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The work is a dramatic oratorio and is considered a much more humanistic portrayal of the Christ passion [4] than other settings, such as those by Bach.It concludes at the point of Jesus personally accepting his fate, placing the emphasis on his own decision rather than the later Crucifixion or Resurrection.
Jesus Christ the Apple Tree (also known as Apple Tree and, in its early publications, as Christ Compared to an Apple-tree) is a poem, possibly intended for use as a carol, written in the 18th century. It has been set to music by a number of composers, including Jeremiah Ingalls (1764–1838), Elizabeth Poston (1905–1987) and John Rutter.
Eventually these settings became a separate form of Passion music. Perhaps the most outstanding work in this genre in the Lutheran tradition is the work by Heinrich Schütz. Joseph Haydn composed string quartets titled Die sieben letzten Worte unseres Erlösers am Kreuze (The seven last words of our Redeemer on the cross).
Together with the Pietà, it was the most popular of the Andachtsbilder-type images of the period – devotional images detached from the narrative of Christ's Passion, intended for meditation. The Latin term Christus dolens ("suffering Christ") is sometimes used for this depiction.
The portrayal of Jesus Christ's suffering prior to this event is meant to inspire not only pain, but hope. The idea of scherzo , a musical term referring to the lighthearted, playful segment of a symphony, is present in this scene, [ 14 ] invoking slight lightness, hope, and promise in anticipation of Christ's future resurrection .
Christ, portrayed with open hands to show all the wounds of the crucifixion, is raised on finely sculpted ancient sarcophagus. [ citation needed ] His body is wrapped in a metallic white drape, and his supported by two kneeling angels (a seraphim and a cherubim ).
An interesting feature of the poem is the second quatrain's two extended enumerations using 1-syllable words [6] that are very rare in the Polish language. A similar poetic device [7] [8] (Dźwięk, cień, dym, wiatr, błysk, głos, punkt - żywot ludzki słynie [9]) was used earlier by another Polish baroque poet, Daniel Naborowski in the poem "The Brevity of Life" (in Polish Krótkość ...
In art the Instruments either surrounded an image of Christ in andachtsbilder subjects such as the Man of Sorrows, or might appear by themselves - often the image of Christ's face on the Veil of Veronica was the focal point of the image. In both cases the purpose of the representations was to symbolize the sufferings of Christ during his Passion.