▁the ▁end ▁of ▁the ▁ 1 7 th ▁century . ▁A ▁famous ▁musical ▁reflection ▁on ▁the ▁Pass ion ▁is ▁Part ▁II ▁of ▁Mess iah , ▁an ▁or atorio ▁by ▁George ▁Fr ider ic ▁Hand el , ▁though ▁the ▁text ▁here ▁draw s ▁from ▁Old ▁Testament ▁prop he cies ▁rather ▁than ▁from ▁the ▁g osp els ▁themselves . ▁ ▁The ▁best ▁known ▁Protest ant ▁musical ▁settings ▁of ▁the ▁Pass ion ▁are ▁by ▁Johann ▁Sebastian ▁Bach , ▁who ▁wrote ▁several ▁Pass ions , ▁of ▁which ▁two ▁have ▁surv ived , ▁one ▁based ▁on ▁the ▁G ospel ▁of ▁John ▁( the ▁St ▁John ▁Pass ion ), ▁the ▁other ▁on ▁the ▁G ospel ▁of ▁Matthew ▁( the ▁St ▁Matthew ▁Pass ion ). ▁His ▁St ▁Mark ▁Pass ion ▁was ▁re construct ed ▁in ▁various ▁ways . ▁The ▁Pass ion ▁continued ▁to ▁be ▁very ▁popular ▁in ▁Protest ant ▁Germany ▁in ▁the ▁ 1 8 th ▁century , ▁with ▁Bach ' s ▁second ▁son ▁Carl ▁Philipp ▁E manuel ▁compos ing ▁over ▁twenty ▁settings . ▁In ▁the ▁ 1 9 th ▁century , ▁with ▁the ▁exception ▁of ▁John ▁St ainer ' s ▁The ▁Cru c if ix ion ▁( 1 8 8 7 ), ▁Pass ion ▁settings ▁were ▁less ▁popular , ▁but ▁in ▁the ▁ 2 0 th ▁century ▁they ▁have ▁again ▁come ▁into ▁fashion . ▁Two ▁notable ▁settings ▁are ▁the ▁St . ▁Luke ▁Pass ion ▁( 1 9 6 5 ) ▁by ▁Polish ▁composer ▁Kr z ysz to f ▁P end ere cki ▁and ▁the ▁Pass io ▁( 1 9