- “ É facile ”, piensa, mientras intenta glimpse the pontiff knelt in the single candle that stays lit in front of the huge fresco. "Harmonising the Gregorian , alternating between a five-part chorus and one to four, each separated by a chant in Cantollano Monod. Begin with recitation of verses and end with cadences flowered. A speech by pianissimo, decorating around the cantus firmus and from the second chorus, a bright and angelic (a castrato, no doubt) do a simple previous acute descending scale, all other voices mientral hold the note. A series of suspensions creates sound effects based on dissonance. Semicoros The two met in the final verse ... "
- " e questo adagio last verse when singing and piano, a little bit smorzando l'harmony " concludes triumphantly, whispering to the place where his father sensed in the darkness that has engulfed the papal chapel.
Rome, 1770, the child Wolfgang Amado de Deus memorized and transcribed Miserere by Gregorio Allegri (1582-1652), starting the secret jealously Guada and punishable by excommunication dissemination outside the Vatican. His execution was limited to service on Easter Darkness in a typically Baroque theatrical effect: An hour and a half during a homophonic singing which the sails were turning to the rhythm of the verses to end in complete darkness with Miserere. Then the Cardinals beat the ground with his feet to represent the chaos of a world without the heavenly light.
-Score Score http://www.megaupload.com/?d=Y9SUGVL6
The first recording was made by David Willcocks (using its own edition, which is sung, heresy, in English ...) directing the Choir of King's College, Cambridge (founded in 1446 no less). The contribution of timbre unearthly pure, strong, serene, immaterial of a boy soprano 12 years, Roy Goodman (now director of The Hanover Band) which recently completed a rugby match, recorded without heating the voice and dirty knees clay ( boys ... ). Making sound was full, unretouched later and tired imperfection that (keeping the volume down to recreate an eerie tone of penitence) lies perhaps the solemn magic that made the album an instant classic (Decca, 1963). The King's College Chapel with its broad sound resounds in this remastering has removed the hiss from the original tapes, but has added some intriguing and confounding effects in the mix of microphones. Fragrant, methodical and evocative reading of the purest singing Anglican tradition bound and precise, emphasizing the beauty of masculine tone above the dramatic interpretation that has become somewhat outdated stylistically, especially in the aural affront.
Stephen Cleobury Two decades later proposed a version also with florida Choir of King's College, Cambridge (EMI, 1984). The boy soloist Timothy Beasley-Murray climbs to the left and agile royals, youthfully outgoing, but collected, alas, too close and profiling (some pictures are better with a telephoto lens to blur the imperfections of the face), making it impossible to hide invariably misleading vocalization. The haw suffers from ethereal sense, clarity and security harmonic rhythm of other versions. By contrast, the starkness of phrasing in the sections of Cantollano gives an attractive sense of spontaneity, especially in low voices (how I like to hear an interpretation of this work by the Ensemble Organum). The foggy sound making documents the cavernous acoustics of the chapel of King's College, which masks the location of the chorus (separated by space of the body) and its articulation and intelligibility.
Pro Cantione Antiqua directed by Mark Brown (Regis, 1985) tries to minimize the repetitive nature of the composition using only the embellishments in the repetitions of the verses. In this romantic version may not be so pasted the voices not as refined intonation (Suzanne Flowers is the soprano soloist), but it raises a powerful and expressive impact on earth and in the 2 nd measure which highlights the disonacia in tenor voice.
Simon Preston in front of Westminster Abbey Choir (directed at the time by such illustrious musicians as Blow or Purcell) offers an approach to liturgical , warmly spiritual, optimistic and passionate inspiration. The large contingent coral (14 children balanced by 5 high, 6 tenors and 6 bass) gives a more opulent sound than usual, especially in the rugged natural sections Cantollano of pronunciation. The semicoro to four anonymous child who receives the soloist is a considerable distance in the cozy acoustic the All Saints Church (Archiv, 1985), so transparency is lost and individualization of the polyphonic lines, which itself is fully achieved in the other semicoro.
