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Lamentations of Jeremiah II

First line:
De lamentatione Jeremiae prophetae
composer
author of text
Lamentations 1: 3-5; Second Lesson at Matins, Maundy Thursday

 
Tallis’ settings seem stylistically to fit better with his other music for Elizabeth than with his music for Mary as they are like the finest chamber music. He has taken Archbishop Cranmer’s edict about one note for each syllable to heart and this leads to a rhetorical style which communicates the text clearly and with great power (although Tallis allows himself a greater expansiveness in the Hebrew letters). He creates some wonderful effects: pathos at ‘Plorans ploravit’, indignation at ‘virgines eius squalidae’ and ravishing beauty at many of the Hebrew letters.

from notes by Andrew Carwood © 2016

Sur le plan stylistique, les musiques que Tallis a composées sur ces textes semblent correspondre davantage à ce qu’il a écrit par ailleurs pour Elisabeth qu’à la musique qu’il a composée pour Marie car elles ressemblent à de la très belle musique de chambre. Il a pris à cœur le décret de l’archevêque Cranmer imposant une seule note par syllabe ce qui donne lieu à un style rhétorique qui communique clairement le texte et avec beaucoup de force (bien que Tallis s’autorise une plus grande expansivité dans les lettres aux Hébreux). Il crée de magnifiques effets: pathétique sur «Plorans ploravit», indignation à «virgines eius squalidae» et beauté ravissante dans beaucoup de lettres aux Hébreux.

extrait des notes rédigées par Andrew Carwood © 2016
Français: Marie-Stella Pâris

Tallis’ Vertonungen scheinen stilistisch eher zu der Musik zu passen, die er für Elisabeth (und nicht Maria) schrieb, da sie zu seinen besten Kammerwerken zählen. Er hatte sich das Edikt von Erzbischof Cranmer zu Herzen genommen, welches besagte, dass jeweils ein Ton pro Silbe gesetzt werden möge. Daraus ergibt sich ein rhetorischer Stil, der den Text deutlich und nachdrücklich kommuniziert (obwohl Tallis sich bei den hebräischen Buchstaben größere Freiheiten erlaubt). Er sorgt für wunderschöne Effekte, so etwa ein gewisses Pathos bei „Plorans ploravit“, Empörung bei „virgines eius squalidae“ und atemberaubende Schönheit bei vielen der hebräischen Buchstaben.

aus dem Begleittext von Andrew Carwood © 2016
Deutsch: Viola Scheffel

Recordings

Perfect Polyphony
CDGIM2132CDs for the price of 1
Lamenta
CDGIM996
Tallis: Lamentations & medieval chant
Studio Master: SIGCD901Download onlyStudio Master FLAC & ALAC downloads available
Tallis: Lamentations & other sacred music
Studio Master: CDA68121Studio Master FLAC & ALAC downloads available
Tallis: Lamentations of Jeremiah
CDGIM025
Tallis: Spem in alium & other choral works
CDA66400
Tallis: The Tallis Scholars sing Thomas Tallis
CDGIM2032CDs for the price of 1
Tallis: The Complete Works, Vol. 8
SIGCD036Download only
Sacred Music in the Renaissance, Vol. 2
GIMBX302Boxed set (at a special price) — Download only

Details

Track 10 on CDA66400 [13'15]
Track 2 on CDA68121 [12'47]
Track 2 on CDGIM025 [13'13]
Track 2 on CDGIM203 CD2 [13'13] 2CDs for the price of 1
Track 3 on CDGIM996 [13'15]
Track 3 on GIMBX302 CD3 [13'15] Boxed set (at a special price) — Download only
Track 2 on SIGCD036 [12'20] Download only
Track 11 on SIGCD901 [13'35] Download only
Part 1: De lamentatione Jeremiae prophetae
Track 4 on CDGIM213 CD2 [1'41] 2CDs for the price of 1
Part 2: Ghimel. Migravit Juda propter afflictionem
Track 5 on CDGIM213 CD2 [2'43] 2CDs for the price of 1
Part 3: Daleth. Omnes persecutores eius
Track 6 on CDGIM213 CD2 [3'22] 2CDs for the price of 1
Part 4: Heth. Facti sunt hostes eius in capite
Track 7 on CDGIM213 CD2 [5'28] 2CDs for the price of 1

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