779:
789:
174:'s early setting of 1563 is rarely performed despite his later popularity and importance. A voice part is missing from the majority of the work as found in the only copy of the lost original manuscript and so performance editions require substantial reconstruction.
455:
H120, H 121, H 122, H 123, H 124, H 125, H 135, H 136, H 137; Howard Crook, Luc de
Meulenaere, haute-contres; Jan Caals, Harry Ruyl, ténors; Michel Verschaeve, basse taille; Kurt Widmer, basse; Musica Polyphonica, dir Louis Devos. Erato
163:
Tallis's settings happen to use successive verses, but the pieces are in fact independent even though performers generally sing both settings together. Composers have been free to use whatever verses they wish, since the
369:(his Jeremiah Symphony, which contains Hebrew text in the final movement). Matthew Hunter, a viola soloist at the Berlin Philharmonic, set the Tallis Lamentations to be played by an ensemble of
148:
Bible of Tallis's day considered the Hebrew letters integral to the text, although most
English translations of the Bible omit them. The Vulgate indicates 'He' for verse 5
160:; the Maundy Thursday Tenebrae lessons do not go as far as verse 8; but the use of 'Heth' for verse 5 by Tallis may indicate only its inclusion in contemporary liturgy.
792:
613:
535:, Ivete Piveteau, direction, Noemi Rime, soprano, Nathalie Stutzmann, contralto, Charles Brett, haute-contre, Howard Crook, ténor, Virgin classics 1989
374:
713:
667:
308:
685:
751:
71:
enjoyed a brief and distinguished flowering in
England (the practice had developed on the continent during the early 15th century)".
225:
204:
Most of the continental composers of the
Renaissance composed polyphonic settings of the text for use in the liturgy, including
330:. The high baroque Central European style also includes choral and orchestral settings of lamentations by composers such as
818:
743:
229:
660:
541:, Marc Mauillon, Myriam Rigol, viole de gamme, Roussel Thibaut, luth, Mankar-Bennis, clavecin. CD Harmonia Mundi 2018
296:
284:(1584). Of the more obscure composers here, some of these, along with others by even shadowier composers, survive in
559:
377:. The group plays this piece only a couple of times every two years, when they can get the instruments together.
221:
441:
H 96, H 97, H 98/108, H 102, H 103, H 106, H 105, H 109, H 110, H 100 a - Anne Marie Rodde, Sonia
Nigoghossian,
494:
389:
319:
304:
165:
637:
233:
617:
245:
177:
782:
653:
508:
486:
315:
265:
237:
67:
between 1560, and 1569: "when the practice of making musical settings of the Holy Week readings from the
579:
168:
of the text is somewhat loose; this accounts for the wide variety of texts that appear in these pieces.
518:
500:
478:
514:
461:
446:
327:
76:
28:
764:
348:
269:
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331:
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273:
217:
209:
823:
813:
366:
358:
281:
27:
This article is about musical settings of the
Lamentations. For the Biblical book itself, see
504:
482:
411:
277:
249:
141:
Tallis's inclusion of the refrain emphasises the sombre and melancholy effect of the music.
80:(Lam. 1, vv.1-2, and Lam. 1, vv.3-5). These famous and notably expressive settings are both
68:
758:
354:
343:
311:
64:
407:
288:
1506 two volumes of collected
Lamentations and the 1532 anthology edition by Carpentras.
592:
526:
474:
432:
323:
213:
205:
193:
582:" Grove Music Online. Oxford Music Online. Oxford University Press. Web. 18 Jul. 2014.
807:
707:
700:
676:
428:
56:
17:
362:
300:
171:
111:
470:, Il Seminario Musicale, Gérard Lesne. Harmonic records Cantus. 1993 Diapason d’or
380:
Clamavi de
Profundis has set Lamentations 1:10-14 and 2:12-15 to music, in Latin.
