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Because of the complexity of the work and its tight connection with the lyrics and the plot, I recommend that you listen to the audio while reading the text. The audio portion has been prepared based on this approach.

Welcome to the 7th edition of “Classic’s Choice”. Today we bring you “Passion Play – Part 1”.

In my opinion, Passion Play is one of the most underrated albums in the history of classic progressive rock. The first thing that we must keep in mind is that, more than a concept album, Passion Play is a musicalized stage play. One of the reasons why many people dismiss the album is because the lyrics are “too dense”. However, even though some images may be difficult to assimilate in the context of the play, the overall plot can be followed without too much effort.

The way in which the music portrays the events of the play is rarely matched in the history of progressive rock. And in this particular case, this achievement is even more remarkable if we take into account the fact that part of the work is based on ideas recovered from the “Château D’Isaster” sessions. Whole fragments were used, that were finished works with different lyrics. Despite this, Passion Play did not become the Frankenstein that one would have expected. On the contrary, the work is tight and very coherent.

Since this is music to a stage play, we must analyze the work, from a musical point of view, based on motives (leitmotifs) and the evolution of the plot, rather than trying to find an overarching form to the overall structure of the piece.

Therefore, we must start by understanding the plot.

In summary, the play describes what happens between death and birth: the journey of Ronnie Pilgrim through his afterlife. Quoting Tim Smolko from his book “Thick as a Brick and A Passion Play – Inside Two Long Songs” (page 124):

Interviewed by Bryan Matthew on “Jethro Tull Story, Part 3”, Ian Anderson says:

In order to follow the plot I will use Neil Thomason’s excellent analysis which can be found in his Ministry of Information website.

The play is structured in four acts:

• Overture
• Act One, Scene One: Ronnie Pilgrim’s funeral
• Act One, Scene Two: Wandering in limbo
• Act Two, Scene One: The memory bank
• Act Three, Scene One: Heaven
• Act Three, Scene Two: Hell
• Act Four, Scene One: Where now?
• Act Four, Scene Two: The Ferry.

Before analyzing each section, I would like to point out the use of several motives used throughout the piece that are key to the coherence of the piece as a whole. Tim Smolko identifies 6 main motives:

Motive 1 is the rhythmic pattern of the heart beat:

Motive 2 is probably the easiest to distinguish:

This is Motive 3

This is Motive 4

This is Motive 5

The last motif is the phrase “Passion Play” repeated along the entire work.

So, let’s get on with the Overture and its music.

Overture

Neil Thomason gives a good description of how the Play started during live performances in 1973:

This is the original movie played at those concerts:

As mentioned already, the piece is cyclical and starts and ends with a heartbeat. The Overture, also begins and ends with a heartbeat and introduces two of the principal motifs that will be used throughout the piece. Notice that soon after the heartbeat (that is, Motive 1) is easily heard, a soprano saxophone introduces Motive 2:

After the initial effects, we find the first stroke of genius in the piece: instead of a dark ominous atmosphere to depict the death of Ronnie Pilgrim, what we find is a lively gigue in 9/8. It is a macabre dance of death in baroque style!!:

Remember again the rhythm of motive 1:

This rhythmic motive, linked to the heartbeat, is the basis for the Overture’s main theme:

The rest of the gigue is also based on a development of motive 1.

After the gigue, at the end of the Overture, we hear the heartbeat slowing down and decreasing in pitch until a door bang clearly indicates the end of Ronnie’s transit on earth:

By the way, no other Tull’s album features Anderson’s abilities as a sax player more extensively than in Passion Play.

Act One, Scene One: Ronnie Pilgrim’s funeral

Scene: A winter’s morning in the cemetery. A group of mourners stand around a grave. As the curtain rises, RONNIE, a ghost, rises from the grave and joins the congregation, listening to his own eulogy.

Instead of a line-by-line analysis of the lyrics, I will just highlight those that are particularly relevant for the understanding of the section. For a detailed lyrics analysis I refer you again to Neil Thomason’s article.

The wonderful phrase: “The silver cord lies on the ground” summarizes perfectly the lyrics of this section.

The form of this scene is:

A-A’-brief interlude- B (free form with recalls of Motive 2)

Sections A are a description of the funeral scene as seen by Ronnie.

Section B shows Ronnie’s reflection of the life that just ended – his achievements, mistakes, disappointments, etc.

Section B has a very important verse:

Thomason’s interpretation is quite accurate:

Note the clever modulation to support the phrase: “crowding in a different key”. Does it sound familiar?

It’s the Neapolitan cadence over the dominant chord. He uses it to move from D flat Major to A major, and then again to modulate to F, the tonality of Act One, Scene Two.

The last verses in all the stanzas in sections A and B are based on Motive 2.

