THOMAS

TALLIS
(c.1 505-1 585)

THE LAMENTATIONS OF JEREMIAH

(ATTBarB)

Critical edition by
Carlos Rodríguez Otero
i

TABLE OF CONTENTS

Texts and Translations --------------------------------------- ii

I: Incipit lamentatio --------------------------------------------- 1
II: De lamentatione --------------------------------------------- 11
Notes------------------------------------------------------------- 28
Critical Commentary ------------------------------------------ 32
 ii

TEXTS AND TRANSLATIONS

LATIN

Incipit lamentatio Jeremiæ prophetæ.

ALEPH. Quomodo sedet sola civitas plena populo: facta est quasi vidua domina gentium,
prínceps provinciarum facta est sub tributo.
BETH. Plorans ploravit in nocte, et lacrimæ eius in maxillis eiu: non est qui consoletur eam
ex omnibus caris eius: omnes amici eius spreverunt eam, et facti sunt ei inimici.
Jerusalem, Jerusalem, convertere ad Dominum Deum tuum.

II

De lamentatione Jeremiæ prophetæ.

GHIMEL. Migravit Juda propter afflictionem ac1 multitudinem servitutis, habitavit inter
gentes, nec invenit requiem.
DALETH. Omnes persecutores eius apprehenderunt eam inter angustias. [Viæ Sion] lugent,
eo quod non sint qui veniant ad solemnitatem. Omnes portæ eius destructæ, sacerdotes eius gementes,
virgines eius squalidae, et ipsa oppressa amaritudine.
HETH. Facti sunt hostes eius in capite, inimici illius locupletati sunt; quia Dominus locutus
est super eam propter multitidunem iniquitatum2 eius. Parvuli eius ducti sunt captivi ante faciem
tribulantis.
Jerusalem, Jerusalem, convertere ad Dominum Deum tuum.

ENGLISH

Here beginneth the lamentation of Jeremiah the prophet.

ALEPH. How doth the city sit solitary, that was full of people! How is she become
as a widow! She that was great among the nations, and princess among the provinces, how
she is become tributary!
BETH. She weepeth sore in the night, and her tears are on her cheeks; among all her
lovers she has none to comfort her: all her friends have dealt treacherously with her, they
are become her enemies.
Jerusalem, Jerusalem, return unto the Lord thy God.

1 Sources F and I have ‘et’ instead of ‘ac’ (see Critical Commentary for a description of the sources).
2 Source C has ‘iniquitatem’, I: ‘iniquitatis’ (see Critical Commentary for a description of the sources).
iii

II

From the lamentation of Jeremiah the prophet.

GHIMEL. Judah is gone into captivity because of affliction, and because of great
servitude: she dwelleth among the heathen, she findeth no rest.
DALETH. All her persecutors overtook her between the straits. The ways of Zion
do mourn, because none come to the solemn feasts: all her gates are desolate: her priests
sigh, her virgins are afflicted, and she is in bitterness.
HETH. Her adversaries are the chief, her enemies prosper; for the Lord hath afflicted
her for the multitude of her transgressions: her children are gone into captivity before the
enemy.
Jerusalem, Jerusalem, return unto the Lord thy God.
 THE LAMENTATIONS O F JEREMIAH 1

Lamentations 1 :1 -2
I
Edition by Carlos Rodríguez Otero
Thomas Tallis (c.1 505-1 585)

°¡ C ° C
C : C2; A: no mensuration

Alto
·
····· · · w. H w
& Ú Ú Ú Ú
Incipit
A: no mensuration
¡ C w . H w w.
# C w™ ˙ w w ˙ ˙ ˙ ˙ ˙ ˙ ˙
Tenor 1 ˙
Incipit la- In - ci - pit la - men - ta - ti - o Ie - re - mi -
A: no mensuration

Tenor II
¡ C ········· ·· w.
· · hw #C Ú Ú Ú Ú
Incipit
C : F4; A
A: no mensuration
?C∑ w ˙ ˙ w w™ ˙ ˙ ˙ ˙
Ý C w. h w
Baritone
· ˙
Incipit In - ci - pit la - men - ta - ti - o Ie -
A: no mensuration

C ·· ?C Ú Ú Ú Ú
Bass
¢Ý ···· · w. hw ¢
Incipit
5
°
& Ú ∑ w™ ˙ ˙ ˙
w ˙ ˙ w ˙ ˙
In - ci - pit la - men - ta - ti - o Ie -
(2)
w™ ˙ ˙™ ˙
# ˙ ˙ ˙ ˙ œ œ w ˙ w w œ ˙
æ pro - phe - - - - tæ, pro - phe - - - - tæ, Ie -

# Ú Ú Ú Ú Ú

˙
(1 )
w w w™ ˙ ˙ ˙ ˙
? ˙ ˙ ˙ ˙ ˙ w ˙
re - mi - æ pro - phe - tæ, pro - phe - - - - -

? w™
¢ ∑ w ˙ ˙ w ˙ ˙ ˙ w ˙ ˙ w
In - - ci - pit la - men - ta - ti - o Ie - re -
10
° (4)
Ú
& ˙ ˙ ˙ ˙ w #˙ ˙ œ œ <n> w ˙ ˙ w
˙
re - mi - æ pro - phe - tæ, pro - phe - - - tæ,
(5)
# ˙ ˙ ˙ ˙ w ˙
˙ œ œ w ˙ w w Ú
re - mi - æ pro - phe - tæ, pro - phe - - - tæ,

# Ú w™ ˙ w w ˙ ˙ ˙ ˙ ˙ ˙ ˙™ œ
In - ci - pit la - - men - ta - ti - o Ie - re - mi -

? ˙ #˙
(3)
w ˙ ˙ ˙ w w™ ˙ ˙ ˙ ˙ ˙
∑ Ó
- tæ, In - ci - pit la - - men - ta - ti - o Ie -

? w w
¢ ˙ ˙ w w w ∑ w™ ˙ w
mi - æ pro - phe - tæ, In - - ci - pit la -
2

15
°
& w™ ˙ w w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙™ œ ˙
In - ci - pit la - - men - ta - ti - o Ie - re - mi - æ pro - phe -

w™ ˙ ˙ w
# ∑ w ˙ ˙ w ˙ ˙ ˙ ˙ ˙
In - - ci - pit la - men - ta - ti - o Ie - re - mi - -
(6)
# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ › ∑ Ó ˙ ˙™ œ w
æ pro - phe - - - tæ, pro - phe - tæ,
(8)
? ˙ ˙ ˙ ˙ ˙ ˙ w Ú Ú Ó ˙ w
- re - mi - æ pro - phe - tæ, pro - phe -
(7)
? ˙ w ˙ ˙ ˙ ˙ w
¢ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ w
- men - ta - ti - o, la - men - ta - ti - o Ie - re - mi - æ pro - phe -

20
° (9) U (1 1 )
& #˙ ˙ w › › › w w ˙ ˙ ˙ ˙
- tæ, pro - phe - - - - tæ. A - leph, a - - - -

˙ U
#
˙ ˙ ˙ Ó w › Ú Ú Ú
˙
-æ pro - phe - tæ, pro - phe - tæ.
(1 0)
# w Ó ˙ ˙ ˙ w #U
› ∑ w w w bw ™ ˙
pro - phe - - tæ. A - leph, a - -

˙ œ œ ˙ U
? w ˙ w › Ú Ú Ú
tæ, pro - phe - - - tæ.
U
? Ó ˙ w Ú Ú Ú
¢ w ˙ #˙ ›
tæ, pro - phe - - tæ.

26
°
& ˙ ˙ ˙ ˙ œ œ œ œ w
˙ w ˙ ˙ ˙ ˙ ˙
- - - - - - - - - - - - - - -
(1 0)

# Ú Ú Ú ∑ w
A -
(1 2) # # (1 3)
# b˙ w œ #œ ˙ w ˙ ˙™ œ ˙ ˙ œ œ w ˙
- - - - - - - leph, a - - - - - -

? ∑ w w w w™ ˙ w w
A - - - leph, a - - - - - - leph,
? Ú Ú Ú Ú
¢
 3

30
° Ú Ú ∑
(1 7,20)
bw ™
(1 7)
& w w w ˙
›
le ph. A - - leph, a - -

w w w™ ˙ ˙ ˙ w
(1 8)
#w
§
w ˙ ˙
(1 9)
w ˙ w
# ˙
- leph, a - - - - leph, a - leph, a - - - -
(1 6) (1 7) (21 )
# › w
w ˙ bw ˙ › ∑ w ˙™ œ bœ œ ˙
- - - leph, a - - leph, a - - - -
(1 4)
? w w w w ˙ ˙™ œ œ œ › w™ ˙ ›
a - - - - - - leph, a - leph, a - -

? (1 5)
¢ › w bw ˙ ˙ bw › w™ ˙ ›
A - - leph, a - - - - leph, a - leph, a - -
36
° b˙
& ˙ w Ó w ˙ ˙ ˙
› w ˙ w ˙
- - - leph. Quo - mo - do se - - det so - la
(1 7)
# ˙ ˙ bw › Ó w ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙
- - - leph. Quo - mo - do se - det so - - la ci -
(1 8) (22)
# ˙ ˙ w #› Ó <n> w ˙ w w ˙ ˙ ˙ ˙
- - - leph. Quo - mo - do se - - det so - la

? w w ˙ ˙ ˙ ˙ ˙ b ˙ (1 7)
w ∑ w ˙ w ˙
- leph. Quo - mo - do se - - det so - la ci - vi -
(23)
? Ó w ˙ ˙ ˙
¢ › › w ˙ w b˙
- - - leph. Quo - mo - do se - - det so - la

41
° (27)
& ˙™ œ w Ó w ˙ œ œ w ˙ w Ó ˙ œ œ ˙ w
ci - vi - tas ple - na po - pu - lo? Fa - cta est
(24)
# ˙ Ó ˙™ œ ˙ ˙ w w Ó ˙ ˙ ˙ ˙ œ œ
˙ w ˙
- vi - tas ple - na po - pu - lo? Fa - cta est qua -

˙™ w™ #
œ œ ˙ w
# ˙ ˙ œ ˙ ˙ ˙ w w Ó ˙
ci - vi - tas ple - - na po - pu - lo ? Fa - cta est
(25) ˙
? w Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ w w Ó ˙ œ œ ˙ ˙
tas ple - na po - pu - - - lo? Fa - cta est qua -
(26)
? ˙™ œ w w™ ˙ ˙ w Ó
¢ ˙ w ˙ ˙ ˙ w
ci - vi - tas ple - na po - pu - lo? Fa - cta est
4

46
°
& Ó ˙™
w ˙ ˙ Ó Ó ˙
˙ w œ ˙ ˙ ˙ w w
qua - si vi - du - a do - mi - na gen - ti - um: prin -

# œ œ œ œ ˙ ˙ ˙ ˙ w
Ó
˙™ œ ˙
w ˙ ›
˙
- - si vi - du - a do - mi - na gen - ti - um:
(1 8) (4) (28)
# Ó
w ˙ ˙ ˙ #w Ó <n> ˙ ™ œ ˙ w™ ˙ #w n˙ ™ œ
qua - si vi - du - a do - mi - na gen - ti - um, gen -

? ˙
˙ ˙ w ˙ œ œ ˙ ˙ ˙
˙ Ó › w ∑
- si vi - du - a do - mi - na gen - ti - um:

¢
? Ó w ˙ ˙ ˙ w Ó ˙™ œ ˙ w™ ˙
›
qua - si vi - du - a do - mi - na gen - ti - um:

51
°
Ó
˙™
& ˙ ˙ ˙ ˙ œ œ w ˙ œ œ œ ˙ ˙ w w ˙ ˙
ceps pro - vin - ci - a - - - - rum, prin - ceps pro - vin - ci -

# Ó ˙ ˙ ˙ ˙ ˙ w w Ó ˙ ˙ ˙ ˙ ˙ w w
prin - ceps pro - vin - ci - a - rum, prin - ceps pro - vin - ci - a - rum
(1 6)
˙™
#
˙ ˙ ˙
# œ œ w ˙ w w Ó ˙ œ ˙ ˙ ˙ ˙ ˙
- ti - - um, prin - ceps pro - vin - ci - a - - rum fa -
˙
? Ó ˙ ˙ ˙ ˙ ˙ w ˙™ œ œ œ ˙ Ú ∑ Ó
prin - ceps pro - vin - ci - a - rum, fa -
(29)

¢
? Ú Ú ∑ Ó ˙ ˙ ˙ #˙ ˙ w w
prin - ceps pro - vin - ci - a - rum
(34)
56
° (30) # §
& › w w Ó ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙ œ œ œ œ ˙
a - - - - rum fa - cta est sub tri - bu - to, sub tri -
(1 7) (31 )
# Ó ˙ b˙ ˙ w Ó ˙ ˙ ˙ ˙ b˙ w w
w ˙ ˙
fa - cta est sub tri - bu - to, fa - cta est sub tri - bu - to,
(33)
# ˙ <n> ˙ w ˙ w
˙ › Ú Ó ˙ ˙ ˙
- cta est sub tri - bu - to, fa - cta est

