medieval ▁Latin ▁poem ▁and ▁featuring ▁Old ▁Testament ▁vers es ▁that ▁pre figure ▁the ▁Mess iah ▁as ▁suffering ▁servant : ▁see ▁Pass ion ▁cant ata . ▁ ▁D rama ▁and ▁process ions ▁ ▁Non - mus ical ▁settings ▁of ▁the ▁Pass ion ▁story ▁are ▁generally ▁called ▁Pass ion ▁plays ; ▁these ▁have ▁been ▁very ▁widely ▁performed ▁in ▁tradition ally ▁Catholic ▁countries , ▁often ▁in ▁churches ▁as ▁lit urg ical ▁dram as   – ▁for ▁versions ▁with ▁musical ▁settings , ▁see ▁the ▁previous ▁section . ▁One ▁famous ▁cycle ▁is ▁performed ▁at ▁intervals ▁at ▁Ober ammer g au ▁Germany , ▁another ▁in ▁Sor de