768:
778:
163:'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.
444:
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
152:
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
358:(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
137:
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
149:; 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.
781:
602:
524:, Ivete Piveteau, direction, Noemi Rime, soprano, Nathalie Stutzmann, contralto, Charles Brett, haute-contre, Howard Crook, ténor, Virgin classics 1989
363:
702:
656:
297:
674:
740:
60:
enjoyed a brief and distinguished flowering in
England (the practice had developed on the continent during the early 15th century)".
214:
193:
Most of the continental composers of the
Renaissance composed polyphonic settings of the text for use in the liturgy, including
319:. The high baroque Central European style also includes choral and orchestral settings of lamentations by composers such as
807:
732:
218:
649:
530:, Marc Mauillon, Myriam Rigol, viole de gamme, Roussel Thibaut, luth, Mankar-Bennis, clavecin. CD Harmonia Mundi 2018
285:
273:(1584). Of the more obscure composers here, some of these, along with others by even shadowier composers, survive in
548:
366:. The group plays this piece only a couple of times every two years, when they can get the instruments together.
210:
430:
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,
483:
378:
308:
293:
154:
626:
222:
606:
234:
166:
771:
642:
497:
475:
304:
254:
226:
56:
between 1560, and 1569: "when the practice of making musical settings of the Holy Week readings from the
568:
157:
of the text is somewhat loose; this accounts for the wide variety of texts that appear in these pieces.
507:
489:
467:
503:
450:
435:
316:
65:
17:
753:
337:
258:
250:
359:
320:
274:
262:
206:
198:
812:
802:
355:
347:
270:
16:
This article is about musical settings of the
Lamentations. For the Biblical book itself, see
493:
471:
400:
266:
238:
130:
Tallis's inclusion of the refrain emphasises the sombre and melancholy effect of the music.
69:(Lam. 1, vv.1-2, and Lam. 1, vv.3-5). These famous and notably expressive settings are both
57:
747:
343:
332:
300:
53:
396:
277:
1506 two volumes of collected
Lamentations and the 1532 anthology edition by Carpentras.
581:
515:
463:
421:
312:
202:
194:
182:
571:" Grove Music Online. Oxford Music Online. Oxford University Press. Web. 18 Jul. 2014.
796:
696:
689:
665:
417:
45:
351:
289:
160:
100:
459:, Il Seminario Musicale, Gérard Lesne. Harmonic records Cantus. 1993 Diapason d’or
369:
Clamavi de
Profundis has set Lamentations 1:10-14 and 2:12-15 to music, in Latin.
431:
242:
230:
112:
726:
288:
are a French chamber solo style most famously represented by the lessons and
246:
123:
457:
Office des Ténèbres de la
Semaine Sainte, 3 Leçons de Ténèbres du Mercredy
542:
49:
21:
777:
134:
108:
92:
104:
96:
634:
638:
395:
H 95, H 99, H 100, H 140, H 133, H 130. Il
Seminario Musicale,
76:
Tallis like many other composers included the following text:
84:("Here begins the Lamentation of Jeremiah the Prophet"), and
420:, Anne Verkinderen (sopranos), René Jacobs, Concerto Vocale
73:
5 for ATTBB and employ a sophisticatedly imitative texture.
169:(1538-1574), a Catholic composer from East Anglia, set the
434:, Clara Virz, La Grande Écurie et La Chambre du Roy, dir
362:
violins, violas and violoncellos. The arrangement is for
181:
6. Another English setting of the Renaissance is that by
20:. For the liturgy for which the music was composed, see
391:
H 121, H 139, H 136, H144, H 128, H 528, H 510, H 521
120:
Ierusalem, Ierusalem, convertere ad Dominum Deum tuum
718:
681:
88:("From the Lamentation of Jeremiah the Prophet");
510:, Ensemble Correspondances, Harmonia Mundi 2015.
387:H 117, H 120, H 138, H 131, H 126, H141, H 173,
650:
406:Leçons de Ténèbres, Office du Mercredi Saint,
385:Leçons de Ténèbres, Office du Mercredi Saint,
257:, Gaspar, Francesco d’Ana, Erasmus Lapicida,
115:, that headed each verse in the Vulgate; and,
8:
126:, Jerusalem, return unto the Lord thy God").
48:set the first lesson, and second lesson, of
657:
643:
635:
424:, dir. Harmonia Mundi 1979 Diapason d'or
29:The Lamentations of Jeremiah the Prophet
560:
408:H 96, H 97, H 98, H 111, H 112, H 113,
331:Contemporary settings include those by
703:Tunes for Archbishop Parker's Psalter
82:Incipit Lamentatio Ieremiae Prophetae
7:
741:Fantasia on a Theme by Thomas Tallis
709:Lamentations of Jeremiah the Prophet
364:two antiphonally set string quintets
32:have been set by various composers.
86:De Lamentatione Ieremiae Prophetae
14:
776:
767:
766:
567:Paul Doe and David Allinson. "
1:
147:peccatum peccavit Hierusalem
414:; Office du Vendredi Saint,
393:, Office du Vendredi Saint,
63:The lessons are drawn from
829:
549:Responsories for Holy Week
15:
762:
672:
484:Michel Richard Delalande
399:. Virgin Classics 1995.
