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Threni has three movements, corresponding to the three chapters of the Lamentations of Jeremiah from which the texts used in the work are taken. The following is a summary. A detailed musical analysis and the complete Latin text, side by side with the English of the King James version of the Bible, are available in Andrew Kuster's thesis. [16]
The New International Version (NIV) is a translation of the Bible into contemporary English. Published by Biblica, the complete NIV was released on October 27, 1978 [6] with a minor revision in 1984 and a major revision in 2011. The NIV relies on recently-published critical editions of the original Hebrew, Aramaic, and Greek texts. [1] [2]
However, while Lamentations is generically similar to the Sumerian laments of the early 2nd millennium BCE (e.g., "Lamentation over the Destruction of Ur," "Lament for Sumer and Ur," "Nippur Lament"), the Sumerian laments (that we have) were recited on the occasion of the rebuilding of a temple, so their story has a happy ending, whereas the ...
Matthew Hunter, a viola soloist at the Berlin Philharmonic, set the Tallis Lamentations to be played by an ensemble of Stradivari violins, violas and violoncellos. The arrangement is for two antiphonally set string quintets. The group plays this piece only a couple of times every two years, when they can get the instruments together. [2] [3] [4]
Chisholm sent the song to William Runyan in Kansas, who was affiliated with both the Moody Bible Institute and Hope Publishing Company. Runyan set the poem to music, and it was published that same year by Hope Publishing Company and became popular among church groups. [1] The Biblical lyrics reference Lamentations 3:22-23. [2]
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The Committee on Bible Translation wanted to build a new version on the heritage of the NIV and, like its predecessor, create a balanced mediating version–one that would fall in-between the most literal translation and the most free; [3] between word-for-word (Formal Equivalence) [3] and thought-for-thought (Dynamic Equivalence). [3]
The Book of Lamentations shares some motifs with earlier Mesopotamian laments. [2] Whereas the Mesopotamian laments are in the voice of the city's tutelary goddess, Lamentations, with its monotheistic background, is instead tenderly addressed as "Daughter Jerusalem" and "Daughter Zion".