? ˙ ˙ ˙ ˙ œ œ w ˙ w Ó
˙ ˙ ˙ ˙ ˙ w™ ˙
cta est sub tri - bu - - to, fa - cta est sub tri - bu - -
(32)
? Ó Ú
¢ ˙ ˙ ˙ ˙ b˙ w › w ˙ ˙
fa - cta est sub tri - bu - to, fa - cta est
 5

61
° #
& œ œ ˙ ˙ ˙ œ œ ˙ ˙™ œ œ œ ˙ ˙ ˙ œ œ w ˙ ›
- bu - - - - to, sub tri - bu - - to,
(36)
b
# ∑ Ó ˙ ˙ ˙™ œ ˙ ˙ ˙ w Ó ˙ ˙ ˙ w™ ˙
sub tri - bu - - to, sub tri - bu - to, sub
(35) (37) b b (39) (40)
# ˙ b˙ ˙™ œ ˙ œ œ w ˙ ˙ ˙ ˙ ˙ ˙ ˙™ œ ˙™ œ ˙
˙
sub tri - bu - - - - - - to, sub tri - bu - - to, sub
˙ (38)
? w ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ b˙
Ó ˙
- - - - to, sub tri - bu - to, sub tri - bu - to, sub tri - bu -

?
¢ ˙ ˙ ˙™ œ ˙ ˙ w ∑ Ó ˙ ˙ ˙ w w Ó ˙
sub tri - bu - - to, sub tri - bu - to, sub

66
° U (44)
& w w w w › › ›
sub tri - - - bu - to. Beth. .
(47)
(43) U
# œ œ ˙ œ œ
˙ ˙ ˙ bw ˙ ˙ w Ú Ó ˙™ bœ ˙
tri - bu - - - - - to. Beth,
(41 ,21 ) (1 8) (45)
U
# œ œ b˙ ˙ ˙ ˙ ˙™ œ ˙ ˙ #œ œ w Ó ˙ ™ bœ ˙ ˙ ˙ w
tri - bu - - - - - - to. Beth,
? ˙™ œ ˙ ˙ ˙ ˙ ˙ ˙
U
› Ú Ó ˙™ œ ˙
- - - to, sub tri - bu - to. Beth,
(42) (46)
? ˙ ˙
U
› Ó ˙™ œ ˙ b˙ ˙ w
¢ b˙ ˙ b˙ ˙ w
tri - bu - to, sub tri - bu - - to. Beth,

71
° U
& › › › › ›
(48)
˙™ œbœ œ œ bw U
# ˙ ˙ w Ó ˙™ bœ ˙ w ˙ b›
beth.
U
# Ó ˙™ bœ ˙ ˙ ˙™ bœ œ œ ˙ ˙™ œ ˙ b˙ ˙ w ›
beth, beth.
? b˙ ˙ w Ó ˙™ œ ˙ bw ˙ ˙ œ œb ˙ w
U
›
beth.
(49) (50) U
? Ó ˙ ˙ w
¢ ˙™ œ ˙ b˙ ˙ ˙ b˙ bw w b›
beth.
6

76
° (51 ,52) bw ˙ Ú
& w w ˙ ˙ ˙ ˙ ˙ b˙ w
˙
Plo - rans plo - ra - - - - - - vit,

# ∑ bw bw ™ ˙ bw ™ ˙ ˙ b˙ ˙ b˙ ˙ ˙ bw
Plo - rans plo - ra - - - - vit in no - cte,
w™ bw ™ (53)
# ∑ w ˙ b˙ w ˙ b˙ œ œ bœ œ w
Plo - rans plo - ra - - - - vit in no - cte,

w™ ˙™
b b
? ∑ w ˙ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙
b
w
Plo - rans plo - ra - - - - vit in no - cte,
(54)
? bw ™ bw ™
¢ ∑ bw ˙ ˙ w b˙ ˙ w bw
Plo - rans plo - ra - - - - vit in no - cte,

81
°
& w w ˙ ˙ bw w w ˙ b˙ ˙ œ œ ›
plo - rans plo - ra - - vit in no - cte,

# ∑ bw bw ™ ˙ b› b˙ ˙ w ›
plo - rans plo - ra - - vit in no - cte,
w w™ ˙ b› b˙ ˙ ˙ ˙ nw b˙ ˙
# ∑
plo - rans plo - ra - - vit in no - cte, et la -
? ∑ w w™ ˙ › ˙ ˙ w w ˙ ˙
plo - rans plo - ra - - vit in no - cte, et la -
?
¢ ∑ bw bw ™ ˙ b› b˙ ˙ w ›
plo - rans plo - ra - - vit in no - cte,

86
° (60)
& ˙ ˙™ œ ˙ w ˙ ˙ ˙ ˙ w ˙ w <n> ˙
et la - cri - mæ e - ius in ma - xil - lis e - -
(56)
# b˙ ˙™ œ ˙ œ œ b˙ w ˙ w ˙ b˙ ™ œ w
et la - cri - mæ e - - - ius in ma - xil - lis e -
œ bœ ˙ w b˙ bw ˙ b˙ ™ œ w w ˙™
(60)
bœ
#
cri - mæ e - ius in ma - xil - lis e - - -

? œ œ w b˙ œ œ w ˙ œ œ bœ ™
(57) b (59)
˙™
œ ˙ œ w œ
cri - mæ e - ius in ma - xil - lis e -
(55) (50)
? b˙ ˙™ œ ˙ b˙ ™ œ w
¢ ˙ ˙ ˙ ˙ bw w
et la - cri - mæ e - ius in ma - xil - lis e - - -
 7

90
° Ó ∑
& w ˙ ˙ ˙ ˙ ˙ ˙ ˙ w w
ius: non est qui con - so - le - tur e - am,
(61 )
# w Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Ó ˙
˙ ˙ ˙
ius: non est qui con - so - le - tur e - am, qui
˙™
# (62)
# w Ó ˙ b˙ ˙ ˙ œ ˙ œ ˙ <n> œ b œ ˙ ˙
˙ ˙
ius: non est qui con - so - le - tur e - - am, qui
? › Ú Ú Ó ˙ ˙ ˙
ius: non est qui
? Ú Ú Ó ˙ ˙ ˙
¢ ›
ius: non est qui

94
°
& Ú Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
w ˙ ˙ ˙ ˙
non est qui con - so - le - tur e - am, qui con - so - le - tur
(64) (65)
˙ ˙ ˙ ˙ ˙ ˙ <n> ˙
# ˙ ˙ ˙ ˙ w ˙
#w ˙ ˙ bw
con - so - le - tur e - am, non est qui con - so - le - tur, qui con - so - le -
(63) ˙
#
˙ œ œ ˙ ˙ ˙# ˙ ˙ ˙ ˙ b˙ ˙ ˙ œ œ ˙ Ú
˙
con - so - le - tur e - - am, non est qui con - so - le - tur, e - am
˙ b˙ w w ˙ ˙ ˙ ˙
? ˙ ˙ Ú Ó ˙ ˙ ˙
con - so - le - tur e - am, non est qui con - so - le - tur
? w Ú Ó ˙
¢ ˙ ˙ ˙ b˙ w ˙ ˙ ˙ ˙ b˙ ˙
con - so - le - tur e - am, non est qui con - so - le - tur

99
° ∑ ∑ Ó
& ˙™ œ w ˙
˙ ˙ ˙ ˙ ˙ ˙ #œ ˙ œ w
e - -
am ex o - mni - bus ca - ris e - ius, ex
#
∑ ∑ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
# ˙ w ˙ w ˙
tur e - - am ex o - mni - bus ca - ris e - ius,
(63)
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
# ∑ Ó w ˙ ˙ w
ex o - mni - bus ca - ris e - - ius, ex o - mni - bus ca - ris,
(67)
? w w Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙™ œ œ œ ˙ ˙ w
e - am ex o - mni - bus ca - ris e - ius, ca - - ris e -
(66)
? w ∑ Ú Ó
¢ w w ˙ ˙ ˙ ˙ ˙ ˙™ œ
e - - am ex o - mni - bus ca - ris e-
8

104
° #
& ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ œ œ w ˙ ›
o - mni - bus ca - ris e - ius, ca - ris e - - - - ius.
(68) (71 )
˙
# ˙ ˙ ˙ ˙ ˙ w ˙ œ œ ˙ Ó
˙ ˙
œ bœ œ œ #w Ó ˙
ca - ris e - - - - ius, ca - ris e - - ius. O -
(69) (70)
# Ó
˙ ˙ ˙ ˙ ˙ ˙™ œ ˙ w ˙ bw w Ó ˙ ˙ ˙
ex o - mni - bus ca - ris e - ius, car - ris e - ius. O - mnes a -

? w ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙
∑ ∑ Ó w Ó
- ius, ex o - mni - bus ca - ris e - - ius. O -
? ˙ ˙ w
¢ œ bœ œ œ
˙ ˙ ˙ ˙ ˙ ˙ b˙ w ›
˙
- - - - ius, ex o - mni - bus ca - ris e - - ius.

109
° ∑ (76)
& Ó ˙ Ó ˙
˙ ˙ ˙ ˙ w #w ˙ ˙ ˙ ˙ w
O - mnes a - mi - ci e - ius, o - mnes a - mi - ci e -
(74) (79)
# ˙ ˙ ˙ b˙ ˙ Ó ˙ b˙ ˙
˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
mnes a - mi - ci e - - ius, o - mnes a - mi - ci e - - ius
(72) (73) (77)
# ˙™ nœ œ œ ˙ ˙ b˙ ˙ ˙ œ œ ˙ ˙ ˙ œ œ ˙™ œ ˙
Ó
˙ ˙ ˙
mi - ci e - ius, a - mi - ci e - - ius spre - ve - runt

? ˙ ˙ ˙ ˙ ˙ (75)
w
(78)
˙ b˙ ˙™ œ w
˙ Ó ˙ ˙ ˙ Ó ˙
mnes a mi - ci, a - mi - ci e - ius, om - nes a - mi - ci e -

? ∑ Ó ˙ ˙ ˙ w Ó ˙ ˙ ˙ w
¢ ˙ ˙ w ˙ ˙
O - mnes a - mi - ci e - ius, o - mnes a - mi - ci e -

114 (80)
° #
∑ Ó
& ˙ ˙ œ œ w w ˙ ˙ ˙ ˙ w ˙
#w ˙
ius spre - ve - runt e - - am, et fa - cti sunt e - -

# Ó ˙ b˙ ˙ ˙ w Ó ˙ ˙ ˙ ˙ b˙ ˙ ˙ w Ó ˙
˙
spre - ve - runt e - am, et fa - cti sunt e - - i et
(81 ) #
# w ˙ ˙ ˙ b˙ œ œ œ œ ˙ ˙ ˙ b˙ ˙ w ˙ ˙ ˙™ bœ ˙
e - am, spre - ve - runt e - am, et fa - cti sunt e - - i i - ni - mi -

? w Ó ˙ ˙ ˙ w w Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
ius spre - ve - runt e - am, et fa - cti sunt e - i i - ni - mi -
? Ó ˙ w ∑ Ú Ó ˙
¢ w ˙ b˙ w ˙ ˙
ius spre - ve - runt e - am, et fa - cti
 9

119
° Ó Ó
(85)
& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙ w w
- i, et fa - cti sunt e - - - i i - ni - mi - - ci.
(82) (83)
# ˙
˙ ˙ b˙ ˙ ˙ ˙™ œœ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ w ˙
˙
fa - cti sunt e - i, e - - - - - i i - ni - mi - - -
(84)
# ˙ ˙ ˙ Ó ˙ ˙ ˙ ˙ œ bœ w ˙ ˙ ˙ w b˙ ™ œ w
- ci, et fa - cti sunt e - i i - ni - mi - - -
(86)
? ˙ Œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ w ˙ w ˙™ œ
ci, et fa - cti sunt e - i i - ni - mi - ci, i - ni - mi - - - -

? Ó ∑ Ó ˙
¢ ˙ b˙ ˙ ˙ ˙ ˙ b˙ ˙ w ˙ bw w
sunt e- i, et fa - cti sunt e - i i - ni - mi - -

124
°
& w Ó ˙ ˙ ˙ w Ó ˙ ˙ ˙ w Ó ˙ ˙ ˙ ˙
˙
Ie - ru - sa - lem, Ie - ru - sa - lem, con - ver - te - re ad

# › Ó ˙ ˙ ˙ w Ó ˙ ˙ ˙ w Ó ˙ ˙ ˙
- ci. Ie - ru - sa - lem, Ie - ru - sa - lem, con - ver - te -
(87)
Ó ˙ ˙ ˙ w Ó ˙ ˙ ˙ #w Ó ˙ ˙ ˙
# ›
- ci. Ie - ru - sa - lem, Ie - ru - sa - lem, con - ver - te -

