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Track(s) taken from CDGIM026

Lamentations

composer
author of text
Lamentations 2: 8, 11

The Tallis Scholars, Peter Phillips (conductor)
Recording details: Unknown
Salle Church, Norfolk, United Kingdom
Produced by Steve C Smith & Peter Phillips
Engineered by Mike Clements & Mike Hatch
Release date: September 1992
Total duration: 9 minutes 3 seconds

Cover artwork: The Last Judgement by Rogier van der Weyden (1399-1464)
Hôtel-Dieu, Beaune, France / Photograph © Paul M. R. Maeyaert, Etikhove-Maarkedal, Belgium
 
1
Lamentations  [9'03]

Reviews

'The Tallis Scholars bring to this performance of Brumel's 'Earthquake' Mass … their faultless sixteenth-century technique and their wide experience of renaissance music. In addition, the clean acoustics of the parish church of Salle in Norfolk provide them with ideal sound conditions for tackling music of such complexity. Indeed, the lines are easily distinguished and the overall effect is one of controlled precision and perfection … the inclusion by Phillips of Brumel's two wonderful deep-toned Good Friday Lamentations is greatly to be welcomed and the composer's solemn Mode II Magnificat setting was a brilliant choice with which to round off this fine 'The Tallis Scholars bring to this performance of Brumel's 'Earthquake' Mass … their faultless sixteenth-century technique and their wide experience of renaissance music. In addition, the clean acoustics of the parish church of Salle in Norfolk provide them with ideal sound conditions for tackling music of such complexity. Indeed, the lines are easily distinguished and the overall effect is one of controlled precision and perfection … the inclusion by Phillips of Brumel's two wonderful deep-toned Good Friday Lamentations is greatly to be welcomed and the composer's solemn Mode II Magnificat setting was a brilliant choice with which to round off this fine recording' (Gramophone)
Brumel’s only surviving set of Lamentations, one of the most beautiful in the repertory, is also one of the most sombre, building up a rare mood of desolation by low scoring and slow harmonic movement. As was customary, the Hebrew letters (in this case Heth and Caph) are set separately from the main body of the text; less usual was the conception of the last section in triple time, though this suits rather well the accents in the word ‘Ierusalem’.

from notes by Peter Phillips © 1992

Les seules Lamentations de Brumel qui nous restent comptent parmi les plus belles, mais aussi les plus sombres du répertoire, créant une atmosphère de désolation peu commune par des notes graves et par un mouvement harmonique lent. Comme de coutume, les lettres hébraïques (dans ce cas Heth et Caph) sont isolées du corps principal du texte; mais la dernière partie écrite en rythme ternaire est de facture plus inhabituelle, bien qu’elle convienne assez bien aux accents sur le mot ‘Ierusalem’.

extrait des notes rédigées par Peter Phillips © 1992
Français: Meena Wallaby

Eine derartige Übersteigerung der musikalischen Mittel findet sich bei den zwei anderen Werken dieser Einspielung nicht; bei beiden handelt es sich um vierstimmige Kompositionen. Brumels einzige erhaltene Vertonung von biblischen Lamentationen ist nicht nur mit die schönste des ganzen Repertoires, sondern auch die düsterste; durch die Verwendung tieferer Lagen und langsamer harmonischer Fortschreitung spricht aus ihr trostlose Einsamkeit. Wie in dieser Gattung üblich werden die dem Text vorangestellten hebräischen Buchstaben (hier Heth und Caph) getrennt vertont; ungewöhnlich allerdings ist die Anlage des letzten Abschnitts mit der Verwendung eines dreizeitigen Metrums, obwohl dies den Sprachrhythmus des Wortes ‘Ierusalem’ einleuchtend wiederzugeben vermag.

aus dem Begleittext von Peter Phillips © 1992
Deutsch: Gerd Hüttenhofer

Other albums featuring this work

Lamenta
CDGIM996
Sacred Music in the Renaissance, Vol. 2
GIMBX3024CDs Boxed set (at a special price)
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