A

“Do you still see me even here?”
(The silver cord lies on the ground.)

{ “And so I’m dead”, the young man said
over the hill (not a wish away). } Motive 2

A’

My friends (as one) all stand aligned
although their taxis came too late.

{ There was / a rush along the Fulham Road.
There was / a hush* in the Passion Play. } Motive 2 (* notice the effect that supports the word hush)

Brief Interlude

B

Such a sense of glowing in the aftermath
ripe with rich attainments all imagined
sad misdeeds in disarray
the sore thumb screams aloud,
{ echoing out of the Passion Play. } Second part of Motive 2

All the old familiar choruses come crowding in a different key:
Melodies decaying in sweet dissonance.

{ There was a rush along the Fulham Road
into the Ever-passion Play. } Motive 2

With all these elements in mind, let’s listen to Act One, Scene One:

Instrumental 1

This instrumental section serves as an interlude between both scenes of Act One.

Tim Smolko divides the piece into 6 climax cycles. We will be referring to them as we progress in the piece. The first climax cycle goes from the beginning of the vocals in Act One, Scene One, to the end of this instrumental section. 3 dry beats in the snare drum’s rim provide the cue for a section that, like the Overture’s gigue, start in 9/8. However, notice how in 00:24 they suddenly move to an 11/8 beat until the end of the section. Again, this is one of the few passages in Tull’s discography where you will appreciate Anderson’s ability as a sax player.

This instrumental section describes the moment when Ronnie finally moves away from the physical realm and assumes his new state. The acute change in rhythm and the intensity of the passage are excellent ways to depict Ronnie’s despair as he starts to wander in this strange new environment. He finally reaches limbo.

Act One, Scene Two: Wandering in limbo

Scene: The empty desert of Limbo. RONNIE wanders aimlessly, until an ANGEL arrives to guide him on to the next stage of the afterlife.

An angel escorts Ronnie, and although he didn’t believe in gods or angels, she is compassionate. According to Thomason, the verse:

Represent the words of the prophets in the Bible. I believe that thinking about “illuminated words” contained in a leather bound book is more fitting because it could apply to any creed or religion. At any rate, the importance of this phrase is that this gift triggers Ronnie’s reflection on who he is – about good and evil and his acts while on Earth. The wonderful phrase:

Indicates that Ronnie, who’s life on Earth was not remarkable, starts to understand that he is important and that he must pursue the understanding of who he really is.

The form of this scene is a simple strophe:

Intro-A-B-A’-B’

Notice that sections B are based on motive 2:

You will see that the brief piano introduction is also used at the end of part I. This piano phrase is superimposed with motive 2 on “ever-smile” and again, modified, on “to be found”.

Brief piano introduction

A

And who comes here to wish me well?
A sweetly-scented angel fell.

B

{She laid her head upon my disbelief
and bathed me with her ever-smile.} Motive 2

A’

And with a howl across the sand
I go escorted by a band

B’

{of gentlemen in leather bound
NO-ONE (but someone to be found).} Motive 2

Let’s listen to it:

Instrumental 2

This short instrumental interlude is based (like much on the Second Act) on material from the Château D’Isaster sessions. Ronnie’s desire to understand who he really is, propels him to ACT TWO – The Memory bank. This section has 2 contrasting parts, the first more intense (diabolic?) the second one based on acoustic guitar more gentle (celestial?). A musical representation of the duality that Ronnie will experience during his transit in the afterlife.

We reach Act II – The Memory Bank.

Act Two, Scene One: The Memory Bank

Scene: a small but comfortable theatre with a cinema screen – the next morning.

From this moment until the end of the piece, what happens in Passion Play bears a striking resemblance with Max Heindel’s “Rosicrucian Cosmo-Conception”. This book was the basis for my piece Mysticae Visiones; although the musical languages are very different, the conceptual framework is the same. According to Max Heindel, after death we see all our past life. More than seeing, we re-experience all our life and get to feel what other felt as a consequence of our actions (good or bad deeds). According to Heindel, since we are not limited by the sensations of our physical body, we experience the joy or pain we caused but multiplied by a thousand-fold. He believes this is what Christians call “purgatory”.

Ronnie enters a cinema room where several judges force him to revisit his life. Peter Dejour (the duty receptionist of the afterlife) presents Ronnie’s life to the panel of judges.

A lot of the music and lyrics in this act were taken from Critique Oblique (The Château D’Hérouville Sessions – more commonly known as Château D’Isaster Tapes). Looking at the lyrics from a general standpoint, we see that they portray the process of the judges asking Ronnie to revisit his life, forcing him to look closely at the darkest and most intimate episodes. Ronnie is assessed as an ordinary middle-class Englishman with more lights than shadows.

