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Track(s) taken from CDGIM043

Lamentation for Maundy Thursday

First line:
Incipit lamentatio Jeremiae Prophetae
author of text
Lamentations 1: 1-3

The Tallis Scholars, Peter Phillips (conductor)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: Unknown
Merton College Chapel, Oxford, United Kingdom
Produced by Steve C Smith & Peter Phillips
Engineered by Philip Hobbs
Release date: March 2010
Total duration: 11 minutes 48 seconds

Cover artwork: Jeremiah the Prophet (from the ceiling of the Sistine Chapel) by Michelangelo Buonarroti (1475-1564)
Vatican Museum

Other recordings available for download

Westminster Cathedral Choir, James O'Donnell (conductor)


'These Lamentations … attest to the marvellous sensibility of the group and to the durability of an inimitable vocal style' (Classica, France)» More

'These Lamentations are not only serious liturgical entities, but they are gorgeous choral works in their own right, and Peter Phillips has been doing this kind of repertoire longer than almost anyone around these days—he knows how to do 'gorgeous' and 'liturgically correct' both at the same time, and we have him and his superb singers to thank for much of today's serious focus on early and Renaissance choral music' (Classics Today)» More
Padilla’s six-part Lamentations are properly traditional, being set almost archaicly in polyphony that is firmly based on the Spanish (Toledo) Lamentation tone. As always the Hebrew letters—Aleph, Beth, and so on—are composed to sad flowing vocalizations between the verses.

from notes by Bruno Turner © 1990

Les Lamentations à six parties de Padilla sont des plus traditionnelles, avec une mise en musique quasi archaïque, en polyphonie, solidement fondée sur le tonus lamentationum espagnol (Tolède). Comme toujours, les lettres hébraïques (aleph, beth, etc.) font l’objet de mornes vocalisations fluides entre les versets.

extrait des notes rédigées par Bruno Turner © 1990
Français: Hypérion

Padillas sechstimmige Lamentationen sind angemessen traditionell, nahezu archaisch in polyphonem Satz vertont, der fest auf dem spanischen (Toledo) Lamentationston basiert. Wie üblich werden die hebräischen Buchstaben—Aleph, Beth, usw.—mit trist-fließenden Gesangsmelismen zwischen die Verse eingeschoben.

aus dem Begleittext von Bruno Turner © 1990
Deutsch: Renate Wendel

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