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book of the Bible, placed immediately after Jeremiah, to whose author it has been ascribed since ancient times. It was probably composed by several authors. It is a series of five poems mourning the destruction of Jerusalem by Babylon. Each of the the first four poems is an alphabetical acrostic, the third having three verses to the letter, instead of one. The book begins with dirges, followed by a psalm of lament with expressions of trust. The psalm is followed by another dirge expressing grief and longing for divine intervention. It concludes with a lament and a prayer for the restoration of the fortunes of Jerusalem.


See study by D. R. Hillers (rev. ed. 1992). See also bibliography under Old TestamentOld Testament,
Christian name for the Hebrew Bible, which serves as the first division of the Christian Bible (see New Testament). The designations "Old" and "New" seem to have been adopted after c.A.D.
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The entire volume is devoted to the readings (lectios) for Matins in the triduum sacrum (the last three days of Holy Week) and includes chant for the Lamentations of Jeremiah, notated in square notation on a five-line stave (Illustration 6).
See Jane Morlet Hardie, "Salamanca to Sydney: a newlydiscovered manuscript of the Lamentations of Jeremiah," in Music in Medieval Europe: Studies in Honour of Bryan Gillingham, ed.
The choir's Sage concert on January 15 at 7.30pm opens with Miserere by Allegri, the Gloria and Sanctus from Palestrina's Missa Papae Marcelli and The Lamentations of Jeremiah by Tallis.
Other liturgical or biblical texts come into play for such pieces as Thomas Tallis's Lamentations of Jeremiah, Claudio Monteverdi's Vespers (Vespro delle Beata Vergine), Heinrich Schutz's St.
Lamentations of Jeremiah. Edited by Jane Morlet Hardie.
A substantial part of this book is devoted to the author's own analysis of Palestrina's Lamentations of Jeremiah for Holy Thursday (Lamentationum Feria V.
Milton Barnes's Lamentations of Jeremiah was "originally composed for cello in 1959 and later transcribed for viola," a short biographical note informs us, and is "based on the Rembrandt painting of Jeremiah pondering the destruction of Jerusalem." Barnes adopts a consciously Jewish style for this work, as he has in a number of other works: we can be grateful that styles have again caught up with the old and rendered Barnes's stylistic stance, once labeled "old-fashioned" for its concern with tonal and tuneful writing, simply one more fashion choice.