G-NET II

BRUTAL DOWNLOAD via EMULE ver LINK em baixo Manuscript Sources of Allegri's Miserere A study compiled by Ben Byram-Wigfield 1. Choir I: Miserere mei, Deus: secundum magnam misericordiam tuam. 2. Cantor: Et secundum multitudinem miserationem tuarum: dele iniquitate meam. 3. Choir II: Amplius lava me ab iniquitate mea: et a peccato meo munda me. 4. Cantor: Quoniam iniquitatem meam ego cognosco: et peccatum meum contra me est semper. 5. Choir I: Tibi soli peccavi et malum coram te feci: ut justificeris in sermonibus tuis, et vincas cum judicaris. judgement. 6. Cantor: Ecce enim in iniquitatibus conceptis sum sum: et in peccatis concepit me mater mea. 7. Choir II: Ecce enim veritatem in corde dilexisti: incerta et occulta sapientiae tuae manifestasti mihi. 8. Cantor: Asperges me hyssopo, et mundabor: lavabis me, et super nivem dealbabor. 9. Choir I: Auditui meo dabis gaudium et laetitiam: et exsultabant ossa humiliata. 10. Cantor: Averte faciem tuam a peccatis meis: et omnes iniquitates meas dele. 11. Choir II: Cor mundum crea in me, Deus: et spiritum rectum innova in visceribus meis. 12. Cantor: Ne proicias me a facie tua: et spiritum sanctum tuum ne auferas a me. 13. Choir I: Redde mihi laetitiam salutaris tui: et spiritu principali confirma me. 14. Cantor: Docebo iniquos vias tuas: et impii ad te convertentur. 15. Choir II: Libera me de sanguinibus, Deus, Deus salutis meae: et exultabit lingua mea justitiam tuam. 16. Cantor: Domine, labia mea aperies: et os meum annuntiabit laudem tuam. 17. Choir I: Quoniam si voluisses sacrificium, dedissem utique: holocaustis non delectaberis. 18. Cantor: Sacrificium Deo spiritus contribulatus: cor contritum, et humiliatum, Deus, non despicies. 19. Choir II: Benigne fac, Domine, in bona voluntate tua Sion: ut aedificentur muri Ierusalem. 20. Choir I: Tunc acceptabis sacrificium justitiae, oblations, et holocausta: tunc imponent super altare tuum vitulos. Gregorio Allegri: Miserere mei and the Sistine Chapel Choir in the 18th century. by Ben Byram-Wigfield -------------------------------------------------------------------------------- Some have stood in an opinion, which to me seems very improbable, that men accustomed to descanting can sing together on a plainsong, without singing either false chords or forbidden descant, one to another, which, till I see it, I will ever think impossible. For though they should all be most excellent men, and every one of their lessons by itself so well framed to the ground, yet it is impossible for them to be true, one to another, unless one man should cause all the rest to sing the same as he sang before them. Thomas Morley, A Plain & Easy Introduction to Practical Music, 1597 -------------------------------------------------------------------------------- Performance Practice It is clear that throughout the eighteenth century Allegri's work was performed as written in MSS 185 & 206, ornamentation aside. It is this that the fourteen year old Mozart would have heard in 1770, and it is from this that the piece's reputation spread. The similarity between the ornaments in MS 31525 and those detailed by Alfieri, Amann and Mendelssohn would suggest a certain authority. The biggest legend lies in the practice of the performance itself. These ornaments are not Baroque additions to the work, but pre-extant Renaissance ones! They are originally based on the Papal Chapel choir's ability to improvise counterpoint around a cantus firmus, and with this came ornamentation of certain contrapuntal sequences. Such masters as Ockeghem and Josquin have left records of how they expected specific polyphonic movement to be ornamented, particularly movement up and down the scale. Today, imitative decoration is still camped up by Lay Clerks singing verse anthems in cathedrals all over Britain, who can recognise the appropriate gem for a certain harmony. So, it may be that Allegri composed the work to show off these