In Passionlieder filled with baroque vehemence, Vladimir Martynov, one of the leaders of the Soviet counterculture of the 1970s, turns music into an instrument of protest and resistance to generally accepted social norms. Passionslieder, written to the text of the German spiritual 17th century anthem, a composition at the intersection of music and actionism, art and a religious act, will sound framed by works by European composers of the late 17th century. Perhaps it is precisely this proximity that will make it possible to get closer to understanding the true nature of this most important score of the late Soviet musical avant-garde.