? › Ó ˙ ˙ ˙ w Ó ˙ ˙ ˙ w Ó ˙ ˙ ˙
- ci. Ie - ru - sa - lem, Ie - ru - sa - lem, con - ver - te -

? Ó Ó ˙ ˙ ˙ Ó ˙ ˙ ˙
¢ › ˙ ˙ ˙ w w
- ci. Ie - ru - sa - lem, Ie - ru - sa - lem, con - ver - te -

129
°
& b˙ ˙ ˙ ˙ ˙ w ˙ w Ó ˙ ˙ ˙ w Ó ˙ ˙ ˙
Do - mi - num De - um tu - um, Ie - ru - sa - lem, Ie - ru - sa -

# ˙ ˙ b˙ ˙ ˙ ˙ ˙ › Ó Ó
˙ ˙ ˙ ˙ w ˙
re ad Do - mi - num De - um tu - um, Ie - ru - sa - lem, Ie -

˙ ˙ ˙™ œ ˙ ˙ ˙ ˙ #› Ó ˙ ˙ ˙ Ó ˙
# #w
re ad Do - mi - num De - um tu - um, Ie - ru - sa - lem, Ie -

? ˙ ˙ ˙ ˙ ˙ ˙ ˙ ›
˙ Ó ˙ ˙ ˙ w Ó ˙
re ad Do - mi - num De - um tu - um, Ie - ru - sa - lem, Ie -

? ˙ ˙ ˙ ˙ ˙ Ó Ó
¢ ˙ ˙ ˙ › ˙ ˙ ˙ w ˙
re ad Do - mi - num De - um tu - um, Ie - ru - sa - lem, Ie -
10

134
°
& w Ó
˙ ˙ ˙ ˙ ˙™ œ ˙ ˙ œ œ w™ w
Ó
˙
˙
lem, con - ver - te - re ad Do - mi num De - um tu - - um, con -

# ˙ ˙ w Ó ˙ ˙™ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ›
˙
ru - sa - lem, con - ver - te - re ad Do - mi - num De - um tu - um,

# ˙ ˙ #w Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ›
ru - sa - lem, con - ver - te - re ad Do - mi - num De - um tu - um,

? ˙ ˙ w Ó ˙ ˙™ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ #›
ru - sa - lem, con - ver - te - re ad Do - mi - num De - um tu - um,
(22)
?
¢ ˙ ˙ Ó ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙ ˙ ˙
›
w ˙
ru - sa - lem, con - ver - te - re ad Do - mi - num De - um tu - um,

139
° (1 6)
˙ ì ˙ #˙
U
& ˙ ˙ ˙ ˙™ œ ˙ ˙ ˙ ˙ w ˙ w ›
˙ Do - mi - num De um tu um.
ver - te - re ad - - - - - - -
(88) U
˙ ˙ ˙ ˙ ì ›
# Ó ˙ ˙ ˙ ˙ ˙ ˙™ œ ˙ w ˙
con - ver - te - re ad Do - mi - num De - um tu - - um.
(89) U
# Ó ˙ ˙ ˙ ˙ ˙ ˙™ œ ˙ w ˙ œ œ œ œ ›
con - ver - te - re ad Do - mi - num De - um tu - um.
(88)
U
? Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙ › ì ›
con - ver - te - re ad Do - mi - num De - um tu - - um.
(22,90) U
? Ó
˙™ w™ ì
¢ ˙ ˙ ˙ ˙ ˙ œ ˙ w ˙ ˙ ›
con - ver - te - re ad Do - mi - num De - um tu - - um.
 11
II
Lamentations 1 :3-5

F : C3 clef;
mensuration in F
F only.
° b ·· ° bC Ú Ú Ú
Alto ¡ b C ······ ···· ··· w h h &
De lamen-
Mensuration in C
C and F
F only.

Tenor I
¡ b C ····· ··· w H # H
·· #bC Ú Ú Ú
De lamen-

Mensuration in C
C and F
F only.

¡ b C w hH H H w h ˙ w ˙ ˙ ˙
Tenor II #bC w ˙ ˙ ˙ ˙
De lamentatione De la - men - ta - ti - o - ne Je - re - mi -
A: c

Baritone ? bb C ···· w h h H H ?bC Ú Ú ∑ w

De lamentati- De
Mensuration in B and
B and I only.
only.
Additional Eb sig. in
Additional E sig. in C. .
? b C ····· ·· ? C Ú Ú Ú
Bass
¢ w hhh h ¢ b
De lamentati-

4
°
&b Ú Ú Ú Ú Ú

#b Ú Ú Ú Ú ∑ w
De
(1 )
˙™
#
#b
˙ œ ˙ ˙ ˙ w ˙ ˙ ˙ <n> ˙ w w ˙ ˙ ˙
˙
- æ pro - phe - tæ, pro - phe - - - - - tae, Je -

w # (2)
? ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ œ œ w ˙ ˙ ˙ w
b
la - men - ta - ti - o - ne Je - re - mi - ae pro - phe - - - tæ,
(3)
?
¢ b Ú Ú w ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙
De la - men - ta - ti - o - ne Je - re - mi -
12
9
° b Ú Ú ˙
& w ˙ ˙ ˙ ˙ w ˙ ˙ ˙
De la - men - ta - ti - o - ne Je - re - mi -
(4) #
˙ ˙ w ˙ ˙ w ˙ œ œ w ˙ w w
# b ˙ n˙ ˙
la - men - ta - ti - o - ne Je - re - mi - æ pro - phe - tæ, Je -

#b ˙ ˙ w ˙ w ˙ w w Ú ∑ w
- re - mi - æ pro - phe - tae, de
w (5)
˙™ ˙™
?b ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ w ˙ ˙ ˙ œ ˙
Je - re - mi - æ pro - phe - - - - - tæ, Je - re - mi - ae pro -
# (6)
? ˙ ˙™ œ ˙ ˙ w w ˙™
¢ b ˙ ˙ ˙ w w œ w
- æ pro - phe - tæ, pro - phe - - - - - - tæ,

14
° b ˙ # (7) (8) (1 0)
& ˙™ œ ˙ ˙ ˙ ˙™ œ œ œœw ˙ w w ›
- æ pro - phe - tæ, pro - phe - - - - - - tæ,
(9)
#b ˙
˙
w ˙ ˙ w ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙™ œ ˙
- re - mi - ae pro - phe - - - - - - tæ, pro - phe -
# (1 1 )
˙ w ˙ ˙ w ˙ œ œ w ˙ w ˙
#b ˙ ˙ ˙ ˙ ˙
la - men - ta - ti - o - ne Je - re - mi - æ pro - phe - tæ, pro - phe -

?b ˙
b
˙ w ˙ ˙ ˙ w ˙ ˙ ˙
w ∑ w ˙ ˙
- phe - tæ, de la - men - ta - ti - o - ne Je - re - mi -

? Ú Ú Ú Ú ∑
¢ b w
De

19
° b Ú Ú
& ˙ w ˙ ˙ ˙
w ˙ n˙ ˙ ˙
De la - men - ta - ti - o - ne Je - re - mi -

#b œ œ œ œ ˙ ˙ ˙ Ú Ú ∑
˙ w w
- - - - tæ, De
(1 2)
˙ ˙
#b w w ˙ ˙ ˙ w ˙ w w ˙ ˙ ˙ ˙
- - - - - - tæ, Je - re - mi - æ pro - phe -

˙™ ˙™
(1 3) #
? ˙ œ ˙ ˙ ˙ ˙ <n> ˙ w ˙ ˙ œ ˙ ˙ ˙ ˙ w
b
- æ pro - phe - - - tæ, Je - re - mi - - æ pro - phe -
(3) #
? w ˙ ˙ w ˙ œ œ w w ˙
¢ b ˙ ˙ ˙ ˙ ˙ ˙ ˙
la - me - ta - ti - o - ne Je - re - mi - æ pro - phe - tæ, pro - phe -
 13
24
° b # U
bb
& ˙ ˙™ œ ˙ ˙ ˙ w w w w™ ˙ #›
- æ pro - phe - - tæ, pro - phe - - tæ.
(1 9) U
#b ˙ ˙ ˙ ˙ w ˙ ˙ w ˙ ˙ ˙ w › bb
˙
la - men - ta - ti - o - ne Je - re - mi - æ pro - phe - tæ.
(1 4) (1 7) # U
#b œ œ ˙ ∑ Ó ˙
˙ ˙ œ œ w ˙ ˙ ˙ w › bb
- tæ, Je - re - mi - æ pro - phe - - tæ.
(1 6) U
?b w w w Ó ˙ ˙™ œ ˙ ˙ › › bb
- - - tæ, pro - phe - - - - - tæ.
(1 5) (1 8) U
˙™
?
¢ b ˙ ˙ w w œ w
˙ ˙
›
› bb
- - - - - - - - tæ, pro - phe - - tæ.

29
° bb (21 )
Ú Ú
& › ˙™ œ ˙ ˙ ˙ œ œ ˙™ œ
Ghi - - mel, Ghi - mel,
(20) (22)
b ˙ ˙
#b › ˙™ œ ˙ ˙ ˙ œ œ ˙™ œ œ œ w œ œ ˙ ˙
Ghi - mel, Ghi - mel Ghi - mel

#b
b Ú Ú Ú Ú Ú

(23)
? bb Ú Ú Ú Ú ›
Ghi - -

? b Ú Ú Ú Ú Ú
¢ b

34
° bb ˙ ˙
(25) (27)
∑
& œ œ w œ œ ˙
˙ w ˙ ˙ ˙ œ œ w w
Ghi - mel,
(26)
b w ˙
#b ˙ w w w ˙ ˙ w™ œ œ ˙ ˙ ˙ ˙
Ghi - - - - - - - mel,
(24)
#b
b Ú ›
˙™ œ ˙ ˙ ˙ œ œ ˙™ œ œ œ w ˙
Ghi - - mel, Ghi - mel, Ghi -
(28)
? bb ˙ ™ œ ˙ ˙ ˙ œ œ ˙ ˙ w w ˙ ˙ w ˙
˙ ˙ Ó
mel, Ghi - mel, Ghi - - -
(29)
? b
¢ b Ú Ú Ú › ˙™ œ ˙ ˙
Ghi - - mel, Ghi -
14
39
° bb Ó ˙ ˙
U¶
& w w ˙ ˙ œ œ ˙ ˙ ˙ œ œ ›¶
Ghi - - mel, Ghi - - - - - mel.
(30) (32) U
b
#b Ó
w ˙ ˙ w ˙ œ œ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ì ˙ n œ œ ›¶¶
Ghi - - mel, Ghi - mel, Ghi - - - - mel.

b ˙ œ œ ˙ w™ ˙™
U
#b ˙ ˙ ˙ ˙ œ ›
- - - mel, Ghi - - - mel.
˙ ˙ U
? bb ˙ ˙
w ˙ w ˙ ˙ ˙ w™ œ œ ì ›¶¶
- - - - mel, Ghi - - - - - - mel.
(31 ) U
? b
¢ b ˙ œ œ ˙™ œ œ œ w
˙ ˙ œ œ ˙
˙ w™ œ œ ì ›¶¶
- mel, Ghi - - - - - - mel.