existing ornaments in a new light. The similarity between the recorded ornaments over an hundred years confirms that this was not improvisation, but a regulated system. However, by the eighteenth century, this ability was almost extinct outside the Vatican, so did they still perform in the same way as their forebears, or did they learn it by wrote? It is not clear whether the Papal Choir were still tutored in such traditions of Palestrina by the eighteenth century. But could the ornaments presented here be sung ad libitum without any collusion? Over the history of the work, it is hard to imagine that this was so rarely consigned to paper. Indeed, the music for Tenebrae was rehearsed, a rare treat in those days, because it would be performed in near darkness. The source of the ornaments is beyond doubt from the renaissance teachings of such masters as Palestrina. How they were performed in the 18th century is still questionable. Those ornaments in the first choir, shown in MS 31525 and elsewhere, are clearly not based in polyphonic theory, but merely a baroque attempt to complement its renaissance partner. Of course, it may be that MS 185 is the ornamentation for the choir a 5. Burney's model for this choir is then another refinement, possibly written by the young Mozart himself. Legends The legend of secrecy stemmed, no doubt, from the failure to appreciate the source of the ornaments. The only rite of initiation was the standard musical training of the day. If there was a decree of excommunication put on illegal copyists, then it can only have been an attempt to stop all copying from the choir's library. The number of unauthorised sources outside the Vatican bear testiment to this. There were supposedly three authorised copies outside the Vatican, held by Emperor Leopold I, the King of Portugal, and Padre Martini. Leopold had requested the Pope that the imperial choir in Vienna might perform it, and he was duly sent a copy, but it was clearly unornamented, as he complained to the Pope that he had been sent some inferior work. Padre Martini (1706 - 1784) was sent one out of the high regard in which he was held throughout Europe as a music scholar. Burney is said to have made his copy from the signer Santarelli, but then compared it with that of Padre Martini in 1770. It is curious, therefore, that his choir a 5 is more ornate than the Vatican sources, and his choir a 4 less so. Mozart also visited Padre Martini in Bologna prior to his attending the Holy Week performance in 1770. It was at this performance that he, at the age of 14, famously copied out the forbidden music after one hearing. In the summer of that year, Mozart composed his own Miserere, K85, which was influenced by what he had heard. By co-incidence, Padre Martini had studied theology at San Filippo Neri, where Allegri was buried. Capela Sistine Miserere Mei Passiemuziek voor Kathedralen Benefietconcert op 4 mei 2002 in de Antwerpse O.L.Vrouwekathedraal. In samenwerking met Broederlijk Delen. Programma Credo Guillaume Legrant (ca.1406 - ca.1456) - à 3 Nymphes des bois Josquin Desprez (ca.1440 - 1521) - à 5 Crucifixus Antonio Lotti (ca.1667 - 1740) - à 8 Agnus Dei Constanzo Porta (1529 - 1601) - à 14 Miserere Mei Gregorio Allegri (1562 - 1652) - à 5 Lamentationes João Lourenço Rebelo (1610 - 1661) - à 8 Os Justi Anton Bruckner (1824 - 1896) - à 8 Kanon Pokajanen - Ode 1 Arvo Pärt (1935) - à 7 Song for Athene John Tavener (1944) - à 12 De Profundis Alain De Ley (1961) - à 5 Ralph Vaughn Williams Os Justi Anton Bruckner (1824 - 1896) - à 8 Kanon Pokajanen - Ode 1 Arvo Pärt (1935) - à 7 Song for Athene John Tavener (1944) - à 12 De Profundis Alain De Ley (1961) - à 5 Ralph Vaughn Williams Ensemble Polyfoon oprichtte Choir of New College Oxford The Choir King's College, Cambridge ed2k://|file|Gregorio.Allegri.-.Miserere.mei,.Deus.(Choir.of.New.College,.Oxford).mp3|21371716|AFD9054E1F6A91EE87085C0C98FC51C1|/