History
Composed around 1638, Allegri's setting of the Miserere was amongst the falsobordone settings used by the choir of the Sistine Chapel during Holy Week liturgy, a practice dating back to at least 1514. At some point, several myths surrounding the piece came to the fore, stemming probably from the fact that the Renaissance tradition of ornamentation as practiced in the Sistine Chapel was virtually unknown outside of the Vatican by the time the piece become well-known. This alleged secrecy is advanced by an oft repeated statement that there were only "three authorised copies outside the Vatican, held by Emperor Leopold I, the King of Portugal, and Padre Martini." However, copies of the piece were available in Rome, [1] and it was also frequently performed elsewhere, including such places as London, where performances dating as far back as c. 1735 are documented, to the point that by the 1760s, it was considered one of the works "most usually" performed by the Academy of Ancient Music. [2]
From the same supposed secrecy stems a popular story, backed by a letter written by Leopold Mozart to his wife on April 14 1770, that at fourteen years of age, while visiting Rome, his son Wolfgang Amadeus Mozart first heard the piece during the Wednesday service, and later that day, wrote it down entirely from memory. Doubt has however been cast on much of this story, owing to the fact that the Miserere was known in London, which Mozart had visited in 1764-65, [2] that Mozart had seen Martini on the way to Rome, and that Leopold's letter (the only source of this story) contains several confusing and seemingly contradictory statements. [1] [3] Less than three months after hearing the song and transcribing it, Mozart had gained fame for his musical work and was summoned back to Rome by Pope Clement XIV, who showered praise on him for his feats of musical genius, and later awarded him the Chivalric Order of the Golden Spur on July 4, 1770. [4]
The original ornamentations that made the work famous were Renaissance techniques that preceded the composition itself, and it was these techniques that were closely guarded by the Vatican. Few written sources (not even Burney's) showed the ornamentation, and it was this that created the legend of the work's mystery. The Roman priest Pietro Alfieri published an edition in 1840 including ornamentation, with the intent of preserving the performance practice of the Sistine choir in both Allegri's and Tommaso Bai's (1714) settings. The work was also transcribed by Felix Mendelssohn in 1831 and Franz Liszt, and various other 18th and 19th century sources, with or without ornamentation, survive. [1]
The version most performed nowadays, with the famous "top C" in the second-half of the 4-voice falsobordone, is based on that published by William Smyth Rockstro in the first edition of the Grove Dictionary of Music and Musicians (1880) and later combined with the first verse of Charles Burney's 1771 edition by Robert Haas (1932). [5] Since this version was popularised after the publication in 1951 of Ivor Atkins' English version and a subsequent recording based upon this by the Choir of King's College Cambridge, Allegri's Miserere has remained one of the most popular a cappella choral works performed. [3]
Gregorio Allegri was a Catholic priest and Italian composer of the Roman School and brother of Domenico Allegri; he was also a singer. He was born and died in Rome. He is chiefly known for his Miserere for two choirs.
Psalm 51, one of the penitential psalms, is the 51st psalm of the Book of Psalms, beginning in English in the King James Version: "Have mercy upon me, O God". In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 50. In Latin, it is known as Miserere, in Ancient Greek: Ἥ Ἐλεήμων, romanized: Hḗ Eleḗmōn), especially in musical settings. The introduction in the text says that it was composed by David as a confession to God after he sinned with Bathsheba.
The Penitential Psalms or Psalms of Confession, so named in Cassiodorus's commentary of the 6th century AD, are the Psalms 6, 31, 37, 50, 101, 129, and 142.
Robert White probably born in Holborn, a district of London, was an English composer whose liturgical music to Latin texts is considered particularly fine. His surviving works include a setting of verses from Lamentations, and instrumental music for viols.
Vesting prayers are prayers which are spoken while a cleric puts on vestments as part of a liturgy, in both the Eastern and Western churches. They feature as part of the liturgy in question itself, and take place either before or after a liturgical procession or entrance to the sanctuary, as depends on the particular liturgical rite or use which is being observed.
Psalm 5 is the fifth psalm of the Book of Psalms, beginning in English in the King James Version: "Give ear to my words, O LORD, consider my meditation". In Latin, it is known as "Verba mea auribus percipe Domine". The psalm is traditionally attributed to David. It reflects how the righteous man prays for deliverance not only for freedom from suffering, but to allow himself to serve God without distraction. The New King James Version entitles it "A Prayer for Guidance".
Psalm 21 is the 21st psalm of the Book of Psalms, beginning in English in the King James Version: "The king shall joy in thy strength". The Book of Psalms is part of the third section of the Hebrew Bible, and a book of the Christian Old Testament. In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 20. In Latin, it is known by the incipit, "Domine in virtute tua". The psalm is attributed to David.
Psalm 31 is the 31st psalm of the Book of Psalms, beginning in English in the King James Version: "In thee, O LORD, do I put my trust". In Latin, it is known as "In te Domine speravi". The Book of Psalms is part of the third section of the Hebrew Bible, and a book of the Christian Old Testament. In the slightly different numbering system used in the Greek Septuagint version of the Bible, and in its Latin translation, the Vulgate, this psalm is Psalm 30. The first verse in the Hebrew text indicates that it was composed by David.
Psalm 138 is the 138th psalm of the Book of Psalms, beginning in English in the King James Version: "I will praise thee with my whole heart". In Latin, it is known as "Confitebor tibi Domine in toto corde meo". The psalm is a hymn psalm.
Psalm 43 is the 43rd psalm of the Book of Psalms, known in the English King James Version as "Judge me, O God, and plead my cause against an ungodly nation". In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 42. In Latin, it is known as "Iudica me Deus". It is commonly attributed to the sons of Korah. In the Hebrew Bible, it comes within the second of the five books (divisions) of Psalms, also known as the "Elohistic Psalter" because the word YHWH is rarely used and God is generally referred to as "Elohim".
Psalm 50, a Psalm of Asaph, is the 50th psalm from the Book of Psalms in the Bible, beginning in English in the King James Version: "The mighty God, even the LORD, hath spoken, and called the earth from the rising of the sun unto the going down thereof." In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 49. The opening words in Latin are Deus deorum, Dominus, locutus est / et vocavit terram a solis ortu usque ad occasum. The psalm is a prophetic imagining of God's judgment on the Israelites.
Psalm 56 is the 56th psalm of the Book of Psalms, beginning in English in the King James Version: "Be merciful unto me, O God: for man would swallow me up". In the slightly different numbering system of the Greek Septuagint version of the Bible and the Latin Vulgate, this psalm is Psalm 55. In Latin, it is known as "Miserere mei Deus quoniam conculcavit me homo". The psalm is the first of a series of five psalms in this part of the book which are referred to as Miktams. It is attributed to King David and may be considered representative of him or anyone else hiding from an enemy.
Psalm 57 is the 57th psalm of the Book of Psalms, beginning in English in the King James Version: "Be merciful unto me, O God, be merciful unto me". In the slightly different numbering system of the Greek Septuagint version of the Bible and the Latin Vulgate, this psalm is Psalm 56. In Latin, it is known as " Miserere mei Deus". It is attributed to King David, and is described as a Michtam of David, when he fled from the face of Saul, in the cave, recalling either the cave of Adullam, or the cave in the wilderness of En-gedi, on the western shore of the Dead Sea.
Psalm 59 is the 59th psalm of the Book of Psalms, beginning in English in the King James Version: "Be merciful unto me, O God, be merciful unto me". In the slightly different numbering system of the Greek Septuagint version of the Bible and the Latin Vulgate, this psalm is Psalm 56. In Latin, it is known as "Eripe me de inimicis meis Deu". It is described as "a prayer composed when Saul sent messengers to wait at the house in order to kill him", and commentator Cyril Rodd describes it as a "vigorous plea for the destruction of the psalmist's enemies".
Psalm 65 is the 65th psalm of the Book of Psalms, beginning in English in the King James Version: "Praise waiteth for thee, O God, in Sion: and unto thee shall the vow be performed". In the slightly different numbering system of the Greek Septuagint version of the Bible and the Latin Vulgate, this psalm is Psalm 64. In Latin, it is known as "Te decet hymnus Deus in Sion et tibi reddetur votum in Hierusalem".
Psalm 71 is the 71st psalm of the Book of Psalms, beginning in English in the King James Version: "In thee, O LORD, do I put my trust: let me never be put to confusion". It has no title in the Hebrew version. In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 70. In Latin, it is known as "In te Domine speravi".
Psalm 73 is the 73rd psalm of the Book of Psalms, beginning in English in the King James Version: "Truly God is good to Israel". In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 72. In Latin, it is known as "Quam bonus Israhel Deus his qui recto sunt corde". Psalm 73 is the opening psalm of Book 3 of the Book of Psalms and the second of the "Psalms of Asaph". It has been categorized as one of the Wisdom Psalms", but some writers are hesitant about using this description because of its "strongly personal tone" and the references in the psalm to the temple. The psalm reflects on "the Tragedy of the Wicked, and the Blessedness of Trust in God".
Psalm 86 is the 86th psalm of the Book of Psalms, beginning in English in the King James Version: "Bow down thine ear, O Lord, hear me: for I am poor and needy". In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 85. In Latin, it is known as "Inclina Domine". It is attributed to David.
Psalm 88 is the 88th psalm of the Book of Psalms, beginning in English in the King James Version: "O LORD God of my salvation, I have cried day and night before thee". In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 87. In Latin, it is known as "Domine Deus salutis meae". According to the title, it is a "psalm of the sons of Korah" as well as a "maskil of Heman the Ezrahite".
Attende, Domine is a Christian liturgical chant for the season of Lent, referred to in English as the Lent Prose matching Rorate caeli which is known as the Advent prose. The themes of this hymn are the sinfulness of man and the mercy of God, a theological concept emphasised during Lent.
