Gregorio Allegri (1582–1652) was an Italian composer and priest of the Roma… Read Full Bio ↴Gregorio Allegri (1582–1652) was an Italian composer and priest of the Roman School of composers. He mainly lived in Rome, and died there.
He studied music under Giovanni Maria Nanini, the intimate friend of Palestrina. Being intended for the Church, he obtained a benefice in the cathedral of Fermo. Here he composed a large number of motets and other sacred music, which, being brought to the notice of Pope Urban VIII, obtained for him an appointment in the choir of the Sistine Chapel at Rome. He held this from December 1629 until his death. In character, he was regarded as singularly pure and benevolent.
Among the musical compositions of Allegri were two volumes of concerti for five voices, published in 1618 and 1619; two volumes of motets for six voices, published in 1621; an edition of four-part sinfonia; five masses, two settings of the Lamentations of Jeremiah, as well as numerous motets which were not published in his lifetime. He was one of the earliest composers for stringed instruments, and Athanasius Kircher has given one specimen of this class of his works in the Musurgia. Most of Allegri's published music is in the more progressive early Baroque concertato style, especially the instrumental music. However, his work for the Sistine Chapel is descended from the Palestrina style, and in some cases strips even this refined, simple style of all ornament.
By far the most celebrated composition of Allegri is the Miserere mei, Deus, a setting of Vulgate Psalm 50. It is written for two choirs, the one of five and the other of four voices, and has obtained considerable celebrity. One of the choirs sings a simple fauxbordon based on the original plainsong chant for the Tonus peregrinus; the other choir sings a similar fauxbordon with pre-existing elaborations and the use of cadenzas. The Miserere' has for many years been sung annually during Holy Week in the Sistine Chapel. Many have cited this work as an example of the stile antico or prima pratica. However, its constant use of the dominant seventh chord and its emphasis on polychoral techniques certainly put it out of the range of "prima pratica". A more accurate comparison would be to the works of Giovanni Gabrieli.
The Miserere is one of the most often-recorded examples of late Renaissance music, although it was actually written during the chronological confines of the Baroque era; in this regard it is representative of the music of the Roman School of composers, who were stylistically conservative. The work acquired a considerable reputation for mystery and inaccessibility between the time of its composition and the era of modern recording; the Vatican, wanting to preserve its aura of mystery, forbade copies: fortunately they were not prepared for a special visit in 1770 from a 14-year-old Mozart, who, on a visit to Rome with his father, heard it but twice and transcribed it faithfully from memory, thus creating the first "bootleg" copy.
In 1771 Mozart's copy was procured and published in England by the famous traveler and music historian Dr. Burney. However, Burney's edition does not show the ornamentation for which the work was famous, and the music as it is performed now is the result of a strange copyist's error in the 1880s. The curious 'trucker's gear change' from G minor to C minor is because the second half of the verse is the same as the first half, but transposed up a fourth. The original never had a Top C.
The entire music performed at Rome in Holy Week, Allegri's Miserere included, has been issued at Leipzig by Breitkopf and Härtel. Interesting accounts of the impression produced by the performance at Rome may be found in the first volume of Felix Mendelssohn's letters and in Miss Taylor's Letters from Italy.
He studied music under Giovanni Maria Nanini, the intimate friend of Palestrina. Being intended for the Church, he obtained a benefice in the cathedral of Fermo. Here he composed a large number of motets and other sacred music, which, being brought to the notice of Pope Urban VIII, obtained for him an appointment in the choir of the Sistine Chapel at Rome. He held this from December 1629 until his death. In character, he was regarded as singularly pure and benevolent.
Among the musical compositions of Allegri were two volumes of concerti for five voices, published in 1618 and 1619; two volumes of motets for six voices, published in 1621; an edition of four-part sinfonia; five masses, two settings of the Lamentations of Jeremiah, as well as numerous motets which were not published in his lifetime. He was one of the earliest composers for stringed instruments, and Athanasius Kircher has given one specimen of this class of his works in the Musurgia. Most of Allegri's published music is in the more progressive early Baroque concertato style, especially the instrumental music. However, his work for the Sistine Chapel is descended from the Palestrina style, and in some cases strips even this refined, simple style of all ornament.
By far the most celebrated composition of Allegri is the Miserere mei, Deus, a setting of Vulgate Psalm 50. It is written for two choirs, the one of five and the other of four voices, and has obtained considerable celebrity. One of the choirs sings a simple fauxbordon based on the original plainsong chant for the Tonus peregrinus; the other choir sings a similar fauxbordon with pre-existing elaborations and the use of cadenzas. The Miserere' has for many years been sung annually during Holy Week in the Sistine Chapel. Many have cited this work as an example of the stile antico or prima pratica. However, its constant use of the dominant seventh chord and its emphasis on polychoral techniques certainly put it out of the range of "prima pratica". A more accurate comparison would be to the works of Giovanni Gabrieli.
