Gregorio Allegri
Gregorio Allegri began his musical education as a puer, or boy chorister, at the church of San Luigi dei Francesi in Rome. He studied under Giovanni Bernardino Nanino, who served as maestro di cappella there. This training occurred before he was intended for Church service. Later, he obtained a benefice in the cathedral of Fermo. While serving this position, he composed many motets and other sacred music pieces. These works eventually reached Pope Urban VIII. The Pope's recognition led to an appointment for Allegri in the choir of the Sistine Chapel at Rome. He held this post from the 6th of December 1629 until his death on the 18th of February 1652.
Allegri published two volumes of concerti for five voices during 1618 and 1619. Two additional volumes of motets for six voices appeared in 1621. An edition of a four-part sinfonia also exists among his works. Five masses and two settings of the Lamentations of Jeremiah complete his known output. Most of his published instrumental music follows the progressive early Baroque stile concertato style. However, his work for the Sistine Chapel descends directly from the Palestrina tradition. In some cases, it strips even that refined style of almost all localized ornamentation. Athanasius Kircher included one specimen of his stringed instrument works in Musurgia Universalis. Critics credit him with composing the earliest string quartet.
A special visit occurred in 1770 from a fourteen-year-old named Wolfgang Amadeus Mozart. He traveled to Rome with his father and heard the piece performed twice. Mozart transcribed it faithfully from memory, creating the first known unauthorized copy. Evidence suggests that copies predating this 1770 visit had already circulated in Europe. Mozart may have heard the piece performed in London during 1764 or 1765. In 1771, Dr Charles Burney procured and published Mozart's copy in England. Burney's edition does not show the ornamentation for which the work was famous. Felix Mendelssohn recorded interesting accounts of the impression produced by performances at Rome in his letters.
The music performed today includes a strange error introduced by a copyist in the 1880s. The curious trucker gear change from G minor to C minor exists because the
second half of the verse is the same as the first half but transposed up a fourth. The original never contained a Top C note. The entire music performed at Rome in Holy Week has been issued at Leipzig by Breitkopf and Härtel. Miss Taylor documented impressions of the performance in her Letters from Italy. Modern editions often reflect these historical errors rather than Allegri's original intent.
Common questions
When did Gregorio Allegri serve as a member of the Sistine Chapel choir?
Gregorio Allegri held his post in the choir of the Sistine Chapel at Rome from the 6th of December 1629 until his death on the 18th of February 1652. He obtained this appointment after Pope Urban VIII recognized his sacred music works.
What musical compositions did Gregorio Allegri publish during the early 17th century?
Gregorio Allegri published two volumes of concerti for five voices during 1618 and 1619, followed by two additional volumes of motets for six voices in 1621. His known output also includes an edition of a four-part sinfonia, five masses, and two settings of the Lamentations of Jeremiah.
How did Wolfgang Amadeus Mozart contribute to the history of Gregorio Allegri's famous piece?
Wolfgang Amadeus Mozart transcribed Gregorio Allegri's work faithfully from memory during a visit to Rome in 1770, creating the first known unauthorized copy. Dr Charles Burney subsequently procured and published Mozart's version in England in 1771.
Why does the modern performance of Gregorio Allegri's music contain errors regarding key changes and notes?
A strange error introduced by a copyist in the 1880s caused a curious trucker gear change from G minor to C minor because the second half of the verse is the same as the first half but transposed up a fourth. The original composition never contained a Top C note, yet modern editions often reflect these historical mistakes rather than Gregorio Allegri's original intent.