379:Marc-Antoine Charpentier
309:Michel Richard Delalande
294:Marc-Antoine Charpentier
528:Neuf leçons de Ténèbres
522:Neuf Leçons de Ténèbres
118:the concluding refrain
416:H 105, H 106, H 110 -
410:Office du Jeudi Saint,
389:Office du Jeudi Saint,
255:Bartolomeo Tromboncino
298:Leçons de ténèbres of
223:Francisco de Peñalosa
808:Book of Lamentations
675:List of compositions
436:Jean Claude Malgoire
227:Ferrabosco the Elder
189:European Renaissance
18:Book of Lamentations
754:The Tallis Scholars
498:Le Poème Harmonique
476:Le Poème Harmonique
442:Leçons de Ténèbres,
428:Leçons de Ténèbres,
412:H 102, H 103, H 109
373:Selected recordings
251:Johannes de Quadris
490:Claire Lefilliâtre
468:Claire Lefilliâtre
321:Jan Dismas Zelenka
286:Leçons de ténèbres
263:Alexander Agricola
245:, Bernhard Ycart,
219:Francisco Guerrero
207:Marbrianus de Orto
199:Thomas Crecquillon
80:the announcements
790:
789:
504:Sophie Karthäuser
451:François Couperin
356:Leonard Bernstein
348:Alberto Ginastera
317:François Couperin
139:facti sunt hostes
820:
780:
770:
769:
659:
652:
645:
636:
629:
624:
618:
617:
615:
614:
605:. Archived from
599:
593:
592:
590:
589:
578:
572:
565:
494:Vincent Dumestre
472:Vincent Dumestre
462:Hasnaa Bennani,
267:Jacques Arcadelt
259:Antoine de FĂ©vin
239:Pierre de la Rue
58:Book of Jeremiah
828:
827:
823:
822:
821:
819:
818:
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748:Ye Sacred Muses
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582:"Chamber Music"
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569:Tallis, Thomas.
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562:
557:
539:
508:Sébastien Daucé
375:
344:Edward Bairstow
333:Igor Stravinsky
329:
301:Nicolas Bernier
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191:
155:liturgical role
54:Maundy Thursday
43:
38:
25:
12:
11:
5:
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631:
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627:Matthew Hunter
619:
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559:
558:
556:
553:
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546:
538:
535:
534:
533:
532:
531:
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516:Michel Lambert
513:
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481:
480:
479:
464:Isabelle Druet
460:
448:
447:
446:
439:
425:
403:
374:
371:
328:
325:
313:Michel Lambert
282:
279:
203:Costanzo Festa
195:Antoine Brumel
190:
187:
183:Osbert Parsley
128:
127:
116:
89:
42:
39:
37:
34:
13:
10:
9:
6:
4:
3:
2:
825:
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728:
724:
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721:
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711:
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699:
698:
697:Spem in alium
694:
691:
690:If Ye Love Me
687:
686:
684:
680:
676:
671:
667:
666:Thomas Tallis
660:
655:
653:
648:
646:
641:
640:
637:
628:
623:
620:
609:on 2015-05-26
608:
604:
598:
595:
584:. 24 May 2015
583:
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544:
541:
540:
536:
529:
526:
523:
520:
519:
517:
514:
509:
505:
502:
500:, Alpha 2002.
499:
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478:, Alpha 2014.
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418:Judith Nelson
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401:Diapason d'Or
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185:(1511-1585).
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55:
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46:Thomas Tallis
40:
35:
33:
31:
30:
23:
19:
746:
739:
725:
708:
707:
695:
622:
611:. Retrieved
607:the original
597:
586:. Retrieved
576:
563:
527:
521:
470:(sopranos),
456:
441:
427:
413:
409:
405:
397:GĂ©rard Lesne
392:
388:
384:
368:
352:Ernst Krenek
336:
330:
290:responsories
284:
192:
178:
174:
171:Lamentations
170:
167:Robert White
165:
161:William Byrd
159:
151:
146:
145:for verse 8
142:
138:
132:
129:
119:
85:
81:
75:
70:
66:Lamentations
64:
62:
44:
28:
27:
26:
506:(soprano),
492:(soprano),
432:Helen Watts
422:René Jacobs
305:Jean Gilles
243:Jean Mouton
231:Alonso Lobo
36:Renaissance
797:Categories
727:The Tudors
613:2015-04-26
588:2019-06-12
555:References
438:. CBS 1978
360:Stradivari
296:, and the
275:Petrucci's
215:Palestrina
133:The Latin
733:character
247:Tinctoris
124:Jerusalem
813:Tenebrae
803:Jeremiah
772:Category
543:Tenebrae
537:See also
518: :
486: :
453: :
381: :
211:Victoria
95:letters
50:Tenebrae
22:Tenebrae
719:Related
603:"20776"
545:service
281:Baroque
235:Morales
177:5, and
173:twice:
135:Vulgate
41:England
338:Threni
327:Modern
271:Lassus
141:, and
111:, and
109:DALETH
93:Hebrew
782:Audio
682:Music
445:1984.
335:(his
105:GIMEL
97:ALEPH
354:and
269:and
143:Heth
101:BETH
91:the
292:of
52:on
799::
496:,
474:,
466:,
350:,
346:,
342:,
323:.
315:,
311:,
307:,
303:,
265:,
261:,
253:,
249:,
241:,
237:,
233:,
229:,
225:,
221:,
217:,
213:,
209:,
205:,
201:,
197:,
122:("
113:HE
107:,
103:,
99:,
692:"
688:"
658:e
651:t
644:v
616:.
591:.
340:)
179:a
175:a
71:a
24:.
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