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“Between the incomparable settings by Thomas Tallis and the extremely austere one by Stravinsky (which he called Threni) the Lamentationsof Jeremiah have attracted surprisingly few composers. Perhaps the predominantly sombre tone, without even the dramatic opportunities presented by the Dies irae in a Requiem, is off-putting. Be that as it may, Zelenka showed remarkable resourcefulness in his 1722 setting for the electoral chapel at Dresden, where he was Kapellmeister. His musical language is in many ways similar to that of JS Bach but there are also daring turns of phrase which are entirely personal. The six Lamentations feature each singer twice; this performance is intimate, slightly spacious in tempo and with a resonant acoustic.”
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