What I just described is enough for our analysis purposes. Again, if you want a detailed line-by-line analysis, click here.

From a musical point of view, let’s break down this long act in major segments:

PART 1 – Instrumental Development – PART 2 – PART 3 – INSTRUMENTAL CODA

Part 1

The form of Part 1 is:

Intro – A – Motive 3 – A’ – Motive 3 – B – Motive 3 – A’’ – Motive 3 – B’

Notice that Motive 3 appears between every vocal section.

Intro

A

All along the icy wastes there are faces smiling in the gloom. [The judges]

Motive 3

A’

Roll up roll down,…
… Feeling unwound?
Step into the viewing room. [Dejour asks Ronnie if he is relaxed, unstressed and ready to proceed.]

Motive 3

B

The cameras were all around.
We’ve got you taped you’re in the play. [All of your deeds have been recorded]

Here’s your I.D. (Ideal for identifying one and all.) [Interesting reference to the fact that we are part of a Whole. Direct reference to the concept of Oneness.]

Motive 3

A’’

Invest your life in the memory bank
ours the interest and we thank you. [Ronnie’s “moral solvency” is scrutinized]

Motive 3

B’’

The ice-cream lady wet her drawers,
to see you in the Passion Play. [The judges are eager to watch Ronnie’s life]

We’re now ready to listen to Part 1:

Instrumental Development (The judges enjoying the film)

This section is mostly a reinterpretation of Critique Oblique. Note that the first segment is based on Motive 3 – listen to the organ playing the motive in the background.

The second segment is based on the development of the following motive:

And the third segment is a wonderful flute (I should rather say flutes) improvisation.

Note that the entire section, until the brief drum solo, is in 11/8. The easiest way to count it is to follow the bass pattern.

According to Smolko, the second climax cycle goes from Act One, Scene Two to the end of this 11/8 section.

Part 2

The form of Part 2 is:

Intro – A – interlude – B – B’ – interlude – B’’ – B’’’ – Coda (Vocal + Instrumental)

Intro

This instrumental introduction is based on a complex rhythmic pattern based on two 12/8 bars + one 9/8. If you have not paid attention to the instruments interplay, please take a moment to do so.

Their tight playing under such a complex beat is simply amazing:

Here’s the rest of PART 2

A

Take the prize for instant pleasure,
captain of the cricket team
public speaking in all weathers,
a knighthood from a queen.

[Ronnie is a typical middle-class man, who indulged on pleasures without thinking about moral consequences, was reasonably successful in his endeavors and was happily married]

Interlude

B

All your best friends’ telephones
never cooled from the heat of your hand. [But he abused of his friends]

B’

There’s a line in a front-page story,
13 horses that also-ran. [So maybe Ronnie’s success was at the expense of others…]

Interlude

B’’

Climb in your old umbrella.
Does it have a nasty tear in the dome? [Ronnie’s self-image is challenged by the judges]

B’’’

But the rain only gets in sometimes
and the sun never leaves you alone, [but it seems that on average, his good deeds outweigh the bad ones]

Coda Vocal

you alone, you alone, you alone, you alone, you alone. [now, unshielded, he must face the scrutiny of the judges]

Coda Instrumental
The instrumental part of this coda is based on the material from the Intro, with and equally impressive interplay under the odd-rhythm. The section is extended to create a suitable conclusion for Part 2.

We are now ready to listen to the rest of Part 2:

Part 3

The form of Part 3 is very interesting. It introduces new material, which is mixed with elements from Part 1. Motive 4 is presented, and then is combined with motive 3 which belongs to Part 1. This yields to a modified reprise of section B from Part 1. So, in summary, the contrasting section of this part is not based on new material but rather on a modified version of material from Part 1. This way of combining ideas from different parts provides coherence to this long and complex act.

The form is:

Intro A (Motive 4) – A – vocal Interlude – A – instrumental development – Intro to B from Part 1 (motives 3 and 4 combined ) – B’ from Part 1 – A’ – Coda/Outro (vocal + instrumental + vocal)

Intro A

Section A from Part 3 is based on Motive 4:

A

Lover of the black and white it’s your first night.
The Passion Play, goes all the way, spoils your insight. [Ronnie’s ethical and moral views are challenged]

Tell me how the baby’s made, how the lady’s laid,
why the old dog howls in sadness. [The judges enquire about profound aspects of Ronnie’s life which he is conscious about]

Vocal Interlude:

And your little sister’s immaculate virginity
wings away on the bony shoulders
of a young horse named George who stole
surreptitiously into her geography revision.
(The examining body examined her body.) [And they show Ronnie other aspects of his life that either he didn’t know or couldn’t control]

