GREGORIO See also:

• GREGORIO ALLEGRI

ALLEGRI  , See also:

• ITALIAN

Italian See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest and musical composer, probably of the See also:

• CORREGGIO
• CORREGGIO, or COREGGIO

Correggio See also:

• FAMILY

family, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• ROME
• ROME (Roma)

Rome either in 156o or in 1585 . He studied See also:

• MUSIC

music under G . Maria Nanini, the intimate friend of See also:

• PALESTRINA, GIOVANNI PIERLUIGI DA (1526-1594)

Palestrina . Being intended for the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church, he obtained a See also:

• BENEFICE (Lat. beneficium, benefit)

benefice in the See also:

• CATHEDRAL

cathedral of See also:

• FERMO (anc. 1%irmum Picenum)

Fermo . Here he composed a large number of motets and sacred pieces, which, being brought under the See also:

• NOTICE

notice of See also:

• POPE (Gr. irarraas, post-classical Lat. papa, father)
• POPE, ALEXANDER (1688–1744)
• POPE, ALEXANDER (1763-1835)
• POPE, JANE (1742-1818)
• POPE, JOHN (1822-1892)
• POPE, SIR THOMAS (c. 1507-1559)

Pope See also:

• URBAN
• URBAN (Urbanus)

Urban VIII., obtained for him an See also:

• APPOINTMENT, POWER OF

appointment in the See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir of the Sistine See also:

• CHAPEL

Chapel at Rome . He held this from See also:

• DECEMBER (Lat. decent, ten)

December 1629 till his See also:

• DEATH

death on the 18th of See also:

• FEBRUARY

February 1652 . His See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character seems to have been singularly pure and benevolent . Among the musical compositions of See also:

• ALLEGRI, GREGORIO

Allegri were two volumes of concerti, published in 1618 and 1619; two volumes of motets, published in 162o and 1621; besides a number of See also:

• WORKS

works still in See also:

• MANUSCRIPT

manuscript . He was one of the earliest composers for stringed See also:

• INSTRUMENTS

instruments, and See also:

• KIRCHER, ATHANASIUS (r6oi-168o)

Kircher has given one specimen of this class of his works in the Musurgia . But the most celebrated See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of Allegri is the See also:

• MISERERE (the imperative of Lat. misereri, to have mercy or pity)

Miserere, still annually performed in the Sistine Chapel at Rome . It is written for two choirs, the one of five and the other of four voices, and has obtained a celebrity which, if not entirely factitious, is certainly not due to its See also:

• INTRINSIC (through Fr. intrinsique, from Lat. intrinsecus, inwardly; inter, within, secus, following, from root of sequi, to follow)

intrinsic merits alone . The See also:

• MYSTERY (Gr. µw(Trilpcov, from tcuvrm, an initiate, µfew, to shut the mouth)

mystery in which the composition was See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long enshrouded, no single copy being allowed to reach the public, the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place. and circumstances of the performance, and the added embellishments of the singers, See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account to a See also:

• GREAT

great degree for much of the impressive effect of which all who have heard the music speak .

This view is confirmed by the fact that, when the music was performed at See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice by permission of the pope, it produced so little effect that the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor See also:

• LEOPOLD (M.H. Ger. Liupolt; O.H. Ger. Liupald, from hut, Mod. Ger. Leute, " people," and paid, " bold," i.e. " bold for the people ")

Leopold I., at whose See also:

• REQUEST, LETTERS OF

request the manuscript had been sent, thought that something else had been substituted . In spite of the precautions of the popes, the Miserere has long been public See also:

• PROPERTY

property . In 1769 See also:

• MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart (q.v.) heard it and wrote it down, and in 1771 a copy was procured and published in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England by Dr See also:

• BURNEY, CHARLES (1726-1814)

Burney . The entire music performed at Rome in See also:

• HOLY

Holy See also:

• WEEK (from A.S. wicu, Germanic *wikon, probably=change, turn)

Week, Allegri's Miserere included, has been issued at See also:

• LEIPZIG

Leipzig by Breitkopf and Hartel . Interesting accounts of the impression produced by the performance at Rome may be found in the first See also:

• VOLUME

volume of Mendelssohn's letters and in See also:

• MISS

Miss See also:

• TAYLOR
• TAYLOR, ANN (1782-1866)
• TAYLOR, BAYARD (1825–1878)
• TAYLOR, BROOK (1685–1731)
• TAYLOR, ISAAC (1787-1865)
• TAYLOR, ISAAC (1829-1901)
• TAYLOR, JEREMY (1613-1667)
• TAYLOR, JOHN (158o-1653)
• TAYLOR, JOHN (1704-1766)
• TAYLOR, JOSEPH (c. 1586-c. 1653)
• TAYLOR, MICHAEL ANGELO (1757–1834)
• TAYLOR, NATHANIEL WILLIAM (1786-1858)
• TAYLOR, PHILIP MEADOWS (1808–1876)
• TAYLOR, ROWLAND (d. 1555)
• TAYLOR, SIR HENRY (1800-1886)
• TAYLOR, THOMAS (1758-1835)
• TAYLOR, TOM (1817-1880)
• TAYLOR, WILLIAM (1765-1836)
• TAYLOR, ZACHARY (1784-1850)

Taylor's Letters from See also:

• ITALY
• ITALY (Italia)

Italy .