43
° bb ∑
& w w™ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ w w
Mi - gra - vit Ju - da pro - pter af - fli - cti - o - nem

b w ˙ ˙ ˙ w ˙ œ œ ˙ ˙ ˙ ˙™ œœ˙
#b ∑ w ˙
Mi - gra - vit Ju - da pro - pter af - fli - cti - o - nem ac

b œ œ ˙ ˙ w
#b w w ˙ ˙ w ˙ w ˙ ˙ w
Mi - gra - vit Ju - da pro - pter af - fli - cti - o - nem

? bb Ú Ú Ú Ú w w
Mi - gra -

? b
¢ b Ú Ú Ú Ú Ú

48
° bb Ó (33)
& w ˙ ˙ ˙™ œ ˙ ˙ œ œ ˙™ œ w
Ó
˙ ˙ ˙ ˙ ˙
ac mul - ti - tu - di - nem ser - vi - tu - tis, ac mul - ti - tu -
b
#b ˙ ˙ ˙ ˙ ˙ w™ ˙ ˙ ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ ˙ ˙
mul - ti - tu - di - nem ser - - vi - tu - - tis, ac mul - ti - tu - di -

b
#b ∑ w ˙™ œ ˙ ˙ ˙ ˙™ œ ˙ ˙ ˙™ œ w Ó
˙ ˙
ac mul - ti - tu - di - nem ser - vi - tu - - - tis, ser -

? bb ˙ ˙ w ˙ ˙™ œ ˙ ˙ ˙ w w Ó ˙ w ˙ ˙
vit Ju - da pro - pter af - fli - cti - o - nem ac mul - ti - tu -

? b
¢ b Ú Ú ∑ w w™ ˙ w ˙ ˙
Mi - gra - vit Ju - da pro -
 15
53
° bb
& œ œ
˙ ˙ ˙ ˙ ˙ w
Ó
w ˙ ˙ ˙ ˙™ œ ˙ œ œ w
- di - nem ser - vi - tu - tis, ac mul - ti - tu - di - nem ser - vi - tu -

b
#b w Ó ˙ ˙ ˙ œ œ ˙ œ œ ˙ ˙ ˙™ Ú
˙ œ w
nem ser - vi - tu - - - - - tis:

˙™
(34) (34)
#b
b
w ˙ ˙™ Ó ˙ ˙ ˙ œ ˙ ˙™ œ œ œ
œ œ ˙ ˙ œ ˙ ˙
- vi - tu - - - - - tis, ac mul - ti - tu - di - nem ser - vi - tu -

? bb œ œ ˙ ˙ w ˙ w ˙ ˙ ˙ ˙™ œ ˙ ˙ w
˙ w
- di - nem ser - vi - tu - tis, ac mul - ti - tu - di - nem ser - vi - tu -

? b
¢ b œ œ ˙ ˙ ˙ w w
Ó
˙ w ˙™ œ ˙ ˙ ˙ ˙ w
- pter af - fli - cti - o - nem ac mul - ti - tu - di - nem ser - vi - tu -

58
° b b (35)
& #w Ó n˙ ˙ ˙ ˙ ˙ ˙ w ˙ › Ú
tis: ha - bi - ta - vit in - ter gen - tes,

b ˙
#b ∑ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ w w Ó ˙ ˙ ˙ ˙
ha - bi - ta - vit in - ter gen - tes, in - ter gen -

œ nœ ˙ ™
(36)
b ™ œ ˙
#b ˙ œ ˙ ˙ Ó w ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ n˙
- - tis: ha - bi - ta - vit in - ter gen - - tes, in - ter gen -

? bb w ˙ ˙ ˙™ œ ˙ ˙ Ú Ó w ˙ ˙ ˙ ˙ ˙
tis, ser - vi - tu - tis: ha - bi - ta - vit in - ter

? b
¢ b › › Ú Ó w ˙ ˙™ œ ˙ ˙
tis: ha - bi - ta - vit

63
° bb ∑ Ó ∑ ∑ Ó
& ˙ ˙ ˙ ˙ ˙ ˙ w ˙ w ˙
ha - bi - ta - vit in - ter gen - tes, nec
(38)
b
#b w Ó ˙ ˙ ˙ ˙™ œ ˙ ˙ w w Ó ˙ ˙ ˙ ˙ ˙
tes, ha - bi - ta - vit in - ter gen - tes, nec in - ve - nit re -
(37)
b w ˙ ˙ ˙ ˙ œ ˙
# b ˙™ nœ w Ó w ˙ œœ w ˙ ˙
- tes, ha - bi - ta - vit in - ter gen - - - -
(39)
? bb œ œ ˙ w w
∑ Ó ˙ w ˙ ˙ w w ∑
gen - tes, in - ter gen - - tes,
˙ ˙ ˙
? b
¢ b ˙ ˙ w w w Ú Ó ˙ ˙ ˙ ˙
in - ter gen - - tes, nec in - ve - - nit re - qui -
16
68
° bb w Ó
& ˙ ˙ ˙ ˙ w w ˙ ˙ w ˙ ˙ ˙ w
in - ve - nit re - qui - em, nec in - ve - nit re - qui -

b (40) ˙™ œ ˙™ ˙ ˙™ œ ˙™
(41 )
#b ˙ ˙ œ w ∑ Ó ˙ ˙ œ ˙™ œ
- - - - qui - em, nec in - ve - nit re - qui -

b w ˙ ˙
#b w ∑ Ó ˙ ˙ ˙ œ œ œ œ w ∑ Ó
˙
- tes, nec in - ve - nit re - qui - em, nec

? bb ∑ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙
Ó ˙ Ó ˙
nec in - ve - nit re - qui - em, nec in - ve - nit re -

? b w w Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ Ó ˙
¢ b w w ˙ ˙
- em, nec in - ve - nit re - qui - em, nec in - ve -

73
° bb
& ∑ Ó ˙ ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙ ˙ ˙
w
em, nec in - ve - nit re - qui - em, nec in - ve -
(43)
b
#b œ œ ˙ Ó ˙ ˙ ˙™ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙™ œ
- em, nec in - ve - - - nit, nec in - ve - nit re - qui -
(42)
b
#b ˙ ˙ ˙ ˙ Ó ˙ ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙ ˙ ˙
in - ve - nit, nec in - ve - nit re - qui - em, nec in - ve -

? bb ˙ ˙ ˙ ˙ ˙ ˙ w › ∑ w
- qui - - - - em, re -

? b ˙ ˙ Ó
¢ b ˙ ˙ w w ˙ ˙ ˙ ˙ ˙ w
- nit re - qui - - em, nec in - ve - nit re -

77
° bb ˙ (44) U
ì # ›¶¶ ∑ Ó
(46)
∑ Ó
& ˙ ˙ ˙ ˙ w w ˙
- nit re - qui - em. Da - - leth, Da -
U (47)
b ˙ › ˙ w w ˙
#b ˙ ¶¶ ∑ Ó ˙ ˙ Ó
- - em. Da - - leth, Da -
U (45)
b œ œ ˙ ì ›¶¶ ˙™
#b ˙ ˙ w <n> ˙ ˙ w ˙
˙ w œ
- nit re - qui - em. Da - - - - leth, Da - - -
U
? bb w w ì › Ú ∑ Ó ˙ w w
¶¶
- qui - em. Da - - leth,
# U (46)
? b ì ›¶ Ú ∑ Ó ˙ w
¢ b ˙ ˙ w ¶ ˙ ˙
- qui - - em. Da - - leth,
 17
81
° bb ∑ Ó
(48)
˙
# U
¶
& w w ˙ ˙ w ˙ w ˙ ›¶
- leth, Da - - - - - - leth.
(4)
b w w ˙ w w ˙™ U
œ n›
#b ˙ ˙ Ó ˙ ˙ ¶¶
- leth, Da - - leth, Da - leth.
(49)
U
b
#b w ˙ œ œ ˙™ œœ˙ w ˙ Ó ˙™ œ ›¶¶
˙ ˙ ˙
- - - - - leth, Da - - leth, Da - leth.
w ˙ w U
? bb ∑ Ó ˙ w ∑ Ó ˙ ˙ ›
¶¶
Da - - leth, Da - - - leth.

? b U
¢ b ∑
Ó ˙ ˙ w ∑ Ó ˙ ˙ w ¶
˙ ˙ ›¶
Da - - leth, Da - - - leth.

86
° bb ∑ (50) (51 )
& Ó w #˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
w w w ˙ ˙ ˙ ˙
O - mnes per - se - cu - to - res e - ius ap - pre - hen - de - runt e -

b
# b b› w Ó ˙ w™ ˙ ˙ ˙ w w Ó ˙ ˙ ˙ ˙ ˙
O - mnes per - se - cu - to - res e - ius ap - pre - hen - de - runt

#b
b Ú Ú Ú Ú Ú Ú

? bb Ú Ú Ú Ú Ú Ú

? b
¢ b Ú Ú Ú Ú Ú Ú

92
° bb ˙ ˙™ ˙
#
& ˙ œ ˙ ˙ ˙ ˙ w ˙ w w w w
- am i - nter an - gu - sti - - as, O - - mnes
b ˙ ˙ ˙
#b w w Ó ˙ ˙ w › ›
e - am in - ter an - gu - sti - - as, O - -

#b
b Ú Ú Ú ∑ w w w
O - - mnes

? bb Ú Ú Ú Ú ›
O - -

? b
¢ b Ú Ú Ú Ú ›
O - -
18
97
° bb Ó Ó
& ˙ w ˙ ˙ ˙ ˙ w™ ˙ w ˙ ˙ ˙ œ œ œ œ
per - se - cu - to - res e - - - ius ap - pre - hen - de - runt
(53)
b
#b w Ó ˙ w ˙ ˙ œ œ œ œ w ˙ ˙™ œ ˙
w ˙ ˙
mnes per - se - cu - to - res e - ius ap - pre - hen - de - runt
(52)
b
#b Ó ˙ w ˙ ˙ ˙ ˙ ˙ ˙ w ˙™ œœ˙ ˙ ˙ ˙ ˙ ˙
per - se - cu - to - res e - - - ius ap - pre - hen - de - runt
# ˙ ˙ ˙ ˙
w™
? bb w ˙ w ˙ ˙ ˙ ˙ ˙
Ó ˙ ˙
mnes per - se - cu - to - res e - ius ap - pre - hen - de - runt e -

w™
? b Ó Ó ˙ ˙ ˙ ˙ ˙
¢ b w ˙ ˙ ˙ ˙ w w
mnes per - se - cu - to - res e - ius ap - pre - hen - de - runt

102
° bb Ú Ú Ó ˙
#
Ó
& w ˙ ˙ ˙ ˙ ˙
w
e - am in - ter an - gu - sti - as,

b ˙ ˙ ˙ ˙ ˙
#b ˙ ˙ ˙™ œ w ∑ ∑ Ó ˙ w Ó
e - - am in - ter an - gu - sti - as, i -
(55,56) (58)
#b
b w ˙ ˙ œ œ ˙ ˙
˙ ˙ ˙ w ˙™ œ ˙
˙ Ó ˙ ˙
˙
e - am in - - ter an - gu - sti - - - - as, in - ter an -
˙™ (54)
˙ <n> ˙
#
? bb ˙ ˙ œ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ w ∑
- am in - ter an - gu - sti - as, an - gu - sti - as,
(57)
? b Ó ˙ ˙ ˙ ∑ Ó ˙ ˙ ˙
¢ b w w ˙ ˙ w w
e - am in - ter an - gu - sti - as, in - ter an -

107
° bb Ó ˙ Ú
& ˙ ˙ ˙ nœ œ w › ›
in - ter an - gu - sti - - as.
#
#b
b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ∑ Ú Ú
nter an - gu - sti - as, an - gu - sti - as.

b
#b œ œ œ œ ˙ ˙ ˙ ˙™ œ n˙ ˙ ™ nœ œ œ ˙ Ó w ˙ ˙ ˙ w
gu - sti - as, an - gu - sti - - - as. Lu - gent e - o quod

? bb Ó w ˙ n˙ ˙ w ˙ ˙ ˙ w ˙ ˙
˙ ˙ Ó ˙ n˙
in - ter an - gu - sti - as. Lu - gent e - o quod non sunt

? b w w Ó ˙ ˙ ˙ w ˙
¢ b ˙ ˙ ˙ ˙ w ˙ ˙ ˙
gu - sti - as, an - gu - sti - as. Lu - gent e - o quod non sunt
 19
112
° bb Ú Ú ∑ Ó
& ˙ ˙ ˙ w ˙ ˙ ˙ ˙
Lu - gent e - o quod non sunt

#b
b Ú Ú Ú Ó w ˙ ˙ ˙ ˙ ˙
Lu - gent e - o quod non
#
b ˙™ ˙ ˙ ˙ ˙ › w ˙ ˙
#b ˙ ˙ w ˙ ˙ œ
non sunt qui ve - ni - ant ad so - lem - ni - ta - - tem, ad so -

? bb ˙ ˙ n˙ ˙ ˙ w n˙ n˙ ˙ w ˙ w ˙ ˙ ˙ ˙ ˙
qui ve - ni - ant ad so - lem - ni - ta - tem, lu - gent e - o quod non

? b Ú
¢ b ˙ ˙ ˙ ˙ w ˙ ˙ ˙ w ›
˙
qui ve - ni - ant ad so - lem - ni - ta - tem,

117
° bb (62) (64) #

& ˙ ˙ ˙ ˙
˙
w ˙ n˙ ˙ w ˙ w n˙ ˙ ˙™ œ ˙
qui ve - ni - ant ad so - lem - ni - ta - tem, ad so - lem - ni - ta -

˙™ ˙™ (61 )
˙ <n> ˙
#
b nœ ˙
#b ˙ ˙ œ ˙ ˙ w ˙ w œ œ ˙ ˙™ œ
sunt qui ve - ni - ant ad so - lem - ni - ta - - - - -
(65)
b ™ (59) (60)
#b ˙ œ ˙ ˙ ˙ ˙ w Ó ˙ ˙ ˙ w ∑ ∑ Ó ˙
lem - ni - ta - - - - - tem, so -
˙™ œ ˙ (63)
˙™
? bb w œ œ ˙ w nœ ˙ ˙ ˙
Ó ˙ ˙ ˙ nw
sunt qui ve - ni - ant ad so - le - mni - ta - tem, ad so - le - mni - ta -

? b
¢ b Ú Ú Ú Ó w ˙ ˙ ˙ w
ad so - le - mni - ta -

(so - lem - ni - ta - tem) (67)

122
° b § #
&b › ˙™ œ œ œ ˙ Ó w ˙ ˙ ˙™ œ ˙ ›
tem, ad so - lem - ni - ta - tem.
# (66)
b w ˙ ˙ œ œ ˙
#b ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ w w Ó ˙
tem, ad so - lem - ni - ta - - - - - - - tem. O -

˙™
(36) (69)
b
# b œ œ œ nœ ˙ ™ w ˙ ˙ œ œ œ œ ˙ œ œ ˙ œ ˙™ œ œ œ ˙
œ œ œ
- lem - ni - ta - - - - tem, so - lem - ni - ta - - - tem.

