Allegri: Miserere + Works by Frescobaldi, Gabrieli, Marenzio, Nanino, and Ugolini

TWO CHOIRS OF KING'S COLLEGE SEPARATED BY TEN YEARS, BUT STILL SUPERIOR!Rome and Venice: two great centres of Italian music in the 16th and 17th centuries.One of the principal figures of the Roman school of composition was Nanino whe was not only a respected composer but also a teacher of some repute, whose teachers included himself, his brother and none other than Palestrina. Another who passed through the tutellage of Nanino was Gregorio Allegri. In 1629 he became a singer in the Papal Chapel choir, for which he wrote his famous 'Misere mei'.Girolamo Frescobaldi is remembered more as a composer of works for harpsichord and organ, though his choral output was considerable. Like Frescobaldi, Luca Marenzio is not now remembered for his sacred music, but for his vast output of secular madrigals.In St. Mark's Venice the building has been uniquely influential on the composers connected with it. This has come about from the simple fact that there are two separate choir lofts, each with its own organ, encouraging composers to use two choirs widely spaced to antiphonal effect. (You can get a good picture of this in Gardiner's DVD of Monteverdi's 'Vespro Della Beata Virgine'; excellent live performance,)This technique of 'coro spezzati' had been long established but reached its peak in the works of Gabrieli.Gabrieli took the idea of contrast to the very limits, juxtaposing in every combination, two, three or four choirs (as in 'Omnes gentes'and 'Buccinate in Neomenania tuba'), organ, brass ensembles, solo voices ranged against the full forces of instruments and choirs. The dramatic effects would have been heightened by positioning the players and singers at all corners of the building, surrounding the worshipper with the most glorious sound.There are two choirs, each with different conductors and recording dates, on this disc. Stephen Cleobury recorded his portion in 1983, while David Willcocks choir is from 1973. Both choirs are above reproach in their performance. They are truly outstanding in every way. A quote from Gramophone concerning the rendition of Frescobaldi's 'Messa sopra.....' is as follows: '"Frescobaldi's Missa sopra l'aria della Monica' is genuinely engaging....As a piece it is full of surprises and original ideas, and its qualities are well brought out by some light and lively singing." To this I heartily agree; it was delightful to hear and such perfection in all the selections in blending, choral balance, diction and that wonderful crystal-clear sound of the boy sopranos and the mellow male altos. Another 'gem' from King's.!

TWO CHOIRS OF KING'S COLLEGE SEPARATED BY TEN YEARS, BUT STILL SUPERIOR!Rome and Venice: two great centres of Italian music in the 16th and 17th centuries.One of the principal figures of the Roman school of composition was NANINO, a teacher of some reputation who among his many students included PALESTRINA and ALLEGRI (who wrote his famous 'Miserere mei'in 1629).FRESCOBALDI is remembered more as a composer of works for harpsichord and organ, though his choral output was considerable. Like FRESCOBALDI, MARENZIO is not now remembered for his sacred music, but for his vast output of secular madrigals.In St. Marks, Venice, the building has been uniquely influential on the composers connected with it. This has come about from the simple fact that there are two separate choir lofts, each with its own organ, thus encouraging composers to use two choirs widely spaced for antiphonal effect. (You can get a good picture of this in Gardiner's DVD of Monteverdi's 'Vespro Beate Virgine....'; excellent live performance).GABRIELI took the idea of contrast to the very limits, juxtoposing in every combination two, three of four choirs (as in 'Omnes, gentes' and 'Buccinate....') organ, brass ensembles, solo voices ranged against the full forces of instruments and choirs. The dramatic effects would have been heightened by positioning the players and singers at all corners of the building creating and exciting and glorious sound.There are two different recording dates on this disc: Cleobury 1983 and Willcocks 1973. Both choirs sing equally well as can be expected from King's College groups. They are outstanding as they apply their flawless diction combined with a sonority that is certainly partially created by the crystal-clear sound of the boy sopranos along with the mellow male alto voices. A quote from GRAMOPHONE concerning Frescobaldi's 'Messa Sopra....' is as follows: "Frescobaldi's 'Messa Sopra...' is genuinely engaging..As a piece it is full of surprises and original ideas, and its qualities are well brought out by some light and lively singing." ANOTHER GEM FROM KING'S.

Quite simply the best version of Gregorio Allegri's Miserere mei, Deus.This is with out a doubt the most beautiful and haunting piece of choral music there is.February 2010 Update.As my few lines have been of help I decided to expand a little on my thoughts above.What makes this recording stand out above the rest?Well the Kings College version of 1963 although excellent does I feel show its age in terms of recording quality and also that it is sung in English not Latin. This 1983 recording has that same warm mellow sound of the 1963 one, but is sung in Latin. This coupled with perfect recording and mixing just give it the edge I feel over all the other recordings that I have.If like me you just love listening to this piece of music then I highly recommend the following recordings of Miserere mei, Deus by The Choir of St John's College on their album Meditation, St. Paul's Cathedral Choir on their album The Music of St. Paul's Cathedral and The Choir of New College Oxford on their album Agnus Dei.

I couldn't agree more with one of the reviews I read in that once listened to it is rather hard to stop! Interestingly, I am currently reading a book by Fiona McLaren called "Da Vincis Last Commission". In it, she talks about the "Miserere" and how for some time it was banned from being performed except for inside the Sistine Chapel. The reason for this is because it contains a note known as the devils chord or devils interval. One of the explanations for this ban is thought to be because the note when incorporated in a piece such as this, brings you exceptionally close to divinity. I think they may have a point! Feeling a lot calmer after a day in the City having listened to it when I came home. Wonderful CD which I know I will have many hours of pleasure listening to.

Gobsmackingly beautiful. I actually bought this in error. I wish I could make such an error every ten years then I'd be twice as content with life as I already am.On another point, the young voice does not always seem to have accuracy of punctuation but this, combined with a texture that is stunning, only adds to the celebration of man doing his damndest to rise above his imperfections.I defy anybody to hear this without spiritual profit.

If you enjoy choral music, you will love this CD. The boy Soprano is extraordinary. Beautiful sound production. I heard a little of it on the radio which prompted me to buy it. I have to limit myself as everyone else in the house is bored with my playing it over and over again. Perfect for listening to on a long journey.

Absolutely wonderful music, can't get any better. The boys voices soar beautifully. I bought it really for the Allegri Miserere but the rest of the music on the cd is also beautiful. I am playing it over and over again. I can't recommend it highly enough.