ALLEGRI, GREGOEJO, in Biography, a celebrated composer of music of the seventeenth century, and au thor of the Miscrere. He was a native of Rome, and by profession an ecclesiastic. Nanini was his instructer in his favourite science, and he was the intimate friend and contemporary of Palestrina.—Though his abilities as a singer were not very conspicuous, yet he was reckoned a complete master of harmony, and was in such estima tion with the performers of his time, that he was appoint ed by the Pope A. D. 1629, to a situation in the choir of his chapel. His principal compositions arc of a sacred and solemn description; and many parts of the church service in Italy, remarkable for the divine simplicity and purity of the harmony, are, at this day, the evidences of his successful application to the musical art. But to his skill as a composer, he added a gentleness of disposition, and a warmth of benevolence, which showed that he was possessed of merit still higher and more enviable. The poor flocked around his abode, and relieved by his charity, and guided by his exhortations. It \vas his daily business to visit the prisons of Rome, and to attend to the wants of the unhappy persons who were shut up in those dreary mansions. At length, after a life spent in useful employment and active benevolence, he died A. D. 1652 ,and was buried in the Chiesa Nuova, before the chapel of St Philippa Neri, near the altar of annun ciation.
Of all the works of Allegri, the Miserere is the most distinguished. It has been preserved together with his other compositions, in the pontifical chapel ; and has an nually been performed there on Wednesday, and Good Friday in Passion Week, for 170 years, by the choral band, and the chief singers of Italy. it is believed,
however, that the effect which it produces is not wholly to be attributed to the composition itself. Something must be ascribed to the time, the place, and the ceremo nies with which the performance is accompanied : and besides these, there are certain traditionary observances, attitudes, and graces, known and adhered to by the singers, which have likewise their influence upon the minds of the audience. The Pope and the whole con clave fall to the ground, the torches of the balustrade and the candles of the chapel are extinguished, one after another ; and the last verse of the psalm termi nates by two choirs ; the maestro di capella beating time slower and slower, and with less force, and the singers diminishing the harmony till the whole dies gradually away. According to Father Martini, there were never more than three copies of this wonderful performance made by authority; of these the first was for the em peror Leopold, the second for the late king of Portugal, and the third for himself. But this statement cannot be regarded as correct ; for a very complete transcript of it was presented by his holiness to George II., and esteemed by the donor as an invaluable curiosity. (II)