Verses of the prophet Jeremiah sung as lessons in the Holy Week Tenebrae services in the Roman Catholic church. A distinguishing feature is the inclusion of Hebrew letter-names (Aleph, Beth etc) at the beginning of the text of each verse. The Lamentations were sung to a simple recitation tone, also found in many polyphonic settings, including those in an early printed collection (1506) by Arcadelt, Isaac, La Rue and their contemporaries. Carpentras's Lamentations were sung in the papal chapel until replaced in 1587 by Palestrina's. In his and Lassus's settings the recitation tone was not always used; the Lamentations of Byrd and Tallis dispense with it. 17th-century Lamentations include a famous setting by Allegri; many solo settings with continuo were also composed in Italy. Interest waned in the 18th century, although at Naples Alessandro Scarlatti, Porpora and Jommelli contributed to the tradition.
Lamentations settings were also made in France after 1600 under the title leçons de ténèbres ; those of Charpentier, Lalande and Couperin exemplify the florid French style.