This is a piece almost impossible to guess at historicist criteria (HIP ) as not retained the original score of Allegri, 1638 and was a practice during the eighteenth century improvisatory embellishments added in the upper register. The edition is commonly performed a chimera prepared by Ivor Atkins in 1951 that incorporates multiple points of hearing transcripts that carried Charles Burney (1771), perhaps from the manuscript of Mozart, Felix Mendelssohn (1831), Pietro Alfieri (1840), WS Rockstro (1880), and Robert Haas (1932). The indications of tempo and dynamics are almost nonexistent, so the text is the key to musical interpretation. Once the meaning and context is established, it is time to explore the nuances, subtle variations of pace, verbal accents. Thus, Andrew Parrott Taverner Consort and the present (the edition is prepared by Hugh Keyte) a time machine version where each verse is played at a different evolutionary history, detailing the progressive invasion virtuous ( abbellimenti ) in the musical text, as preserved in Vatican manuscripts. Thus the opening lines, stripped of the accretions that have been deposited centuries may seem a musicological attempt failed, a piece of archeology on a shelf in a museum without gusset. The ornaments are discreet and in no case extravagant, with some oriental melismas. With higher l ines accented song is recited monodic fast and loud, often with acceleration and exotic flavor retention. A slow tempo (it's like forced) to a voice part, slightly shrill voice of the soprano Tessa Bonner, only scale up "the ," according to the pitch to accommodate the recreation provided to your source early. Bright and polished sound recording located in the Temple Church of lengthy resonance (EMI, 1986).
Although the founder the Chapel of Sixtus IV (1471-1484) established a choir of 24 singers, a number that rose to 32 in the course of the next century, the embellishments in the song are hard to run out of a voice part. Furthermore, when the Pope was present, the choir was confined to the narrow platform on the south wall of the chapel, and therefore no possibility of spatial separation of the chorus. I note this because, refusing to take note of the musicological discoveries of the Taverner Consort, Harry Christophers and The Sixteen used (surprisingly) 18 voices split into two mixed choirs in the English style, leading to a net loss of detail in each intervention group away (Coro, 1989). Al perfect control line (stretching from the crystal clarity to the most intense wealth and back again), precision of attack, and infallible intonation, is added in its second recording for Decca in 2004 -making sound that faithfully reflects the warm acoustics of All Hallows Church in London . Differing from other sets where the goal is the seamless filling , members of The Sixteen allowed the freedom to sing with his timbre, color, vibrato, individualized ... (as the steel cutting edge of the female voices that brings forth life ), achieving a great sense textured with realistic results. For its part, the solo Elin Manahan Thomas back the tops without any apparent effort on your part .
At this point all readings (except Parrots) are firmly seated in English traditional publishing. By contrast, the French vocal ensemble A Sei Voci (Astree, 1993) based their interpretation on a rigorous reconstruction due to Jean Lionnet, combining the return of original manuscripts with inquiries regarding the interpretation, dissemination and training in its true context, much more Mediterranean : harmonization Baroque gives us a reenactment of what could be a hearing Miserere at the time that Allegri was the official composer Sistine Chapel , with complex melismatic ornamentation, contrapuntal and cadential in all voices. Ollowing models S S. XVII ornaments vary in each verse, without romanticism added, southern cooking heat verb ( tempo) slow. Huge sound decision made in the Priory of Vivoin, well balanced and directed by Bernard Fabre-Garrus.
Although there are four versions of the work due to the Tallis Scholars directed by Peter Phillips (all published by the label Gimell), essential fees have varied little: The atmospheric record of 1980 gives the part some variety by placing juveniles mixed choirs vast distances of space in the Chapel of Merton College Oxford and has spectral collaboration as soprano soloist Alison Stamp . In 1994 he made a video in the Sistine Chapel itself to building restoration work of the frescoes of Michelangelo. Finally, in 2005 released an album with two additional versions: one with the eighteenth edition that the abbellimenti left for top line, and one with additional dressing developed by Deborah Roberts and based on their hundreds of executions in public. These 25 years can appreciate the technical developments Tallis, all quintessential Renaissance polyphonic repertoire, which provided a model based conceptual approach, especially in the clarity and balance the exposure of the lines and the pitch-is immovable been refined to achieve the perfect filling and extraordinary naturalness of polyphonic discourse that demonstrates this last recording. If all readings are received by the serene song, naturalness and presence, depth and refinement, in the latter emerges an unusual strength in the timbre of the singers and a wider range colors and textures. Cantollano verses are made with one voice, with big pauses in between monastic sense. Otrosí, the benefit of sound engineering urges us to choose this interpretation , also recorded in the Merton College Chapel.
In Soul BBC Radio 4 series exploring music famous pieces of music and their emotional appeal. Textile designer Kaffe Fassett, writer Sarah Manguso and conductor Roy Goodman explain how they have all been deeply affected by the transformative power of this composition. I warmed to the director of the Tallis Scholars, who said simply of hearing the Miserere for the first time: " It knocked my socks off " .
In 2008 BBC video “ Sacred Music: The Story Of Allegri's Miserere”, actor Simon Russell Beale tells the story behind one of the most popular pieces of sacred music ever written. Once decreed by the Pope to be too beautiful to be heard outside the Sistine Chapel, Allegri's Miserere has become one of the best loved and most recognisable pieces of choral music, famous for its soaring high notes. The programme features a full performance of the piece by the award-winning choir The Sixteen conducted by Harry Christophers from LSO St Luke's.
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