A

Actor of the low-high Q, let’s hear your view.
Peek at the lines upon your sleeves
since your memory won’t do.
Tell me: how the baby’s graded*, how the lady’s faded, [*note how the snare drum reinforces the word “graded”]
why the old dogs howl with madness. [The scrutiny continues]

Instrumental Development (starts at 1:44 in the audio example)

Intro to B from part 1 (motives 3 and 4 combined) (starts at 2:16 in the audio example)

B’ from Part 1

All of this and some of that’s the only way to skin the cat. [The judges see that Ronnie has made a number of compromises throughout his life]

And now you’ve lost a skin or two,
you’re for us and we for you. [The dissection process has ended. Ronnie has been a witness of his own life and is now prepared to continue his journey in the afterlife.]

The dressing room is right behind,
We’ve got you taped, you’re in the play. [The judges now have a thorough understanding of Ronnie’s last incarnation.]

How does it feel to be in the play?
How does it feel to play the play?
How does it feel to be the play? [and they want to know what Ronnie learned from his recent life on earth.]

These three last verses demand a bit of reflection. The first two are rather straightforward: how does it feel to be alive, to be a part of life. The third encloses a profound mystical concept: how does it feel to BE life. Anderson puts a strong accent on the word BE and this is quite intentional. Again, the lyrics refer to being one with all creation. The concept of Oneness. Ronnie finally understands that he is not part of the play. He IS the play: “You’re for us, and we’re for you”…

A’

Man of passion rise again, we won’t cross you out:
for we do love you like a son, of that there’s no doubt. [Ronnie is invited to continue his journey. He is loved, no matter what decisions he took in life]

Again, a profound metaphysical concept is contained in this few verses:
Man of passion rise again: Our desires, passions, projects, is what propels us through physical life and triggers our need to incarnate.
We won’t cross you out: You have free will. You will continue to evolve, no matter what you do.
for we do love you like a son, of that there’s no doubt: You are loved unconditionally.
No one brings pain to Ronnie but himself, through his own decisions. His passage through the purgatory will be pleasant or painful depending only on how he exercised his free will. The purpose of this scrutiny is not to award or to punish, but to allow him to learn. To understand who he really is.
This idea is reinforced in the next verses:

Tell us: is it you who are here for our good cheer?

Coda/Outro Vocal 1

Or are we here for the glory, for the story, for the gory satisfaction
of telling you how absolutely awful you really are?

Quoting Thomason:

Coda/Outro Instrumental
According to Smolko, the third climax cycle goes from the end of the 11/8 section in Act One, Scene Two to the end of this instrumental section.

Coda/Outro Vocal 2

There was / a rush along the Fulham Road.
There was / a hush in the Passion Play. [The court adjourns, the cinema is emptied and Ronnie continues his voyage in the afterlife]

With all this information, let’s listen to Part 3:

Instrumental CODA

The first thing to note is that Motive 1, the hearbeat, returns but not the pumping sound of the physical heart but its rhythm, played by the guitar. Ronnie’s “spiritual heart” is full of life and ready to proceed with his journey. His next stop is Heaven and the music of this Coda very effectively describes his transit as he approaches Paradise.

Notice that the heartbeat motive played by the guitar serves as a harmonic pedal. For an explanation of what a harmonic pedal is, I refer you to the Starless analysis.

This ends the first part of the analysis of “A Passion Play”. We will continue the analysis of this masterpiece in the next edition of the “Classics Choice”.

Resources

This analysis would not have been possible without the solid foundation laid by Tim Smolko in his book: “Jethro Tull’s Thick as a Brick and A Passion Play. Inside Two Long Songs” 2013. Indiana University Press.

Of equal importance is the splendid, accurate and detailed lyrics analysis provided by Neil Thomason.

In this link you can download a pdf version of Max Heindel’s “Rosicrucian Cosmo-Conception”.

“A Passion Play” art cover images were taken directly from my personal 1974 vinyl copy of the album.

The background music used is:

• The pieces “Docks”, “Beached”, “Sasquatch” and “Durkik” from Camel’s live album “Coming of Age”
• The pieces “My Heart Deserves a Holiday” and “Tramontana” from the album “Random Acts of Happiness” by Bill Bruford’s Earthworks
• The piece “The Sparrow” by the Japanese band Fantasmagoria, from their album “Day and Night”

Unfortunately, since this amazing work was so poorly received by the critics, “A Passion Play” was soon removed from Tull’s live repertoire so there is very little in terms of historical documents. These are 3 videos taken from Jethro Tull’s YouTube channel:

This is “Critique Oblique” from Château D’Isaster Tapes. Very interesting to see how Anderson was able to incorporate this material into the plot of “A Passion Play”: