Allegri/Palestrina Sacred Choral Works
View record and artist detailsRecord and Artist Details
Composer or Director: Giovanni Palestrina, Gregorio Allegri
Label: Ovation
Magazine Review Date: 5/1989
Media Format: CD or Download
Media Runtime: 56
Mastering:
ADD
Catalogue Number: 421 147-2DM
Tracks:
Composition | Artist Credit |
---|---|
Miserere mei |
Gregorio Allegri, Composer
David Willcocks, Conductor Gregorio Allegri, Composer King's College Choir, Cambridge Roy Goodman, Treble/boy soprano |
Stabat mater |
Giovanni Palestrina, Composer
David Willcocks, Conductor Giovanni Palestrina, Composer King's College Choir, Cambridge |
Hodie beata virgo |
Giovanni Palestrina, Composer
David Willcocks, Conductor Giovanni Palestrina, Composer King's College Choir, Cambridge |
Senex puerum portabat |
Giovanni Palestrina, Composer
David Willcocks, Conductor Giovanni Palestrina, Composer King's College Choir, Cambridge |
Magnificat |
Giovanni Palestrina, Composer
David Willcocks, Conductor Giovanni Palestrina, Composer King's College Choir, Cambridge |
Litaniae de Beata Virgine Maria |
Giovanni Palestrina, Composer
David Willcocks, Conductor Giovanni Palestrina, Composer King's College Choir, Cambridge |
Author:
I doubt if any recording made by the choir of King's College, Cambridge, in the fertile Willcocks era will prove more enduring than this celebrated performance of Allegri's Miserere. Admittedly there are more authentic versions in the catalogue, authentic not only in that they use the original Latin words where Willcocks opts for an English translation, but also in the sense that they search for a style less obviously redolent of choral evensong and the Anglican tradition. At the farthest extreme from King's, the Taverner Consort's EMI version strips Allegri's score of its various eighteenth- and nineteenth-century accretions—a nice piece of musical archaeology which, ironically, reveals the utter plainness of the Miserere when denied its familiar jewels, and sounds like an imposter when dressed up in even more garish baubles. For once, musicology seems doomed to failure; the richly communicative singing of King's remains for many an ideal impression of the piece, however far removed it may be from Allegri's intentions. On this new CD compilation the Miserere is accompanied by some classic Palestrina performances, still as fresh as when they were made a quarter of a century ago. Some tape hiss intrudes, but otherwise the sound is excellent.'
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