442:
253:
241:
123:
737:
299:
are a French chamber solo style most famously represented by the lessons and
257:
134:
468:
Office des Ténèbres de la
Semaine Sainte, 3 Leçons de Ténèbres du Mercredy
553:
60:
32:
788:
145:
119:
103:
115:
107:
645:
649:
406:
H 95, H 99, H 100, H 140, H 133, H 130. Il
Seminario Musicale,
87:
Tallis like many other composers included the following text:
95:("Here begins the Lamentation of Jeremiah the Prophet"), and
431:, Anne Verkinderen (sopranos), René Jacobs, Concerto Vocale
84:
5 for ATTBB and employ a sophisticatedly imitative texture.
180:(1538-1574), a Catholic composer from East Anglia, set the
445:, Clara Virz, La Grande Écurie et La Chambre du Roy, dir
373:
violins, violas and violoncellos. The arrangement is for
192:
6. Another English setting of the Renaissance is that by
31:. For the liturgy for which the music was composed, see
402:
H 121, H 139, H 136, H144, H 128, H 528, H 510, H 521
131:
Ierusalem, Ierusalem, convertere ad Dominum Deum tuum
729:
692:
99:("From the Lamentation of Jeremiah the Prophet");
521:, Ensemble Correspondances, Harmonia Mundi 2015.
398:H 117, H 120, H 138, H 131, H 126, H141, H 173,
661:
417:Leçons de Ténèbres, Office du Mercredi Saint,
396:Leçons de Ténèbres, Office du Mercredi Saint,
268:, Gaspar, Francesco d’Ana, Erasmus Lapicida,
126:, that headed each verse in the Vulgate; and,
8:
137:, Jerusalem, return unto the Lord thy God").
59:set the first lesson, and second lesson, of
668:
654:
646:
435:, dir. Harmonia Mundi 1979 Diapason d'or
40:The Lamentations of Jeremiah the Prophet
571:
419:H 96, H 97, H 98, H 111, H 112, H 113,
342:Contemporary settings include those by
714:Tunes for Archbishop Parker's Psalter
93:Incipit Lamentatio Ieremiae Prophetae
7:
752:Fantasia on a Theme by Thomas Tallis
720:Lamentations of Jeremiah the Prophet
375:two antiphonally set string quintets
43:have been set by various composers.
97:De Lamentatione Ieremiae Prophetae
25:
787:
778:
777:
578:Paul Doe and David Allinson. "
1:
158:peccatum peccavit Hierusalem
425:; Office du Vendredi Saint,
404:, Office du Vendredi Saint,
74:The lessons are drawn from
840:
560:Responsories for Holy Week
26:
773:
683:
495:Michel Richard Delalande
410:. Virgin Classics 1995.
390:Marc-Antoine Charpentier
320:Michel Richard Delalande
305:Marc-Antoine Charpentier
539:Neuf leçons de Ténèbres
533:Neuf Leçons de Ténèbres
129:the concluding refrain
427:H 105, H 106, H 110 -
421:Office du Jeudi Saint,
400:Office du Jeudi Saint,
266:Bartolomeo Tromboncino
309:Leçons de ténèbres of
234:Francisco de Peñalosa
819:Book of Lamentations
686:List of compositions
447:Jean Claude Malgoire
238:Ferrabosco the Elder
200:European Renaissance
29:Book of Lamentations
18:Lamentations (music)
765:The Tallis Scholars
509:Le Poème Harmonique
487:Le Poème Harmonique
453:Leçons de Ténèbres,
439:Leçons de Ténèbres,
423:H 102, H 103, H 109
384:Selected recordings
262:Johannes de Quadris
501:Claire Lefilliâtre
479:Claire Lefilliâtre
332:Jan Dismas Zelenka
297:Leçons de ténèbres
274:Alexander Agricola
256:, Bernhard Ycart,
230:Francisco Guerrero
218:Marbrianus de Orto
210:Thomas Crecquillon
91:the announcements
801:
800:
515:Sophie Karthäuser
462:François Couperin
367:Leonard Bernstein
359:Alberto Ginastera
328:François Couperin
150:facti sunt hostes
16:(Redirected from
831:
791:
781:
780:
670:
663:
656:
647:
640:
635:
629:
628:
626:
625:
616:. Archived from
610:
604:
603:
601:
600:
589:
583:
576:
505:Vincent Dumestre
483:Vincent Dumestre
473:Hasnaa Bennani,
278:Jacques Arcadelt
270:Antoine de FĂ©vin
250:Pierre de la Rue
69:Book of Jeremiah
21:
839:
838:
834:
833:
832:
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829:
828:
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769:
759:Ye Sacred Muses
725:
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611:
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593:"Chamber Music"
591:
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580:Tallis, Thomas.