? b ˙ w ˙ ˙ ˙™ œ ˙ #
w Ó ˙ ˙ ˙ ˙™ (68)
œ w Ó ˙
b
tem, ad so - le - mni - ta - tem, so - le - mni - ta - tem. O -

? b w ˙ ˙
¢ b › › Ó ˙ w ›
tem, ad so - le - mni - ta - tem.
20
127
° bb ∑ Ó <n> ˙ ∑ Ó
& ˙ ˙ ˙ ˙ w ˙ ˙ w w ˙
O - mnes por - tæ e - ius de - stru - ctæ, sa -
(73)
b <b> ˙
§
#b ˙ ˙ ˙ ˙ ˙ ˙ w ˙ w ˙ ˙ w ˙ ˙ w
- mnes por - tæ e - - ius de - stru - - - ctæ, sa - cer -
(70) (36)
b w ˙ ˙ w ˙ ˙ w ˙ ˙ ˙ ˙ ˙ n˙ w
#b Ó ˙
O - mnes por - tæ e - ius de - stru - ctæ, sa - cer - do - tes e -
(71 ,72)
? bb ˙ ˙ ˙ ˙ w
˙
˙ œ nœ œ œ ˙ ˙ ˙ n˙ w ˙ ˙ ˙™ nœ
- mnes por - tæ e - ius de - - stru - - - ctæ, sa - cer - do

? b
¢ b Ú Ó w ˙ ˙ ˙
w w w w w
O - mnes por - tæ e - ius de - stru - ctæ,

132
° bb ∑ Ó
& ˙ ˙ ˙ w ˙ ˙ w w ˙ œ œ ˙ ˙ ˙
˙
- cer - do - tes e - ius ge - men - tes, vir - gi - nes e - ius
(74)
b
#b œ œ ˙ ˙™ œ ˙ w ˙ Ó ˙ ˙ ˙ ˙ n˙ w ˙™ œ ˙ ˙
do - tes e - ius ge - men - - tes, vir - gi - nes e -
(36) (76)
b
#b ˙
˙ œ œ œ œ w ˙™
Ó ˙ œ œ n˙ w w
œ ˙ ˙ ˙™ œ
ius ge - men - tes, vir - gi - nes e - ius squa - li - - -

˙ ™ <b> œ ˙
˙™ w w (75) § ˙
? bb ˙ œ ˙ ˙ ˙ ˙ œ œ n˙ ˙ ˙
˙
- tes e - - - ius ge - men - - - tes, vir - gi - nes e - ius

? b w ˙ ˙ w w w w ˙
¢ b Ó ˙ w ∑ Ó
sa - cer - do - tes e - ius ge - men - tes, vir -

137
° bb §
& ˙ n˙ w Ó ˙ ˙ ˙ ˙ ˙ w w Ó ˙ ˙ ˙ ˙™ œ
squa - li - dæ, et i - psa op - pres - sa a - ma - ri - tu - di -
(78)
˙™
§
b ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙
#b ˙ ˙ œ ˙ w Ó ˙
- ius squa - li - dæ, et i - psa op - pres - sa a - ma - ri - tu - di -
(77)
˙™
§ ˙ ˙
b ˙ ˙ ˙ ˙ ˙
#b œ œ ˙ Ó w ˙ ˙ ˙ Ó œ ˙ ˙
- dæ, et i - psa op - pres - sa, op - pres - sa a - ma - ri -
(79)
˙™
(78)
? bb ˙ ˙ ˙ Ó ˙ ˙ œœ ˙ ˙ w Ó ˙ ˙ ˙
˙ w ˙
squa - li - dæ, et i - psa op - pres - sa a - ma - ri -

? b œ œ ˙ ˙ ˙ ˙ n˙ w Ó ˙ ˙ ˙ ˙ n˙ w w Ó ˙
¢ b
- gi - nes e - ius squa - li - dæ, et i - psa op - pres - sa a -
 21
142
° bb (81 ) #

& w Ó ˙ ˙ ˙ w ˙ w ˙ › ∑ Ó
˙
ne, a - ma - ri - tu - - di - - ne, a -
(80) # (4)
b ˙ ˙ ˙ ˙ ˙ w ˙ ˙ œ œ w
#b ˙ w ˙ ˙ Ó n˙ n˙
- - - ne, a - ma - ri - tu - di - ne, a - ma - ri - tu - di -

b ˙ ˙
#b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙
tu - di - ne, a - ma - ra - tu - di - - - ne, a - ma - ri - tu - di - ne, a -

? bb ˙ ˙ w
Ó ˙ ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙ ˙ ˙ ˙™ œ w
tu - di - ne, a - ma - ri - tu - di - ne a - ma - ri - tu - di -

? b b˙ ˙™ œ w Ó ˙ ˙ ˙™ œ Ó
¢ b ˙ ˙ w ˙ ˙ ˙ w
ma - ri - tu - di - ne, a - ma - ri - tu - di - ne, a - ma - ri - tu -

147
° b b (36) ì
U (83)
& n˙ ˙ ˙™ œ ›¶¶ ˙™ œ b˙ ˙ w
˙™ œ ˙ ˙ w
ma - ri - tu - di - ne. Heth, Heth,
(85)
b U Ú
#b › › ›
ne. Heth,
(83)
b
# b ˙ n˙ w ì ˙ ˙
¶
›¶ Ú › ›
ma - ri - tu - - di - ne. Heth,
U (84)
w
? bb › ∑ ˙™ œ ˙ ˙ ˙™ œ ˙ ˙
- ne. Heth, Heth,
(82) U (86)
ì ›¶¶ Ú w
¢ b ˙™ ˙™ ˙™
? b œ ˙ œ ˙ ˙ œ
˙
di - - ne. Heth, Heth,

151
° bb U
Ú
˙™
¶
& ˙™ œ ˙ ˙ œ ˙ ˙ ˙ ˙ ›¶
Heth,
U
# b w™ Ú
b œ œ ˙ ˙ ˙
˙ ›
Heth,

b œ œ n(4)˙ ˙ (4)
˙ ì œ œ nœ œ U Ú
# b ˙™ ˙ ˙ ˙ ˙ ˙ ›¶
œ œ œ ¶
Heth,

? bb w ˙™ œ ˙ ˙ ˙™ œ ˙ ˙ ˙ U
˙ ì ›¶ ˙™ œ ˙ ˙
¶
Heth, Fa - cti sunt ho -
(87)
? b ˙ ˙ ˙™ œ ˙ ˙
U
˙ n ˙ ì ›¶¶ Ú
¢ b ˙ ˙ ˙ ˙
22
155
° bb Ú Ú Ú Ú Ú
&

#b
b Ú Ú Ú Ú Ú

#b
b Ú Ú Ú ∑ ˙™ œ ˙ w ˙
Fa - cti sunt ho - stes

? bb ˙ ˙ w ˙ ˙™ œ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ #
˙ w
- stes e - ius in ca - pi - te, i - ni - mi - ci il - li - us,
(88) (89)
? b
¢ b Ú ˙™ œ ˙ ˙ ˙ ˙ w ˙ ˙™ œ œ œ ˙ ˙ w
Fa - cti sunt ho - stes e - ius in ca - pi - te,

160
° bb ∑ (91 )
& ˙™ œ ˙ w ˙ w ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙
˙
Fa - cti sunt ho - stes e - ius in ca - pi - te, i - ni - mi -

#b
b Ú Ú ∑ ˙™ œ ˙ w ˙ w ˙ ˙
Fa - cti sunt ho - stes e - ius in
(90) (92)
#b
b w ˙ ˙ œ œ œ œ ˙ ˙ w Ó ˙ ˙™ œ ˙ ˙™ œ ˙ ˙
˙
e - ius in ca - pi - te, i - ni - mi - - - ci il -

? bb ˙ ˙ ˙ ˙ w Ó ˙ ˙ ˙ ˙ ˙ œ œ ˙ w w ∑
il - li - us lo - cu - ple - ta - ti sunt,

? b ˙ ˙ Ó ˙ ˙
¢ b w ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙
i - ni - mi - ci il - li - us lo - cu - ple - ta - ti sunt, lo - cu - ple -

165
° bb # § (95)
& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
˙ ˙
- ci il - li - us lo - cu - ple - ta - ti sunt, lo - cu - ple - ta - ti sunt:
(93)
b
#b œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ w Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙
ca - pi - te, i - ni - mi - ci il - li - us lo - cu - ple - ta - ti sunt;
(94) §
b
#b ˙ ˙ w Ó ˙ ˙ ˙ ˙ ˙ w Ú Ó ˙ w
li - us lo - cu - ple - ta - ti sunt; Qui - a

? bb Ú Ú Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
lo - cu - ple - ta - ti sunt, lo - cu - ple - ta -
#
? bb ˙ ˙ w ∑ ∑ Ó w ˙
¢ w ˙ ˙ ˙ ˙ ˙ ˙
ta - ti sunt, lo - cu - ple - ta - ti sunt; Qui - a
 23
17 0
° bb Ó
#
˙
& w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Qui - a Do - mi - nus lo - cu - tus est su - per e -

b
#b Ó w <n> ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙
Qui - a Do - mi - nus lo - cu - tus est su - per e - am

# b ˙™
b œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ œ œ ˙ ˙
Do - mi - nus lo - cu - tus est su - per e - am pro - pter mul - ti -
#
? bb ˙ ˙ w Ó w ˙ ˙ ˙ ˙ ˙
w w
ti sunt; Qui - a Do - mi - nus lo -

? bb ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ w Ó
¢ œ œ ˙ ˙
Do - mi - nus lo - cu - tus est su - per e - am pro - pter mul - ti -

17 4
° bb # #
∑ Ú Ó
& ˙ ˙ ˙ ˙ ˙ ˙ ˙™ œ w w ˙
- am pro - pter mul - ti - tu - di - nem, qui - a
(96)
b w ˙ ˙
#b ˙ ˙ œ œ œ œ ˙ ˙ œ œ ˙ Ó ˙ ˙ ˙ ˙ ˙ ˙ œ œ
pro - pter mu - - ti - tu - di - nem, qui - a Do - mi - nus lo - cu - tus est su -

b ˙ ˙ ˙ ˙ ˙
#b ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ w Ó ˙
tu - di - nem i - ni - qui - ta - tum e - - ius, qui - a Do - mi -
˙ #
? bb ˙ ˙™
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ œ œ ˙ ˙ ˙
˙
cu - tus est su - per e - am pro - pter mul - ti - tu - di -nem i - ni -qui -ta - tum e -
#
? b ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
¢ b ˙ ˙ ˙ ˙ ˙
tu - di - nem i - ni - qui - ta - tum e - ius, qui - a Do - mi - nus lo - cu - tus

17 9
° bb ˙
#
& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙™ œ w
˙
Do - mi - nus lo - cu - tus est su - per e - am pro - pter mul - ti - tu - di - nem
(97)
b
#b ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
- per e - - am pro - pter mul - ti - tu - di - nem i - ni - qui - ta - tum e -
(98) (99)
b w ˙ ˙ ˙ ˙
#b ˙ ˙ ˙
˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙™ œ
nus lo - cu - tus est su - per e - am pro - pter mul - - ti - tu - di -
# ˙ #
? bb ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙
w Ó ˙
ius, qui - a Do - mi - nus lo - cu - tus est su - per e - am pro - pter

? bb ˙ ˙ ˙ ˙ ˙
¢ w Ó œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
est su - per e - am pro - pter mul - ti - tu - di - nem i - ni - qui - ta - tum e -
24
184
° bb Ó (1 00) #
∑ ∑ Ó
& ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ w ˙ w ˙
i - ni - qui - ta - tum e - - - - ius, i -

b ˙
#b ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙ ˙ ˙ w ∑ Ó ˙ ˙ ˙ ˙
ius, i - ni - qui - ta - tum e - - ius, i - ni - qui - ta - tum
# #
b
#b ˙ Ó Ó ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ œ œ w ˙ ˙ ˙ <n> ˙ ˙
nem i - ni - qui - ta - tum e - - - - - - ius, i - ni - qui -

? bb ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ w ˙ ˙ Ó ∑
mul - ti - tu - di - nem i - ni - qui - ta - tum e - - - - ius

? b ∑ Ú Ó ˙ ∑
¢ b w ˙ ˙ ˙ ˙ w w
ius. i - ni - qui - ta - tum e - ius,

189
° bb (1 02) #
& ˙ ˙ œ œ w ˙ w ∑ ∑ Ó ˙ œ œ ˙ w
˙ œ œ
ni - qui - ta - tum e - - - ius; par - vu - li e -
# (1 01 ) (1 03) #
b
#b ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ œ œ w ˙ w Ó ˙ œ œ ˙ w
e - ius, i - ni - qui - ta - tum e - ius; par - vu - li e -

b
# b ˙™ œ ˙ ˙ ˙ ˙ w Ó w nw Ó ˙ œ œ ˙ w
˙
ta - tum e - - ius, e - ius; par - vu - li e -

