Like Osvaldo Golijov’s Pasión según San Marcos, Tan Dun’s setting of the Passion narrative was composed for the Stuttgart Internationale Bachakademie’s commemoration of the 250th anniversary of Bach’s death, in 2000. And like Golijov’s work, this one fuses opposites in a way that renders the final product almost unclassifiable. The singing ranges from Bach-style chorales — wonderfully delivered by the RIAS-Kammerchor Berlin — to Mongolian overtone chants. There are some wild swoops and strange syllabic inflections in the solos, and soprano Elizabeth Keusch and bass Stephen Bryant handle these with amazing ease.

Tan’s music is distinguished above all by his inventive sound palette, and the combination of all kinds of percussion, solo violin and cello, and chorus makes for some astonishing counterpoint. The sounds of stones that punctuate Mark O’Connor’s violin solo in the "Stone Song" that opens part two are mesmerizing, as is the explosion of percussion in the earthquake that follows Christ’s death. The concluding "Water and Resurrection" section builds to a magnificent climax and then subsides into the inchoate water sounds with which the piece began.

But there’s also a lot of repetition, and for all the sonic fireworks, the actual musical material is pretty thin. There’s deep contemplation here, but the emotional profile comes off as strangely reserved. Perhaps this is a work that needs to be experienced live, with all the carefully orchestrated visual inflections, to be properly appreciated. Golijov’s music, though, transcends its mode of presentation, whereas Tan’s makes for listening that is fully compelling and engaging only in fits and starts.

Tan Dan conducts the Boston Symphony Orchestra in the world premiere of his composition The Map, with cellist Yo-Yo Ma, at Symphony Hall February 20, 21, 22, and 25. Call (617) 266-1200.