Miserere Mei: A Suitable Wedding Song?

Miserere Mei, Deus, or Have Mercy on Me, O God, is a song composed by Gregorio Allegri in the 1630s. It is a setting of Psalm 51 in the Old Testament, with lyrics that are largely penitential, asking God for forgiveness. The piece is famous for its beauty and for its soprano or treble solo part that reaches a top C. Traditionally, it was sung in the Sistine Chapel during Holy Week, and it was forbidden to transcribe or play the music anywhere else. However, the legend goes that a teenage Mozart heard the song in the Sistine Chapel, and later wrote down the entire piece from memory. Today, the song is often played during Lent, particularly on Ash Wednesday.

'Miserere Mei' meaning and lyrics

"Miserere Mei", or "Miserere Mei, Deus", is a sacred choral work by Gregorio Allegri, composed in the 1630s. The piece was written for use in the Tenebrae service on Holy Wednesday and Good Friday of Holy Week. It is based on Psalm 51 in the Old Testament, with words that are largely penitential, begging God for mercy and to forgive one's sins. The Latin title "Miserere Mei" translates to "Have Mercy on Me", and the piece is famous for its beauty and for its soprano or treble solo part that reaches a top C.

> Miserere mei, Deus: secundum magnam misericordiam tuam. Et secundum multitudinem miserationum tuarum, dele iniquitatem meam. Amplius lava me ab iniquitate mea: et a peccato meo munda me. Quoniam iniquitatem meam ego cognosco: et peccatum meum contra me est semper. Tibi soli peccavi, et malum coram te feci: ut justificeris in sermonibus tuis, et vincas cum judicaris. Ecce enim in iniquitatibus conceptus sum: et in peccatis concepit me mater mea. Ecce enim veritatem dilexisti: incerta et occulta sapientiae tuae manifestasti mihi. Asperges me hysopo, et mundabor: lavabis me, et super nivem dealbabor. Auditui meo dabis gaudium et laetitiam: et exsultabunt ossa humiliata. Averte faciem tuam a peccatis meis: et omnes iniquitates meas dele. Cor mundum crea in me, Deus: et spiritum rectum innova in visceribus meis. Ne proiicias me a facie tua: et spiritum sanctum tuum ne auferas a me. Redde mihi laetitiam salutaris tui: et spiritu principali confirma me. Docebo iniquos vias tuas: et impii ad te convertentur. Libera me de sanguinibus, Deus, Deus salutis meae: et exsultabit lingua mea justitiam tuam. Domine, labia mea aperies: et os meum annuntiabit laudem tuam. Quoniam si voluisses sacrificium, dedissem utique: holocaustis non delectaberis. Sacrificium Deo spiritus contribulatus: cor contritum, et humiliatum, Deus, non despicies. Benigne fac, Domine, in bona voluntate tua Sion: ut aedificentur muri Ierusalem. Tunc acceptabis sacrificium justitiae, oblationes, et holocausta: tunc imponent super altare tuum vitulos.

And here is an English translation:

> Have mercy on me, O God, according to Thy great mercy. According unto the multitude of Thy tender mercies remove my transgressions. Wash me thoroughly from my iniquities, and cleanse me from my sin. I knowingly confess my transgressions: and my sin is ever before me. Against Thee only have I sinned, and done evil before Thee: that they may be justified in Thy sayings, and might they overcome when I am judged. But behold, I was formed in iniquity: and in sin did my mother conceive me. Behold, Thou desirest truth in my innermost being: and shalt make me to understand wisdom secretly. Thou shalt sprinkle me with hyssop, and I shall be clean: wash me, make me whiter than snow. Open my ears and make me hear of joy and gladness: and my bones that have been humbled shall rejoice. Turn away Thy face from my sins: and remember not all my misdeeds. Create in me a clean heart, O God: and make anew a righteous spirit within my body. Do not cast me away from Thy presence: and take not Thy holy spirit from me. Restore unto me the joy of your salvation, and uphold me with a willing spirit. I will teach those that are unjust Thy ways: and sinners shall be converted unto Thee. Deliver me from blood, O God, the God of my salvation: and my tongue shall sing of Thy righteousness. O Lord, open my lips: and my mouth shall spring forth Thy praise. For Thou desirest no sacrifice, where others would: with burnt offerings Thou wilt not be delighted. Sacrifices of God are broken spirits: dejected and contrite hearts, O God, Thou wilt not despise. Deal favorably, O Lord, in Thy good pleasure unto Zion: build Thou the walls of Jerusalem. Then shalt Thou be pleased with the sacrifices of righteousness, with small and large burnt offerings: then shall they lay calves upon your altar.

Gregorio Allegri, the composer

Gregorio Allegri was an Italian Catholic priest, singer and composer born in Rome in 1582. He was a chorister at the Papal Chapel from 1591 until 1596, when his voice broke. He then became a tenor at S. Luigi del Francesca for the next eight years, and studied under Giovanni Maria Nanino from 1600 until 1607. In 1604, he was a singer and composer at Tivoli and Fermi, and in 1628 he became Maestro di Cappella at S. Spirito in Sassia, Rome. On 6 December 1629, Allegri was appointed as a singer in the Papal Choir, a position he held until his death on 17 February 1652.