˙
? bb Ó ˙ ˙ ˙ ˙ œ œ œ œ ˙ w ˙ w Ó ˙ œ œ ˙ ˙™ œ
i - ni - qui - ta - tum e - - - - ius; par - vu - li e -

? b
¢ b Ú Ó ˙ ˙ ˙ ˙ ˙ w w Ó ˙ œ œ ˙
w
i - ni - qui - ta - tum e - ius; par - vu - li e -

194
° b
&b ˙ w ˙ ˙ ˙ w w Ó ˙ ˙ ˙ ˙™ œ ˙ w ˙
ius du - cti sunt ca - pti - vi an - te fa - ci - em tri - bu -

˙™
(4)
b
#b ˙ w n˙ ˙ ˙ œ nw Ó ˙ ˙ ˙ ˙™ œ w™ ˙
ius du - cti sunt ca - pti - vi an - te fa - ci - em tri -
(1 05)
b
#b ˙ w ˙ ˙ ˙™ œ #˙ w Ó ˙ ˙ ˙ <n> ˙ ™ œ w ˙™ œ
ius du - cti sunt ca - pti - vi an - te fa - ci - em tri -
(1 06)
˙™
(1 04)
? bb ˙ w ˙ ˙ ˙ œ w Ó ˙ ˙ ˙ ˙™ œ ˙™ œ œ œ ˙
ius du - cti sunt ca - pti - vi an - te fa - ci - em tri -
(1 07)
? b w Ó
¢ b ˙ w ˙ ˙ ˙ w ˙ ˙ ˙
˙™ œ
˙ w ˙
ius du - cti sunt ca - pti - vi an - te fa - ci - em tri - bu -
 25
199
° bb §
& ˙ ˙ w w ˙ œ œ w
Ó
˙ 26 ˙ ™ œ ˙ ˙ ˙ ˙
˙ ˙ w
lan - - tis, tri - bu - lan - - tis. Je - ru - sa - lem, Je - ru - sa -
(1 08) (1 09)
26 ˙ ™ œ ˙
b w w ˙ ˙
#b ˙ n˙ ˙ b˙ ˙ ˙ œ œ œ œ nw Ó ˙ ˙
bu - lan - tis, tri - bu - lan - - tis. Je - ru - sa - lem, Je - ru - sa -
#
b
#b ˙ 26 ∑ ∑ Ó
œ œ œ œ ˙
w ˙ ˙ ˙ w › ˙
˙
- bu - lan - tis, tri - bu - lan - - - tis. Je -

˙™ œ ˙
#
? bb ˙ ˙ w ˙ w ˙ ˙ ˙ w w Ó ˙ 26 ˙ ˙ ˙
- bu - lan - tis, tri - bu - lan - - tis Je - ru - sa - lem, Je - ru - sa -

? b
¢ b ˙ ˙ w
Ó w ˙ ˙ ˙ w › 26 ∑ ∑ Ó ˙
lan - tis, tri - bu - lan - - tis, Je -
1 07=1 1 0
204
° bb
∑ Ó ∑ Ó
& w ˙ ˙™ œ ˙ ˙ ˙ ˙ w ˙
lem, Je - ru - sa - lem, Je - ru - sa - lem, con -

b (1 1 0) ˙
(1 09)
<b> ˙ ™ œ ˙ ˙
(4)
˙
# b nw ∑ Ó ˙ ˙ nw ∑ Ó
lem, Je - ru - sa - lem, Je - ru - sa - lem, con -

b
# b ˙™ œ ˙ ˙ ˙ w
∑ Ó ˙ ˙™ œ ˙ ˙ ˙ ˙
˙
ru - sa - lem, Je - ru - sa - lem, Je - ru - sa - lem, Je - ru - sa -

? bb ˙ ™ ˙ ˙ ˙™ œ ˙ ˙ ˙ ˙™ ˙
œ ˙ ˙ ˙ œ ˙ w
- - - lem, Je - ru - sa - lem, Je - ru - sa - - - - lem,

? b
¢ b ˙™ œ ˙ ˙ ˙ ˙ w ∑ Ó ˙ ˙™ œ ˙ ˙ ˙ ˙
ru - sa - lem, Je - ru - sa - lem, Je - ru - sa - lem, Je - ru - sa -

207
° bb
& ˙™ œ ˙ ˙ ˙ ˙ w ∑ Ó ˙ ˙™ œ ˙ ˙ ˙ ˙
ver - te - re ad Do - mi - num, con - ver - te - re ad Do - mi -

b ˙™ œ ˙ ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙™ œ ˙
#b Ó ∑ Ó ˙
ver - te - re ad Do - mi - num, con - ver - te - re ad Do -

˙™
(1 1 1 )
b ˙ ˙ œ ˙ ˙ ˙ ˙ ˙ ˙ œ œ
#b ˙ ˙ ˙ œ œ Ó ˙ ˙
lem, con - ver - te - re ad Do - mi - - num, con - ver - te - re ad

? b w ∑ Ó
˙ ˙™ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙
b
con - ver - te - re ad Do - mi - num, con - ver - te - re ad
(1 1 2)
? b
¢ b › Ó ˙ ˙™ œ ˙ ˙ ˙ ˙ › Ó ˙
lem, con - ver - te - re ad Do - mi - num, con -
26
210
° bb (1 1 7)
& ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙ ›
Ó
˙ ˙ ˙ w
num De - um tu - - - um, De - um tu - um,
(1 1 5)
b
#b ˙ ˙ ˙ œ œ w Ó ˙ ˙™ œ œ œ #˙ ˙ ˙ ˙ ˙ ˙ ˙
- mi - num De - um tu - - - um, De - um tu -

b œ ˙™
(1 1 3)
œ ˙™
#b œ œ ˙ ˙ ˙ ˙ ∑ Ó ˙
w ˙ w
Do - mi - - num De - um tu - um, De -
(1 1 4) (1 1 8)
? bb ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙ w Ó ˙ ˙
Do - mi - num De - um tu - - - um, De - um tu - -
(1 1 6)
? b ™ œ ˙ ˙ ˙ ˙ ˙ ˙™
¢ b ˙
˙ œ œ œ ˙ ∑ Ó
w ˙
ver - te - re ad Do - mi - num De - um tu - um, De -

213
° bb 4 ∑ Ó Ó ∑ Ó
& 2 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
ad Do - mi - num De - um tu - um, con -

b4 ˙ ˙
#b 2 œ œ ˙ Ó ˙ ˙ ˙ ˙ ˙ œ œ ˙ Ó ˙ ˙ ˙
- um ad Do - mi - num De - um tu - - um, con -

b4 ˙ ˙™
#b 2 ˙ ˙ ˙ ˙ Ó Ó ˙ ˙ ˙ ˙ œ w
˙
- um tu - um, ad Do - mi - num De - um tu - -
(1 1 8) #
? b b 42 œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ w
- um, ad Do - mi - num De - - um tu - - um,

? b4 ∑ Ó ˙
¢ b 2˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ w
um tu - um ad Do - mi - num De - um tu - -

217
° bb 6
& 2 ˙™ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙ ˙™ œ ˙ ˙
ver - te - re ad Do - mi - num De - um tu - - - - - - -
(1 20) (1 23)
b 6 ˙™ œ w ˙ ˙ œ œ ˙™ œ œ œ ˙ ˙ ˙ ˙ w
#b 2 Ó ˙
ver - te - re ad Do - mi - num De - um tu - - um, de -

˙™
(1 1 9) (1 21 )
b6 œ ˙™ œ ˙
#
#b 2 ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙
um, con - ver - te - re ad Do - mi - - num De - um tu - -

˙ <n> ˙ ™
˙ ˙ (1 1 8)
? b b 26 Ó œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙™ œ ˙
con - ver - te - re ad Do - mi - num De - um tu - - - - -
(1 1 2) (50,1 22)
? b6
¢ b 2› Ó ˙ ˙™ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙™ œ ˙ ˙
-um, con - ver - te - re ad Do - mi - num De - um tu -
 27
220
° bb ì ˙ #œ
§ U
œ ˙™ ¶ 42
&
œ œ œ œ œ
œ ˙ œ ›¶ w ˙ ˙ w ˙ ˙
- - - - - - um. Con - ver - te - re ad Do -
b ™ U
#b w ˙ w ì ›¶¶ 42 ∑ Ó ˙ ˙™ œ ˙ ˙
um tu - um. Con - ve - te - re ad
U (50)
b ì ›¶ 42 ˙ ™ œ œ œ ˙
#b w Ó ˙ w
¶
˙ ˙™ œ œ œ
um, tu - um, Con - ver - te - re ad Do - mi-

? bb ˙ ™ œ ˙ ˙ U
› 42 w ˙ ˙ w ˙ ˙
- - - um. Con - ver - te - re ad Do -
U (69)
? b
˙™ ì ›¶¶ 42
¢ b ˙ œ ˙ w w ˙ ˙ ˙™ œ ˙ ˙
- - - - - um, Con - ver - te - re ad

223
° bb U
& œ œ ˙ ˙ ˙ › › ›
- mi - num De - um tu - - - - - - um.

b
#b ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙™ œ ˙ ì ˙ nœ œ U
›
Do - mi - num De - um tu - - - - - - - - - um.
(1 21 ) U
#b
b
˙ Ó ˙ œ œ ˙
˙ ˙ ˙ ˙ ˙ w ì ›
˙ ˙ ˙ ˙
- num De - - um tu - - - - - - um.
(1 24)
U
? bb œ œ ˙ ˙ ˙
˙
˙
˙ ˙ ˙ w ˙ ˙ w ì ›
˙
- mi - num De - um tu - - - - - - - - um.
(1 25) (1 26) (1 07)
? b œ œ œ ˙ ˙ œ œ ˙ ì U
¢ b ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ ˙ w ›
Do - mi - num De - um tu - - - - - - um.
28
NOTES
I

w ˙ ˙ w™ ˙ ˙™ œ ˙ ˙
(1 ) F: 'tæ' here (2) # ˙ (3) F,I: no # (4) A,F: no #

C: te, in - ci - pit la - men - ta - ti - o Ie -

F: 'phe' at b.8, ext. to '-tæ' at b.1 1 .
˙ œ œ w ˙ ˙ ˙
(5) # ˙ ˙ ˙ w (6) # ˙
C: Ie - re - mi - æ pro - phe - tæ C,F: æ pro - phe -
I: æ pro [ 'phe' uncl.]

? Ó w w ˙ œ œ ˙ w
(7) I: sig. Bb from (8) ˙ ˙ (9) C,F: no # (1 0) C: only one
here to the end. 'Aleph'
F,I?: pro - phe - tæ, pro - phe -

#
(1 1 ) C: om. (1 2) F, I: G#; (1 3) # œ œ w ˙ › w w ˙ bw ˙
2nd 'Aleph' F# in A and I only. ›
A: [ A] - leph, A - leph
F: [ A] - leph, A leph
I: [ A ] - le ph, A - le ph, A - le ph

? w w
w ˙ ˙™ œ œ œ (1 5) C,E: only (1 6) F: lig. (1 7) F: no b (1 8) F: no #
(1 4)
one 'Aleph'
F: a - le ph, a -

(1 9) F: om. 'Aleph' (20) C,F: om. 2nd 'Aleph' (21 ) C,F,I: no b (22) I: # (23) A: no b

(24)
? › Ó ˙™ œ ˙ ˙ w w (25) I: '-lo' here. (26) E: '-lo' here. (27) C: c q b q
˙
le ph, A: ple - na po - pu - - lo
C: ple - - na po - pu - lo
h h

˙™
(28) œ œ œ w w (31 ) C: § ; F: no b
# ˙ (29) C,I: no # (30) F: '-bu' here.
C: Do - mi - na gen - ti - um
I: gen - ti - um, gen - ti - um

(32) C: 'princeps provinciarum' (33) C: 'princeps provinciarum'

(syllable for syllable, but '-rum_' on B q ) (syllable for syllable, see note 32)

#
(34) & ˙
œ œ <n> œ œ
˙ œ œ ˙ ˙ ˙ œ œ ˙ ˙™ œ œ (35) F,I: no b

C: to, sub tri - bu - - - - - to, sub tri - bu –

(36) F: 'tri-' extended, (37) I: 'facta est', (38) I:'facta est' uncl. (39) C: § (40) A: '-to' here
'-bu' on first h of b.63 until 'sub' at end of b.63
b b
(41 ) # œ œ ˙ ˙ ˙ ˙ ˙™ œ ˙ (42) C,E? : '-bu-' extended (43) C,F: no b
through b. 67.
A: tri - bu - to, sub tri - bu -
 29

(44) Signature Bb in A: T1 ,T2 (b.1 1 1 -), (45) C: only one 'Beth', no bs until b. 74; (46) C: only one 'Beth'.
Bar (bb.84-1 1 4), Bass; F. I: no bs until b. 78; F: no on-stave accidentals
from here. See notes 47, 59, 60, 76, 80, 81 .

