Miserere - Musik

Gregorio Allegri * 1582 In Rom † 17. Februar 1652 Ebenda War Ein Italienischer Priester Komponist Und Tenorsänger. Seit 1591 War Er Chorknabe An San Luigi De Francesci Und Wie Sein Bruder Domenico Allegri 1585-1629 Schüler Des Giovanni Maria Nanino. Von 1607 Bis 1621 War Er Kapellmeister Am Dom Zu Fermo. Von 1629 Bis Zu Seinem Tode War Er Päpstlicher Kapellsänger In Den Diensten Des Papstes Urban VIII.. Seine Wohl Berühmteste Komposition Ist Das Neunstimmige Miserere Das Im Laufe Der Jahre Viele Zusätzliche Einflüsse Und Veränderungen Erfuhr. Das Stück Wurde Bis 1870 Jedes Jahr In Der Karwoche In Der Sixtinischen Kapelle Aufgeführt Und Durfte Nicht Kopiert Werden. Bei Einem Besuch Dort Im Jahr 1770 Hörte Wolfgang Amadeus Mozart Das Musikstück Und Schrieb Es Später Aus Dem Gedächtnis Nieder. Ihm Ist Wohl Zu Verdanken Dass Das Stück Nicht Für Immer Verloren Ging. Das "Miserere" Beeindruckte Auch Johann Wolfgang Von Goethe Und Felix Mendelssohn-Bartholdy. Des Weiteren Verfasste Allegri Messen Motetten Ein Tedeum Ein Magnificat Concertini Und Eine Vierstimmige Streichersonate. read less

16 ähnliche Künstler wie Gregorio Allegri - Frogtoon Musik

Giovanni Pierluigi Da Palestrina Claudio Monteverdi Thomas Tallis Anonymous Hildegard Von Bingen The Tallis Scholars William Byrd Henry Purcell John Dowland Dietrich Buxtehude Giovanni Battista Pergolesi Wolfgang Amadeus Mozart Jean-Baptiste Lully Johann Sebastian Bach Arcangelo Corelli Josquin Des Prez

Gregorio Allegri wrote this motet which is a setting of the Vulgate Psalm 50. While this psalm has been written to music by many composers, this version is the most popular version, even over those of more-famous composers, such as Giovanni Pierluigi da Palestrina, Tomás Luis de Victoria, and William Byrd. Originally written for use only in the Papal Court, this piece was captured and written by a 14-year old Mozart who heard the piece once, and wrote it as he had remembered it. Shortly thereafter, he returned to the Papal Court to hear it a second time and corrected a few minor problems with his work. This was the first bootleg copy of the piece. Yes, Mozart got in trouble for this. The Vatican's version of the RIAA was all over him. No surprise, considering it's Mozart. He spent his life in trouble. The piece itself was written for 2 choirs and a schola (commonly, the tenor section fills this role). The first choir, consisting of two soprano sections, an alto section, a tenor section, and a bass section, begins the piece. The second choir, written for 4 voices (2 sopranos, an alto and a bass), usually sung by soloists, follows in the haunting style of the first choir, but it is the second choir that contains the single most-recognized passage in all of choral literature -- the high C which decreases pitch in step-wise motion, ending the line with a G-major chord, in the modern version. A chanted verse follows each choral section, keeping the choirs separated. The piece consists of a regular pattern of choir 1, chant, choir 2, chant. On the final verse (verse 20), both choirs join together to form a 9-part harmony that ends the piece. If you're a math whiz, you'll realize that the schola should be singing on verse 20, and not the choirs. This is the exception to the pattern established before. Allegri has the second choir finish their pattern and then reintroduces the first choir for the final. The verses when sung slowly and meditatively call the listener to remember their offenses to the Lord and pray for mercy and forgiveness, and when sung more powerfully (as here on this version) push the listener to recognize the power of God's mercy and His Salvific Will. In any case, whether through soft suggestive tones, through powerful cadences, or through whatever other method employed by the conductor, a successful performance will call any and all the listeners to repentance. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.