▁models ▁by ▁Luther an ▁compos ers ▁for ▁centuries , ▁and ▁" sum ma ▁Pass ion is " ▁versions ▁continued ▁to ▁circul ate , ▁despite ▁Luther ' s ▁express ▁disapp ro val . ▁Later ▁ 1 6 th - century ▁pass ions ▁included ▁ch oral ▁" ex ord ium " ▁( int roduction ) ▁and ▁" con clus io " ▁sections ▁with ▁additional ▁texts . ▁In ▁the ▁ 1 7 th ▁century ▁came ▁the ▁development ▁of ▁" or atorio " ▁pass ions ▁which ▁led ▁to ▁J . S . ▁Bach ' s ▁Pass ions , ▁accompanied ▁by ▁instruments , ▁with ▁interpol ated ▁texts ▁( then ▁called ▁" m adr ig al " ▁movements ) ▁such ▁as ▁sin fon ias , ▁other ▁Script ure ▁pass ages , ▁Latin ▁mot ets , ▁ch or ale ▁a rias , ▁and ▁more . ▁Such ▁settings ▁were ▁created ▁by ▁Bar th ol om ä us ▁Ges ius ▁and ▁Heinrich ▁Sch üt z . ▁Thomas ▁Str utz ▁wrote ▁a ▁Pass ion ▁( 1 6 6 4 ) ▁with ▁a rias ▁for ▁Jesus ▁himself , ▁pointing ▁to ▁the ▁standard ▁or atorio ▁tradition ▁of ▁Sch üt z , ▁Car iss imi , ▁and ▁others , ▁although ▁these ▁compos ers ▁seem ▁to ▁have ▁thought ▁that ▁putting ▁words ▁in ▁Jesus ’ ▁mouth ▁was ▁beyond ▁the ▁pale . ▁The ▁practice ▁of ▁using ▁rec itative ▁for ▁the ▁Evangel ist ▁( r ather ▁than ▁pla ins ong ) ▁was ▁a ▁development ▁of ▁court ▁compos ers ▁in ▁northern ▁Germany ▁and ▁only ▁cre pt ▁into ▁church ▁compos itions ▁at