Philippe Herreweghe, in the accompanying booklet to this recording invites the listener to imagine the music ”resounding beneath the vaults of an abbey, before . Buy Lassus: Lamentations of Jeremiah by Orlande de Lassus, Philippe Herreweghe, Paris Chapelle Royale European Ensemble from Amazon’s Classical. The Lamentations of Jeremiah the Prophet have been set by various composers. Bartolomeo Tromboncino, Gaspar, Francesco d’Ana, Erasmus Lapicida, Antoine de Févin, Alexander Agricola, Jacques Arcadelt and Lassus (). Of the.

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The Lamentations were eventually incorporated into the Christian liturgies of Holy Week.

Lassus: Hieremiae prophetae lamentationes

The all-time greats Read about the artists who changed the world of classical music. Lassus has the word sola solitary sung by an austere duet, with each voice lasssu heard by itself. The arrangement is for two antiphonally set string quintets. Lassus wrote the dedication to the completed work on 24 Mayand died three weeks later. Orlande de Lassus Composer.

Lamentatio secunda, tertii diei. In the other chant-based movements—the Gradual, the Offertory, and the Communion—each grammatical phrase of the text is sung to the first few notes of the chant, enough to catch the ear of a trained court musician. These are urgent, without ever being pressed too hard. English Choose a language for shopping.

These famous and notably expressive settings are both a 5 for ATTBB and employ a sophisticatedly imitative texture. Lasus Reviews Most recent Top Reviews. From Wikipedia, the free encyclopedia. Alexa Actionable Analytics lamrntations the Web. That is the term Herreweghe uses to describe de Lassus’ settings of the Holy Week lamentations along with Palestrina’s, which are available in recordings by Musica Contexta, and Victoria’s, recorded by The Sixteen.


In this motet, Lassus displays his unrivalled mastery of counterpoint, manipulating the seven voices effortlessly to produce the expressive rhetorical effects so admired by his contemporaries.

Lassus Lamentations of Jeremiah |

The chant is carried in long notes by the second-highest voice, lamentationd the other voices in counterpoint around it. None of the parts dominate in dynamic terms.

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The first group considers the death of Christ; the second, the death of the Christian. August 15, Release Date: The pieces selected for this recording represent Lassus’ treatment of the theme of dealth during the mature period.

This recording includes the three readings from Lamentations assigned to Maundy Thursday in his five-voice version, published in Tracks For the liturgy for which the music was composed, see Tenebrae.

Thomas Tallis set the first lesson, and second lesson, of Tenebrae on Maundy Thursday betweenand He did so again in his five-voice Requiem ofwhich suggests that this was an important part of how Lassus thought the Mass for the Dead should be sung.

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Hyperion Records

Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Tallis’s settings happen to use successive verses, but the pieces are in fact independent even though performers generally sing both settings together. The Lamentations are acrostic poems arranged according to the twenty-two letters of the Hebrew alphabet.


Somewhat remarkably, Lassus included the notes for the solo intonation of each movement in the published scores; composers normally assumed the soloist would sing the chant from memory. Feria VI ad matutinum in nocturno I: Introduction English During the last thirty years of his life, Orlande de Lassus — was the most celebrated composer in Europe. This may be heard later on this recording at the beginning of Track 6.

Our inheritance is turned to strangers, our houses to foreigners. The balance of the choir is excellent, resulting in a vibrancy of sound in these essentially chordal textures that enhances the harmonic progressions and shapes the dissonances that make this music so affecting.

The emphasis here is not on the text sung, because it is all allegorical the destruction of Jerusalem represents Christ’s death. His judgement is a good one; this music represents the summit of Renaissance composition. Lamentatio tertia, primi diei.

The Mass heard on this recording—one of three Requiems by Lassus, this fourvoice setting having been published in —is not a parody Mass.