Talk:Lamentations of Jeremiah (Thomas Tallis)

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CPDL 410

Voice 2, bars 20-21: tied minim As should be Fs.

CPDL 3433

Voice 2, bars 40-41: tied minim As should be Fs. Bar 99, voice 5: minim D should be E. Both also in keyboard reduction.

In Bar 100, shouldn't it be E then B, meaning that it's the A that should be a B? See e.g. Adam Cole edition approx meas. 50. -- Vaarky 01:07, 17 August 2009 (UTC)

CPDL 3434

Voice 2, bars 41-42: tied minim Es should be Cs. Bar 100, voice 5: minim E should be B. Both also in keyboard reduction.

In Bar 100, shouldn't it be E then B, meaning that it's the A that should be a B? See e.g. Adam Cole edition approx meas. 50. -- Vaarky 01:06, 17 August 2009 (UTC)

CPDL 3434

NB: This message commenting on Denis Mason's edition of Tallis Lamentations I was e-mailed to the editor in September 2009, but elicited no response, so is posted here for reference. Dear Denis,

I've looked through your score and compared it with four recordings and also with the somewhat elderly-looking OUP edition. The main conclusions are as follows:

The stresses you suggest are mostly helpful, but I don't think the composer expected 'Ieremiae' to be stressed on the third syllable as it is in English. At times the music is noncommittal about this, but most of the time it suggests stress on the second syllable. In one place, the third syllable is even relegated to an off-beat quaver.

Bars 27-28, third voice: my suspicion was that the last two notes in bar 27 might be D natural, C sharp, followed in the next bar by D natural, E, D sharp. The naturals and sharps are suggested to me by the changing harmonic context, and the first D natural I have mentioned is also suggested by a reluctance to allow two successive semitone intervals in a melody (outside Gesualdo, anyway). The OUP edition, once it is appropriately transposed, turns out to agree with me. Curiously, all four of the recordings I have just listened to - dating between 1987 and 1991; they are by the Hilliard Ensemble, Winchester Cathedral Choir, The 16 and the Oxford Camerata - have D sharps throughout these bars. That solution just seems dull to me, once the alternative has been considered. A matter of taste, though, clearly.

Bar 45, first note, 3rd voice: I would favour G natural; so do all the sources I have mentioned.

Bar 47, second quaver, as well as Bar 63, third note, 2nd voice in both cases: I would hold out for F sharp; so do all the other sources.

Bar 78-79, soprano: tie missing.

Bar 90, second note, tenor: except for the Oxford Camerata, the recordings all opt for a false relation here, i.e. tenor B flat.

Bar 100, second note, bass: the A is a typo for B (confirmed by all sources).

Bar 117, last note, third voice: F natural (confirmed by all sources).

The timing you quote at the end seems a trifle optimistic. The recordings I have mentioned range from 7:18 to 8:42.

Regards and keep up the good work, Mick Swithinbank 11:53, 22 October 2009 (UTC)

CPDL 23708

Bar 164, bass: last 2 notes should be B-flat C, not A B-flat Acole (talk) 16:14, 30 August 2012 (CDT)

  • m100/99 (mesure numbering includes invisible bar with preferatory clefs) has the same mistake as some other editions; bass should read: A e. Richard Mix (talk) 06:03, 15 April 2014 (UTC)
Thank you for these corrections - there are many others that have proliferated, and I will be uploading a revised edition shortly. Edward Tambling (talk) 10:13, 15 April 2014 (UTC)