▁all ▁of ▁Christ ' s ▁words ▁and ▁the ▁tur ba ▁parts ▁poly phon ically . ▁ ▁Through - com posed ▁Pass ions ▁were ▁entirely ▁poly ph onic ▁( also ▁called ▁mot et ▁Pass ions ). ▁Jacob ▁O bre cht ▁wrote ▁the ▁earliest ▁ext ant ▁example ▁of ▁this ▁type . ▁Sum ma ▁Pass ion is ▁settings ▁were ▁a ▁syn opsis ▁of ▁all ▁four ▁G osp els , ▁including ▁the ▁Seven ▁Last ▁W ords ▁( a ▁text ▁later ▁set ▁by ▁Hay dn ▁and ▁Thé odore ▁Dub ois ). ▁These ▁were ▁disc ou rag ed ▁for ▁church ▁use ▁but ▁circul ated ▁widely ▁non eth eless . ▁ ▁In ▁the ▁ 1 6 th ▁century , ▁settings ▁like ▁these , ▁and ▁further ▁develop ments , ▁were ▁created ▁for ▁the ▁Catholic ▁Church ▁by ▁Victoria , ▁William ▁By rd , ▁Jacob us ▁Gall us , ▁Francisco ▁Gu err ero , ▁Or lando ▁di ▁L asso , ▁and ▁C yp ri ano ▁de ▁R ore . ▁ ▁Martin ▁Luther ▁wrote , ▁" The ▁Pass ion ▁of ▁Christ ▁should ▁not ▁be ▁acted ▁out ▁in ▁words ▁and ▁pre ten se , ▁but ▁in ▁real ▁life ." ▁Despite ▁this , ▁s ung ▁Pass ion ▁performances ▁were ▁common ▁in ▁Luther an ▁churches ▁right ▁from ▁the ▁start , ▁in ▁both ▁Latin ▁and ▁German , ▁beginning ▁as ▁early ▁as ▁La et are ▁Sunday ▁( three ▁weeks ▁before ▁E aster ) ▁and ▁continu ing ▁through ▁Holy ▁Week . ▁Luther ' s ▁friend ▁and ▁collabor ator ▁Johann ▁Wal ther ▁wrote ▁respons orial ▁Pass ions ▁which ▁were ▁used ▁as