The Miserere is one of the most often-recorded examples of late Renaissance music, although it was actually written during the chronological confines of the Baroque era; in this regard it is representative of the music of the Roman School of composers, who were stylistically conservative. The work acquired a considerable reputation for mystery and inaccessibility between the time of its composition and the era of modern recording; the Vatican, wanting to preserve its aura of mystery, forbade copies: fortunately they were not prepared for a special visit in 1770 from a 14-year-old Mozart, who, on a visit to Rome with his father, heard it but twice and transcribed it faithfully from memory, thus creating the first "bootleg" copy.
In 1771 Mozart's copy was procured and published in England by the famous traveler and music historian Dr. Burney. However, Burney's edition does not show the ornamentation for which the work was famous, and the music as it is performed now is the result of a strange copyist's error in the 1880s. The curious 'trucker's gear change' from G minor to C minor is because the second half of the verse is the same as the first half, but transposed up a fourth. The original never had a Top C.
The entire music performed at Rome in Holy Week, Allegri's Miserere included, has been issued at Leipzig by Breitkopf and Härtel. Interesting accounts of the impression produced by the performance at Rome may be found in the first volume of Felix Mendelssohn's letters and in Miss Taylor's Letters from Italy.
Miserere mei Deus
Gregorio Allegri Lyrics
We have lyrics for 'Miserere mei Deus' by these artists:
Choir Of Kings College - Cambridge Miserere mei, Deus, secundum magnam misericordiam tuam : Et …
Choir of St John's College Cambridge / Andrew Nethsingha Miserere mei, Deus, secundum magnam misericordiam tuam : Et …
Desmond (Vo.Marker Starling) Oh joy, oh joyful hearts elude us Ever slipping through our…
Gregorian Miserere mei, Deus Secundum magnam misericordiam tuam Et sec…
The Cardinall's Musick & Andrew Carwood Miserere mei, Deus: secundum magnam misericordiam tuam. Et s…
The Choir Of St. John's College Cambridge Miserere mei, Deus, secundum magnam misericordiam tuam : Et …
Trinity College Choir Cambridge & Richard Marlow Miserere mei, Deus Secundum magnam misericordiam tuam Et sec…
\xE3\x83\x87\xE3\x82\xBA\xE3\x83\xA2\xE3\x83\xB3\xE3\x83\x89 (Vo. Marker Starling) Oh joy, oh joyful hearts elude us Ever slipping through our…
デズモンド (Vo. Marker Starling) Oh joy, oh joyful hearts elude us Ever slipping through our…
デズモンド(Vo.Marker Starling) Oh joy, oh joyful hearts elude us Ever slipping through our…
デズモンド(Vo.Marker Starling) Oh joy, oh joyful hearts elude us Ever slipping through our…
We have lyrics for these tracks by Gregorio Allegri:
Miserere Miserere mei, Deus: secundum magnam misericordiam tuam. Et …
Miserere à neuf voix Miserere mei, Deus: secundum magnam misericordiam tuam. Et …
Miserere mei Miserere mei, Deus: secundum magnam misericordiam tuam. Et s…
Miserere Mei Deus Motet For Chorus Miserere mei, Deus: secundum magnam misericordiam tuam. Et s…
Miserere Mei, Deus Miserere mei, Deus, secundum magnam misericordiam tuam. Et …
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@Gustavytto
Lyrics/Letras:
Miserere mei, Deus: secundum magnam misericordiam tuam.
Et secundum multitudinem miserationum tuarum, dele iniquitatem meam.
Amplius lava me ab iniquitate mea: et a peccato meo munda me.
Quoniam iniquitatem meam ego cognosco: et peccatum meum contra me est semper.
Tibi soli peccavi, et malum coram te feci: ut justificeris in sermonibus tuis, et vincas cum judicaris.
Sacrificium Deo spiritus contribulatus: cor contritum, et humiliatum, Deus, non despicies.
Benigne fac, Domine, in bona voluntate tua Sion: ut aedificentur muri Ierusalem.
Tunc acceptabis sacrificium justitiae, oblationes, et holocausta: tunc imponent super altare tuum vitulos.
@JohnDoe-kc5lq
How Mozart, the Vatican, and centuries of mistakes resulted in one of the greatest pieces of music ever written.
