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See also:ALLEGRI, GREGORIO , See also:Italian See also:priest and musical composer, probably of the See also:Correggio See also:family, was See also:born at See also:Rome either in 156o or in 1585. He studied See also:music under G. Maria Nanini, the intimate friend of See also:Palestrina. Being intended for the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church, he obtained a See also:benefice in the See also:cathedral of See also:Fermo. Here he composed a large number of motets and sacred pieces, which, being brought under the See also:notice of See also:Pope See also:Urban VIII., obtained for him an See also:appointment in the See also:choir of the Sistine See also:Chapel at Rome. He held this from See also:December 1629 till his See also:death on the 18th of See also:February 1652. His See also:character seems to have been singularly pure and benevolent. Among the musical compositions of Allegri were two volumes of concerti, published in 1618 and 1619; two volumes of motets, published in 162o and 1621; besides a number of See also:works still in See also:manuscript. He was one of the earliest composers for stringed See also:instruments, and See also:Kircher has given one specimen of this class of his works in the Musurgia. But the most celebrated See also:composition of Allegri is the See also:Miserere, still annually performed in the Sistine Chapel at Rome. It is written for two choirs, the one of five and the other of four voices, and has obtained a celebrity which, if not entirely factitious, is certainly not due to its See also:intrinsic merits alone. The See also:mystery in which the composition was See also:long enshrouded, no single copy being allowed to reach the public, the See also:place. and circumstances of the performance, and the added embellishments of the singers, See also:account to a See also:great degree for much of the impressive effect of which all who have heard the music speak. This view is confirmed by the fact that, when the music was performed at See also:Venice by permission of the pope, it produced so little effect that the See also:emperor See also:Leopold I., at whose See also:request the manuscript had been sent, thought that something else had been substituted. In spite of the precautions of the popes, the Miserere has long been public See also:property. In 1769 See also:Mozart (q.v.) heard it and wrote it down, and in 1771 a copy was procured and published in See also:England by Dr See also:Burney. The entire music performed at Rome in See also:Holy See also:Week, Allegri's Miserere included, has been issued at See also:Leipzig by Breitkopf and Hartel. Interesting accounts of the impression produced by the performance at Rome may be found in the first See also:volume of Mendelssohn's letters and in See also:Miss See also:- TAYLOR
- TAYLOR, ANN (1782-1866)
- TAYLOR, BAYARD (1825–1878)
- TAYLOR, BROOK (1685–1731)
- TAYLOR, ISAAC (1787-1865)
- TAYLOR, ISAAC (1829-1901)
- TAYLOR, JEREMY (1613-1667)
- TAYLOR, JOHN (158o-1653)
- TAYLOR, JOHN (1704-1766)
- TAYLOR, JOSEPH (c. 1586-c. 1653)
- TAYLOR, MICHAEL ANGELO (1757–1834)
- TAYLOR, NATHANIEL WILLIAM (1786-1858)
- TAYLOR, PHILIP MEADOWS (1808–1876)
- TAYLOR, ROWLAND (d. 1555)
- TAYLOR, SIR HENRY (1800-1886)
- TAYLOR, THOMAS (1758-1835)
- TAYLOR, TOM (1817-1880)
- TAYLOR, WILLIAM (1765-1836)
- TAYLOR, ZACHARY (1784-1850)
Taylor's Letters from See also:Italy.
End of Article: ALLEGRI, GREGORIO
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