(47) F: no on-stave accidentals (48) A,C,F: only one (49) E,I: add. 'Beth'. (50) I: no lig.
hereon; C: no bs until b. 73. 'Beth'
See notes 44, 45, etc.

(51 ) Signature Bb in C: (52) Sig. Eb in I: Bass. (53) # b˙ w ˙ b˙ œ œ bœ œ w

Bass (bb.83-1 35); D: T2; E: Bass; See notes 7, 45, 51 .
I: T2, Bar(b.1 1 1 -). See note 7. F: vit in no - - cte,
I: vit in no - cte

(54)
? ˙ w ˙ w (55) E: '-ius' here. (56) F: 'e-' here.
b˙ bw
E: vit in no - cte
I: vit in no - cte

(57)
? œ œ bœ œ ˙ ™ b
œ w ; Eb in I only. (58) I: b poss. implied
F: ma - xil - lis e - ius
I: ma - xil - lis e-

(59) F: no on-stave accidentals (60) C: no accidentals until b. 1 07. (61 ) F: 'tur_' extended,
until bb. 1 42-3. See notes 45, 47, etc. F: no accidentals until b. 1 42. 'e' on Ah.
See notes 45, 47, 50, etc.

(62) A: '-am_' here. (63) A: b (64) A,F?: 'qui consoletur eam'

(syllable for syllable).

(65) F: no # , see note 47, etc. (66) A: no lig. (67) I: 'ris' here, 'eius' on first
two h of next bar.

(68) A,F: lig. (69) A: '-ris' extended, om. 'eius'. (70) I: w. instead of w h

(71 ) C: no b (72) D,(F): no § , see notes 44, 45, 51 , etc.

(74) C,F: '-ius' (75) F,I?: '-ius' (76) F: no #

(73) # ˙ ˙ b˙ ˙ ˙ œ œ ˙ ˙ here. here (see note 60, etc.)
C: e - ius, a - mi - ci e-

(77) A: '-ius' here (78) F: b.1 1 2: 'amici', b.1 1 3: 'e-'. (79) A: 'ius' here, 'e' next two h, 'ius' on w.

(80) C,(F): no # . See notes (81 ) C: no accidentals until (82) C: 'e-' ext. (83) C: Gq Fq Eq
45, 76, 60, etc. b. 1 28. See notes 45, 47, 60, etc. through bb.1 20-21

(84) # œ bœ w ˙ ˙ w b˙ ™ œ w (85) (86) A: '-ci' here.

˙™ œ ˙
˙ & ˙
˙ ˙ ˙
I: e - i, i - ni - mi - ci, i - ni - mi -
A,F: –i i - ni - mi
C: 'e-' on A w ; 'ci' a bar earlier.

(87) F: see (88) F: h. q (89) # w™ ˙ œ œ œ œ w (90) C: '-um'

notes 45, 47, 59, 60, etc. here.
A: num De - um tu - um.
30
II

#
(1 ) F: no lig. (2) I: '-tæ' here (3)

? ˙ ˙ ˙™ œ ˙ ˙ ˙ w (4) F: no § (5) ? ˙ ˙™ œ ˙
b b
B: mie pro - phe - tæ I: tæ, pr[ o] - f[ e]
C: mi - e pro - phe - tæ (to b. 1 6)

(7) I:
&b ˙ ˙ ˙ ˙ n˙ w ˙ (8) A: 'pro-' here, '-phe-' on w ; (9) #b ˙ ˙ ˙ ˙
C: missing '-phe-'; D: '-phe-' uncl.;
(phe) - tæ, pro phe - I: see note 7. I: tæ, pro - phe -

™ ?b ˙ ˙ #˙ ˙ <n> ˙
(1 0) C,D: no lig. (1 1 ) C: #b w ˙ ˙ (1 2) C,F: no lig. (1 3) w
tae, pro - phe I: pro - f[ e] - tæ
#
(1 4) F: '-tæ' here (1 5) E,I: lig. (2 w ); (1 6) F: lig. (1 7)
#b ˙ ˙ ˙ œ œ w ˙
I: '-tae' here (see fn. 6)
C: pro - - phe -

(1 8) ? b ˙™ ˙ ˙ (1 9) #b (20) C only has (21 ) A: om. this 'Ghimel';

œ w w first 'Ghimel' C,F: only include first 'Ghimel'
˙ ˙
B: pro - phe - tæ, I: (æ) pro - phe
I: pro-phe -

(22) A, I: om. this 'Ghimel'; (23) F, I only have (24) C only has first 'Ghimel' (25) D: ditto mark here
I only has the first two first 'Ghimel' F: only first two.

(26): C, I: C w here. (27) lig. in A only (28) F, I: lig. (29) B: om. this 'Ghimel';
C, D only have the first
b w ˙ ˙ w ˙ œ œ ˙ ˙ (31 ) B: '-mel' here,
(30)
#b Ó ˙ (32) I: no §
'Gi-' on following h
A: Ghi - mel, Ghi - mel
F: mel, Ghi -

(33) D: '-tis' here? (34) C: 'tu' here (35) F, ?A: no # (36) C: no § (37) C: '-tes' here

b ˙™ b ˙™ œ ˙™
(38)
#b ˙ ˙ ˙ œ (39) A, I: '-tes' here? (40) #b ˙ ˙ œ w
I: in - ter gen - C: qui - em,
F: re - qui - - em,

(41 ) C: '-em_' here (42) C: 're-' until (43) C: '-nit' here (44) A: h. q (45) C,F only (46) C only has
'-qui-' at b. 76 have first 'Daleth' first 'Daleth'
(47) C,I only have first 'Daleth' (48) D: om. this 'Daleph'; F: ditto mark at b.86 (49) b in C only (50) F, G1 , G2: §

(51 )
b
#b ˙ ˙ ˙ ˙ ˙™ œ ˙ (52) C,F: '-ius' here
(53) F: '-runt_' here,
(54) F: '-am' here
'e-' on h.
C: e - am, e - am
D: e - - - am (uncl.)
b ˙ ˙
(55) C: '-ter_' here, F uncl. (56) A: no b here or (57) E: § (58)
#b ˙ œ œ œ œ ˙
preceding bar A: sti? - as
C: an - gu - sti - - as
(59) A: '-tem' here; b ˙ ™ nœ ˙ ˙ w
#
˙ w
C: '-ni-' here, '-ta-' on A h ;
(60) A: '-tem_' here (61 ) #b (62) A: no § for the
F uncl. next few bars
C,F: ad so -lem - ni - ta - tem
 31

b œ œ œ nœ ˙ ™
(63) F: '-tem_' extended to (64) F: h h (65) #b ˙ œ (66) F: A h F h (67) D: missing
first h of b. 1 24; I: E§ uncl. this note
C: ad so - lem - ni - ta

(68) b in I only (69) G1 has B§s this bar (70) F, G1 , G2: Dh (71 ) I: no § here nor at bb. 1 32, 1 33,
1 38, 1 41 (ambiguous)

(72)

? bb œ n œ œ œ ˙ ˙ ˙ n˙ w ˙ ˙ ˙™ nœ (73) C: h w h | h
(e-) ius de-stru-
F: (de) - stru - - - ctae, sa - cer - do -

(74) I: '-tes' here (75) F: '-tes' here (76) F: '-d[ a]e' here? ; (77): A, F: no b (see note 78); and C has missed
C: '-li-' on G h §s in preceding bars (note 38). Uncl.

(78) A,F: no b (79) F: '-sa' here (80) F: '-ne' here; (81 ) A: '-di-' here (82) C: '-ne' here? ;
(see note 77) I: either here or on w (D, F uncl.) B: 'di' on F h

(83) C,F only (84) F only has (85) I only has first 'Heth' (86) C,I only (87) B: add. 'Heth'
have first 'Heth' first 'Heth' have first 'Heth'

(88)
? bb ˙ ˙ w ˙ ˙™ œ (89) B,C: 'ca-' here (90) C: 'ca-' on Bb; (91 ) C, ?D: '-ca' here
(see note 90, 91 ) F: on A q (see notes 89, 91 ) (see notes 89, 90)
E: (ho) - stes in ca -

(92) F: § annotated (93) C,F: 'ca-' (94) F: '-us' here (95) C: 'sunt' here (96) F: 'ti' w instead of h h
here (see notes 89-91 )

b
(97)
#b ˙ œ œ ˙ ˙ ˙ ˙ (98) F: h. q (99) C: '-nem' (1 00) D: '-ius' (1 01 ) I: 'e-' here,
here; F uncl. here preceding and
F: am proptermul - ti - tu - di following text uncl.
I: no text until 2nd h of b. 1 86

b b
(1 02) A: 'e-' (1 03)
uncl.
#b ˙ œ œ œ œ ˙ (1 04) I: '-vi' (1 05)
here
# b ˙™ œ ˙ w ˙ œ œ œ œ ˙
˙
C,F? : ni - qui - ta -tem e - C: tri - bu - lan - tis, tri-bu - lan -
(uncl.) F: tri - bu - lan - tis

b ˙™ œ ˙ ˙ ˙ ˙
(1 06) I: 'tri-' (1 07): G1 , G2: § (1 08): F: om. (1 09) G2: § (1 1 0) F,I: no § (1 1 1 ) #b œ œ
here 'tribulantis'
F: ad Do - mi -num De - um,

(1 1 2) B: no b (1 1 3) C: 'Do-' here, 'mi-' on F h. (1 1 4) F: 'ad Dominum deum tuum' here,

one note per syllable; I: 'tu' on D h
C: um
#
b
(1 1 5) # b Ó ˙ ˙™ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ (1 1 6) E: 'tu-' 1 1 7: F: q q instead
here of h , 'tu-' on 2nd q
F: tu - - um ad Do - mi - num De - um
I: con - ver - te - re ad Do - mi - num De - um

(1 1 8) I: 'tu-' here (1 1 9) F: 'mi' here (1 20) F: '-um' (1 21 ) C: '-num' (1 22) B, G1 , G2: (1 23) C has 'tuum',
here here Bbq Cq here F has nothing.

(1 24)

? bb ˙ ˙ ˙ ˙ ˙ w
(1 25) C,E: '-um' here (1 26) B: 'tu-' here
˙
F: um tu - um, De - um tu -
I: um tu - -
 32

CRITICAL COMMENTARY
The question of whether Thomas Tallis’ two surviving settings of texts from the Book of
Lamentations (Incipit lamentatio & De lamentatione)—the first being of the book’s first two
verses, and the second of verses three to five—were conceived as a unit is one to which
there is yet no conclusive answer. However, these texts’ role in the Sarum liturgy as the
first two lessons of Tenebrae for Maundy Thursday, the fact that Tallis’ settings appear in
collocated positions in several of the earliest surviving sources, and the frequent
performance of these as a single work, can hardly be ignored. John Milsom has suggested
that the settings were possibly written around the mid- to late 1560s.1 He also suggested
that stylistic factors, as well as the chronology of the manuscript sources (inasmuch as it
as can be worked out), that the first Lamentation—Incipit lamentatio—might have been
written after the De lamentatione. Its extraordinary and complex ‘tonal argument’, with
carefully calculated modulations away from and back towards the home modality of mode
iii/iv (or E phrygian/hypophrygian), suggest a later composition date. Incipit lamentatio is
also more texturally complex, reinforcing this hypothesis. In any case, both are certainly
works of consummate skill and, to many, of great beauty.

Sources

Below is a table of all the surviving manuscript sources, including specific details such as
the exact location of the pieces. The Lamentations are among the more well-documented
of Tallis’ works, although crucially none of the sources is in Tallis’ hand.
The earliest source is most likely GB-Ob MSS Mus. e. 1–5, known as the Sadler
Partbooks (A) after their owner John Sadler, a merchant from Norwich.2 This complete
set of five partbooks, compiled c.1565–85, is ‘one of the most important English sources
for Latin-texted sacred music from the latter half of the sixteenth century’.3 Meticulously
copied and finely decorated, it is likely that these are the earliest surviving source to
contain the Lamentations because, as David Mateer suggests, the section they are in was
probably copied c. 1565-70.4 If this were true, it would support Milsom’s dating of the
Lamentations, and perhaps push it back by a few years to the first half or middle of the
1560s. Occasional annotations suggest that these partbooks were used in performance,
perhaps by musically literate merchants.
The two next oldest sources are GB-Ob MS Tenbury 1464 (B), an orphaned bass
partbook from a set of probably five copied c.1575 containing only De lamentatione, and GB-
Och MSS Mus. 979-83 (C), a set of originally five partbooks, missing the tenor book, known
as the Baldwin Partbooks, copied c.1575-81. The lack of the first Lamentation in the former
source, as well as its presence after De lamentatio in the latter, support the idea that that the
second Lamentation might have been written first. Source C, although not as richly
decorated as A, is a key source of Byrd and Tallis’ music. John Baldwin, who copied the
partbooks himself, was an experienced singer and amateur composer associated with St
George’s Chapel, Windsor, and maintained close ties with Byrd’s musical circle. He was

1 John Milsom, ‘English polyphonic style in transition: a study of the sacred music of Thomas Tallis’
(unpublished doctoral thesis, University of Oxford, 1983), Vol. I: 49.
2 Matthias Range and Julia Craig-McFeely, ‘Forty Years in the Wilderness: John Sadler of the Sadler
Partbooks’, Music and Letters 101/4 (November 2020): 657–89.
3 James Burke, 'John Sadler and the Sadler partbooks (Oxford, Bodleian Library MSS Mus. e. 1–5)’

(unpublished doctoral thesis, University of Oxford, 2017), Vol. I: 1.

