After the death of Adrian Willaert in December 1562, no fewer than five musical laments appeared. Three of them Andrea Gabrieli's Sassi, palae, Alvise Willaert's Pianza'l Grego Pueta and Cipriano de Rore's Concordes adhibete animos were composed by pupils of his. In contrast, for Lorenzo Benvenuti (Giunto Adrian) and Giovanni Battista Conforti (S'hoggi son senz'honor), no direct connection with Willaert can be established. The article explores the broader context of these deplorations. This not only includes an investigation of the music collections in which they appeared, but also of the pieces' poetic content. Especially the question whether Gabrieli's greghesca and Rore's motet are sincere laments needs reconsideration. Finally, these two pieces, together with Benvenuti's madrigal, are analysed in more detail. It is argued that each of these composers found a very personal stylistic way to pay tribute to the memory of Willaert.