In 1638, a singer in the Sistine Chapel Choir composed a setting of Psalm 51 to be sung there during Holy Week. That singer was Gregorio Allegri, and his setting, now commonly known as Miserere, is one of the most beautiful pieces of music ever written.
But not only is the version we sing today significantly different from Allegri’s original manuscript — if it weren’t for one particularly precocious 14-year-old, it may never have been heard outside the Vatican’s walls.
Papal secrecy
Allegri’s Miserere was the last and the most popular of twelve different settings of the same text written for the Vatican over 120 years. It was so good that, to preserve the sense of mystery around the music, the Pope forbade anyone from transcribing it, on pain of excommunication. Only three copies were made: one for the Holy Roman Emperor, one for the King of Portugal, and one for an eminent music scholar — but these versions were so simplified from the original that the King of Portugal actually complained. The Pope wanted to keep its genius a secret — and so it remained for over 100 years.
Wolfgang’s trip to Rome
What the Pope hadn’t planned for was Leopold Mozart’s trip to Rome in 1770; and, more specifically, the attendance of his 14-year-old son, Wolfgang Amadeus.
Wolfgang Amadeus Mozart
The Mozarts popped into the Wednesday service at the Vatican, at which the Miserere was being performed. A couple of hours later, back at home, the young Wolfgang proceeded to transcribe the entire piece from memory. He went back on Friday to make a couple of corrections — and the Vatican’s secret was out.
Later on in their travels, the Mozarts bumped into British music historian Dr Charles Burney. They passed on the manuscript to Dr Burney, who took it to London; and it was published there in 1771.
Mendelssohn and the copying error
But that wasn’t the end of the story. In 1831, Felix Mendelssohn decided to make his own transcription — and the version he heard happened to be sung higher than originally intended (a fourth higher, to be precise).
Felix Mendelssohn
This wouldn’t have been of much consequence had it not been for an innocent mistake made 50 years later. When the first edition of Grove’s Dictionary of Music and Musicians was being put together in 1880, a small section of Mendelssohn’s higher transcription was accidentally inserted into a passage of the Miserere being used to illustrate an article. This mistake was then reproduced in various editions over the next century, eventually becoming the accepted version. And the result is the most famous and probably the most moving passage of the piece — a beautiful top C sung by a treble soloist, pretty much the highest note found in the entire choral repertoire.
So, whenever you hear Allegri’s Miserere today, remember how lucky you are — lucky that the Mozarts chose a good time to visit Rome, lucky that Mendelssohn transcribed it up a fourth, and lucky that one of Grove’s early editors had a momentary lapse of concentration.
@the.seagull.35
Acts 16:25-34 🙏
[25] About midnight Paul and Silas were praying and singing hymns to God, and the other prisoners were listening to them.
[26] Suddenly there was such a violent earthquake that the foundations of the prison were shaken. At once all the prison doors flew open, and everyone’s chains came loose.
[27] The jailer woke up, and when he saw the prison doors open, he drew his sword and was about to kill himself because he thought the prisoners had escaped. [28] But Paul shouted, “Don’t harm yourself! We are all here!”
[29] The jailer called for lights, rushed in and fell trembling before Paul and Silas. [30] He then brought them out and asked, “Sirs, what must I do to be saved?”
[31] They replied, “Believe in the Lord Jesus, and you will be saved—you and your household.”
[32] Then they spoke the word of the Lord to him and to all the others in his house. [33] At that hour of the night the jailer took them and washed their wounds; then immediately he and all his household were baptized. [34] The jailer brought them into his house and set a meal before them; he was filled with joy because he had come to believe in God—he and his whole household. ✝️❤
@pedrorocha220
Imagine being a hardworking medieval farmer, entering the church and listening to this chant. Impossible not to think the angels are welcoming you in heaven.
@thomas_walker
indeed. nothing would have made me more confident in my faith than experiencing this song
@timolff9239
This is from the 17th century.
@pedrorocha220
@@timolff9239 good remark! I had the impression this was a kind of Gregorian Chant, that’s why I mentioned the Middle Ages.
@Frodokeuh
I don't think peasants were allowed to go into these churches back then lol
@hello_this_is_me-.-.-.-.-
Why Britain is full of Muslims now. Why ..
@brendon205
Everyone seems to ignore the bass singers, those low notes are impressive
@oOStill
They'd only recognize him, if there were thousands of Insta-/TikTok videos of him.
@Carrancka
Bass is like eyebrows. If they're good, you won't even notice them. But if you remove it, oh boy...
@Bulletstop75
It's so freaking clean