4 David Mateer, ‘John Sadler and Oxford, Bodleian Mss Mus. e. 1–5’, Music & Letters 60/3 (July 1979):

281–295.
 33

later associated with the Chapel Royal, of which Tallis was a member.5 Roger Bray writes
that ‘small details’ such as Baldwin’s more relaxed attitude to accidentals should not cast
into doubt the thoroughness and skilfulness of his work.6 Although we know that he
occasionally altered text-settings in order to ‘modernize’ them, such as removing long final-
syllable melismata that were a typical feature of the florid English style of the early sixteenth
century.7
GB-Lbl Add. MS 32377 (D) an orphaned Cantus partbook originally from a set of
five, was copied c.1585-90, perhaps by Hugh Geare of Dorset, a possible relative of the
Dorset clergyman John Geare. It is a scruffy source, containing the Contratenor part (Tenor
2) of Incipit lamentatio beginning at ‘Plorans’, followed by the Cantus part (Alto) of the
preceding music only. Twenty-five folios later there is the complete Cantus part of the De
lamentatione. The presence of textual incipits only suggests that this source might have
intended to be used for instrumental performance.
GB-CF MS D/DP Z6/1 (E), GB-Ob MSS Tenbury 341-44 (F), GB-Ob MSS
Tenbury 1469-71 (G1) and GB-Ob MS Tenbury 369-73 (G2) all originate from the
household of the Norfolk gentleman Edward Paston (note the geographical proximity to A).
An influential amateur musician, patron and collector of music manuscripts, he had
connections to Byrd’s circle through the composer’s neighbour and patron Sir John Petre,
with whom he shared Catholic sympathies and to whom he gave source E as a gift. Of this
set copied c.1590, only the bass book survives; Philip Brett suggests that it was copied, as
well as source F, by Paston’s secretary William Corbett.8 F, a complete set of five partbooks,
was copied around the early seventeenth century. Certainly E is the finer of the two—its
beauty and precision, compared to F’s inconsistency and carelessness in matters of
accidentals and text underlay, indeed reflect its conception as a presentation gift. Despite
the untidiness of these sources, they can be helpful for their greater use of accidentals, often
left to the musicians’ discretion in the earlier sources (a problem discussed below).
G1 and G2, as well as US-NYp MSS Drexel 4180-84 (H1) and GB-Lbl Add. MSS
17792-96 (H2), are not currently digitised and were therefore unavailable for this edition.
In his very good edition of the Lamentations, however, Philip Brett listed some major
discrepancies in these sources regarding accidentals, which I have included in the notes of
this edition as the following numbers:

Incipit lamentatio: N.A.

De lamentatione: notes 50, 69, 70, 71, 107, 109, 122.

G1, known as the Harmsworth manuscript, survives as three partbooks out of a set of
originally five; G2, in the same hand, survives as a complete set of five. Both were written
in the early seventeenth century and contain only De lamentatio. Sources H1, a complete set
of six partbooks, and H2, a complete set of five—both in the same hand—come from the
collection of John Merro, a singer at Gloucester Cathedral. May Hofman has suggested that
H2, copied c. 1624-50, was partly copied from H1, in turn copied c.1615-25.9
The three partbooks GB-Cp MSS 35, 37, 44 (I) are from a set of seven (originally
eight) partbooks known as the Latter Caroline set, currently kept at Peterhouse College,
Cambridge. They were copied by diverse hands c. 1625-40 and assembled shortly thereafter

5 Roger Bray, ‘John Baldwin’, Music & Letters 56 (1975): 55–9.

6 Idem, 56–7.
7 David Mateer, ‘John Baldwin and Changing Concepts of Text Underlay’ in J. Morehen (ed.), English
Choral Practice 1400–1600 (Cambridge: Cambridge University Press, 1996), 143-160, at 148.
8 Philip Brett, ‘Edward Paston (1550–1630): A Norfolk Gentleman and his Musical Collection’,

Transactions of the Cambridge Bibliographical Society 4/1 (1964): 51–69, at 57–8.

9 May Hofman, ‘The Survival of Latin Sacred Music by English Composers 1485–1610’ (unpublished

doctoral thesis, University of Oxford, 1977), Vol. II: 123–8.

 34

for liturgical use. Annotations, along with the source’s scruffy appearance, bear witness to
its primarily practical, as opposed to antiquarian, purpose. The two Lamentations are
presented together as a single piece divided by a simple barline. The hand is untidy, and
details of text underlay are often unclear or muddled. Nonetheless, the musical notation
itself is generally detailed. The bass part only survives to bar 122.

Table 1: list of sixteenth and seventeenth sources containing

Tallis’ two Lamentation settings.

Source Date Reference Type Page/Folio

GB-Ob MS Mus. e. 1 Tr 37v
GB-Ob MS Mus. e. 2 M 36r
Sadler PBs (A) c.1565-85 GB-Ob MS Mus. e. 3 A 36v
GB-Ob MS Mus. e. 4 T 33v
GB-Ob MS Mus. e. 5 B 33r
Bassus (B) c.1575 GB-Ob MS Tenbury 1464 B 59v
GB-Och MS Mus. 979 S
GB-Och MS Mus. 980 D
Baldwin PBs (C) c.1575-81 Nos. 41,42
GB-Och MS Mus. 981 Ct
GB-Och MS Mus. 983 B

Cantus PB copied by Hugh

c.1585-90 GB-Lbl Add. MS 32377 C, CT 27r, 62v
Geare (D)

Bass PB, Paston collection (E) c.1590 GB-CF MS D/DP Z6/1 B 42r
GB-Ob MS Tenbury 341 S 26v
GB-Ob MS Tenbury 342 Q and Sx 30v
Paston collection (F) early C17th
GB-Ob MS Tenbury 343 Ct 28v
GB-Ob MS Tenbury 344 T 29v
Paston Collection GB-Ob MS Tenbury 1469 C
“Harmsworth MS” (G1) early C17th GB-Ob MS Tenbury 1470 A 28r
Up a 5th, Cantus up a 7th GB-Ob MS Tenbury 1471 B
GB-Ob MS Tenbury 369 S
Paston collection (G2) GB-Ob MS Tenbury 370 M
(same scribe as G1) early C17th GB-Ob MS Tenbury 371 Q 5r
Up a 5th. GB-Ob MS Tenbury 372 T
GB-Ob MS Tenbury 373 B
US-NYp MS Drexel 4180 C 70r
US-NYp MS Drexel 4181 A 69v
John Merro (2)
c.1615-25 US-NYp MS Drexel 4182 T 72r
(H1)
US-NYp MS Drexel 4183 B 66r
US-NYp MS Drexel 4184 Q 47r
GB-Lbl Add. MS 17792 C 169
GB-Lbl Add. MS 17793 A 174
John Merro (1)
1624-c.1650 GB-Lbl Add. MS 17794 T 174
(H2) (same scribe as H1)
GB-Lbl Add. MS 17795 Q 162
GB-Lbl Add. MS 17796 B 166
GB-Cp MS 35 TD 113v
Peterhouse PBs, latter
c.1625-40 GB-Cp MS 37 BD N3v
Caroline set (I)
GB-Cp MS 44 MD P2
 35

Editorial Method

This edition does not aim to be an Urtext of any sort. Such a thing, especially with this music,
is an impossible and uninteresting goal: the inherent flexibilities and ambiguities of
mensural notation, as well as a complicated textual tradition, make it so. What we have is a
collection of sources that present what the Lamentations once were in the eyes of their users,
which, interestingly, may differ according to the sources’ age, purpose and location, and
whose interpretation by a modern editor may in any case differ from that of their copyists.
To translate these encoded interpretations into a different, more prescriptive notational
system is complicated, especially so if the intention is to produce one fixed text.10 Such a
process inevitably places a large degree of agency and responsibility on the editor, who must
first read and interpret the texts, and then sift between the variants in order to choose which
to include in the final score and which to include in the notes, if indeed any are provided.
There is more than one way to do this. John Caldwell, among others, has written
that in cases of many variant sources, with none directly ascribable to the composer, it can
be best to proceed from ‘a single representative source’, ultimately presenting ‘a version
which can be shown to have been current at some particular time and place’.11 In the case of
these Lamentations, however, where none of the sources is distinct enough, and we know
little about their creation and use, this solution is both impractical and unappealing.
Furthermore, this ‘best source’ approach fails to engage critically with other sources, and
ignores a fundamental reality of such works: that they are historically and geographically
fluid. Nevertheless, A and C, being the oldest and most complete sources, are the ones most
closely followed in this edition.
It is possible, however, that there may be corruptions in these sources that are not
present in the other sources. This edition is therefore an attempt at recension at heart: that
is, it tries to reconstruct the earliest recoverable version, or ‘base layer’, of the work by
sorting through its different textual layers. While it is true that the end product might
represent a patchwork version that never in fact existed, it is the hope of the editor that it is
as close as we can currently get to an ‘original’, identifying errors and alterations in any of
the sources. In cases of discrepancy, the prime considerations for choosing the primary
reading have been the age of the sources and concordance with other manuscripts:
preference is generally given to older, and more widespread, readings. Occasionally these
two criteria are in conflict, in which case I have generally preferred older readings and have
tried to apply the maxim of lectio difficilior—that is, that alterations and corruptions tend to
be simpler than the original. Only in the few cases of total ambiguity have I felt it necessary
to appeal to my own (subjective) musical judgement. In all cases, however, any variants are
always provided in the notes—this is not only so that the reader may feel free to disagree
with my choices, even following a single source if they prefer, but to present the two
Lamentation settings as flexible entities in time, with the idiosyncrasies and problems of
each source laid out in full to the reader.
Accidentals are the most problematic issue in this regard. When I have judged that
an inconsistency between sources is because obvious chromatic inflexions have been left as
musica ficta or perhaps omitted by mistake in one source, but included in another, I have
simply written an on-stave accidental. If this is the case for a prolonged stretch of music, I
have avoided clutter by indicating this with a single footnote per part, often referring to
earlier footnotes for context. This is especially the case in Incipit lamentatio.

10 See Margaret Bent, ‘Editing Early Music: The Dilemma of Translation’, Early Music 22/3 (August
1994), 373-392.
11 John Caldwell, Editing Early Music (Oxford: Oxford University Press, 1985), 2; Philip Brett, ‘Text,

Context and the Early Music Editor’, in Nicholas Kenyon (ed.), Authenticity and Early Music: A
Symposium (Oxford: Oxford University Press, 1988), 83-114.
 36

However, this is often unclear—perhaps no accidental actually means no accidental

and is therefore to be considered a genuine variant. In such cases I have used the principles
described above to choose a primary reading and have noted the variant, often referring to
earlier footnotes for context. Sometimes it is also unclear how long an accidental is meant
to last. Generally, single on-stave accidentals apply to an entire phrase or short melodic
gesture—in cases where such a phrase or melodic gesture crosses a barline in transcription,
and the accidental obviously remains in force, I have simply printed the accidental in both
bars. Whenever there is ambiguity, I have written the accidental as ficta or made a note of
it.
Because the notion of a modern ‘key signature’ isn’t relevant to many of the primary
sources, especially the earlier ones, signature accidentals are often inconsistent between
parts and even within a single part, frequently appearing and disappearing on different
staves and even halfway through a stave. The reason why this is the case is worthy of further
study. The boundary between signature and on-stave accidentals is often blurred. For the
purposes of this edition, which include ease of reading, the key signatures have been
standardised.
Text underlay is similarly problematic, and this edition is novel because of its critical
engagement with variant textual readings. A and C are generally the better sources in this
regard. I have been open about ambiguous readings and have often noted where the text-
setting is unclear. This is often the case because the text was frequently copied into the
source before the musical notation. Spellings have been modernised and standardised.
Original note values are retained. All barlines, apart from the double barlines at the end of
sections (present in some sources), are editorial. Editorial ficta accidentals are placed above
the note. Cautionary accidentals, in round parentheses, are also editorial. Ligatures are
marked with square brackets, editorial text is provided in italics, and spellings-out of
abbreviations are in square parentheses.

C.R.O. — Cambridge, September 2020 (revised December 2021)