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550:
519:Sébastien Daucé
386:
355:Edward Bairstow
344:Igor Stravinsky
340:
312:Nicolas Bernier
294:
202:
166:liturgical role
65:Maundy Thursday
54:
49:
36:
23:
22:
15:
12:
11:
5:
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638:Matthew Hunter
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584:
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549:
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543:
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536:
527:Michel Lambert
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475:Isabelle Druet
471:
459:
458:
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436:
414:
385:
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339:
336:
324:Michel Lambert
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214:Costanzo Festa
206:Antoine Brumel
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198:
194:Osbert Parsley
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53:
50:
48:
45:
24:
14:
13:
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6:
4:
3:
2:
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708:Spem in alium
705:
702:
701:If Ye Love Me
698:
697:
695:
691:
687:
682:
678:
677:Thomas Tallis
671:
666:
664:
659:
657:
652:
651:
648:
639:
634:
631:
620:on 2015-05-26
619:
615:
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595:. 24 May 2015
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531:
530:
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511:, Alpha 2002.
510:
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489:, Alpha 2014.
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429:Judith Nelson
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412:Diapason d'Or
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196:(1511-1585).
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57:Thomas Tallis
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44:
42:
41:
34:
30:
19:
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736:
719:
718:
706:
633:
622:. Retrieved
618:the original
608:
597:. Retrieved
587:
574:
538:
532:
481:(sopranos),
467:
452:
438:
424:
420:
416:
408:GĂ©rard Lesne
403:
399:
395:
379:
363:Ernst Krenek
347:
341:
301:responsories
295:
203:
189:
185:
182:Lamentations
181:
178:Robert White
176:
172:William Byrd
170:
162:
157:
156:for verse 8
153:
149:
143:
140:
130:
96:
92:
86:
81:
77:Lamentations
75:
73:
55:
39:
38:
37:
517:(soprano),
503:(soprano),
443:Helen Watts
433:René Jacobs
316:Jean Gilles
254:Jean Mouton
242:Alonso Lobo
47:Renaissance
808:Categories
738:The Tudors
624:2015-04-26
599:2019-06-12
566:References
449:. CBS 1978
371:Stradivari
307:, and the
286:Petrucci's
226:Palestrina
144:The Latin
744:character
258:Tinctoris
135:Jerusalem
824:Tenebrae
814:Jeremiah
783:Category
554:Tenebrae
548:See also
529: :
497: :
464: :
392: :
222:Victoria
106:letters
61:Tenebrae
33:Tenebrae
730:Related
614:"20776"
556:service
292:Baroque
246:Morales
188:5, and
184:twice:
146:Vulgate
52:England
349:Threni
338:Modern
282:Lassus
152:, and
122:, and
120:DALETH
104:Hebrew
793:Audio
693:Music
456:1984.
346:(his
116:GIMEL
108:ALEPH
365:and
280:and
154:Heth
112:BETH
102:the
303:of
63:on
810::
507:,
485:,
477:,
361:,
357:,
353:,
334:.
326:,
322:,
318:,
314:,
276:,
272:,
264:,
260:,
252:,
248:,
244:,
240:,
236:,
232:,
228:,
224:,
220:,
216:,
212:,
208:,
133:("
124:HE
118:,
114:,
110:,
703:"
699:"
669:e
662:t
655:v
627:.
602:.
351:)
190:a
186:a
82:a
35:.
20:)
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