Allegri wrote a large body of work, including both instrumental and sacred choral music. He is chiefly known for his Miserere for two choirs, a setting of Vulgate Psalm 50 (= Psalm 51) in Latin: 'Miserere mei, Deus' ('Have mercy on me, O God'). The piece is written for two choirs: one of five and the other of four voices. One choir sings a simple fauxbourdon based on the original plainsong chant for the Tonus peregrinus, while the other choir sings a similar fauxbourdon with pre-existing elaborations and the use of cadenzas. Allegri's Miserere has been performed annually during Holy Week in the Sistine Chapel in the Vatican and is one of the most often-recorded examples of late Renaissance music.

Allegri's Miserere acquired a reputation for mystery and inaccessibility, as the Vatican forbade copies, threatening any publication or attempted copy with excommunication. However, in 1770, a 14-year-old Wolfgang Amadeus Mozart visited Rome with his father and, after hearing the piece just twice, transcribed it faithfully from memory, creating the first known unauthorised copy. There is also evidence that copies of the work may have been circulating in Europe before Mozart's visit, and it is possible that he heard it performed in London in 1764 or 1765.

Mozart's association with the piece

Mozart's association with 'Miserere Mei' is one of the most fascinating stories in the history of music. The piece, composed by Gregorio Allegri in the 1630s, was exclusive to the Sistine Chapel choir and closely guarded by the Vatican, which threatened excommunication for anyone who copied or performed it elsewhere.

In 1770, a 14-year-old Mozart, visiting Rome with his father, heard the piece during a Wednesday service. That same day, he wrote down the entire composition from memory. This was no mean feat, as 'Miserere Mei' is a 15-minute, nine-part choral piece. Mozart's genius and photographic memory enabled him to transcribe all nine different lines of melody, performed simultaneously, after hearing them just once.

Some doubt has been cast on this story, as it is suggested that Mozart may have heard the piece before, during his visit to London in 1764-65, or that he saw Padre Martini on his way to Rome, who was rumoured to have one of only three authorised copies outside the Vatican. However, it remains an incredible testament to Mozart's prodigious talent.

A few days after hearing the piece, Mozart returned to the Sistine Chapel to make corrections to his transcription. Instead of being punished, he was summoned by the Pope, who commended him for his extraordinary musical genius. The score made its way to London, where it was published the following year, in 1771.

The song's history and exclusivity

"Miserere Mei; Deus" is a choral composition by Gregorio Allegri, written in the 17th century. Allegri was an Italian composer and priest, known for his sacred music compositions. The piece was originally composed for use in the Sistine Chapel during the Tenebrae services of Holy Week. Due to its exclusivity and aura of mystery, the Vatican forbade its publication or dissemination outside of the Vatican, threatening excommunication for anyone who attempted to copy or publish it without authorisation.

The song is based on Psalm 51 and is traditionally sung in Latin. The title translates to "Have mercy on me, O God", and the psalm is a plea for forgiveness, expressing deep sorrow and repentance. The lyrics capture the raw emotions and vulnerability of the psalmist, acknowledging our universal need for mercy and forgiveness.

The piece is known for its haunting melody and expressive words, creating an atmosphere of introspection and spiritual longing. It is composed for two separate choirs: one of four voices and the other of five. The blend of sadness, repentance, and hope in "Miserere Mei; Deus" has captivated listeners for centuries and is considered a masterpiece of choral music.

The song became more widely known when, according to legend, a young Mozart heard it during a visit to Rome and transcribed it from memory. This legend is considered apocryphal by some, as it is highly likely that Mozart would have come across the piece before, given its significant popularity in musical circles. However, it is true that Mozart did transcribe the piece, and his handwritten copy has been lost to history.

The song's structure and composition

"Miserere Mei, Deus" (full title), or simply "Miserere", is a musical composition by Italian composer Gregorio Allegri. It was composed during the reign of Pope Urban VIII, probably in the 1630s, specifically for use during the Tenebrae services of Holy Week in the Sistine Chapel. The piece is a setting of Psalm 51 (Psalm 50 in Septuagint numbering) and is among the most frequently recorded pieces of late Renaissance music.

The structure of "Miserere Mei, Deus" is intricate and varied. It is written for two choirs, one of five voices and the other of four, which alternate singing verses and then join together for a nine-voice finale in the final verse. The verses are played in three different musical forms: the first is a choral homophony structure; the second is in the Gregorian chant form, which is monophonic and mystical; and the third is a soloist quartet in SATB form, similar to the first form but with a melodic line from the soprano. Each verse follows this pattern, ending with a homophonic chorale.

The piece is considered a masterpiece of polyphony, with its intricate interplay between the two choirs. The original vocal forces for the choirs were SATTB and SATB, but in the 18th century, one of the tenors was transposed up an octave, resulting in the SSATB setting that is most commonly performed today.

The "Miserere" is known for its ornamentation, a Renaissance technique closely guarded by the Vatican, which contributed to the air of mystery surrounding the piece. The version most performed today includes the famous "top C" in the second half of the four-voice falsobordone, which was added by a copyist in the 1800s.

With its combination of choral and solo passages, Gregorian chant, and intricate polyphony, "Miserere Mei, Deus" is a complex and captivating musical composition that has endured as one of the most renowned a cappella choral works.

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