Contents

pp v-viii

List of illustrations

pp ix-xi

List of tables

pp xii-xii

List of music examples

pp xiii-xiii

Acknowledgments

pp xiv-xv

Note on the text

pp xvi-xvi

Introduction: myth and reality

pp 1-4

Part One - The Sixteenth and Seventeenth Centuries

pp 5-6

1 - Context

pp 7-18

2 - Creation

pp 19-36

3 - Transformation

pp 37-52

Part Two - The Eighteenth Century

pp 53-54

4 - Show business

pp 55-70

5 - Eighteenth-century sources 1 – Blainville and Mozart

pp 71-76

6 - Eighteenth-century sources 2 – The Paris and Manchester manuscripts

pp 77-110

7 - ‘Con suoi rifiorimente, come si deve eseguire’ –What the earliest ornamented manuscripts show

pp 111-118

Part Three - The Nineteenth Century

pp 119-120

8 - The Papal Choir in the nineteenth century 1 – Giuseppe Baini

pp 121-134

9 - Nineteenth-century sources 1 – British Library Add. MS 31525 and related manuscripts

pp 135-146

10 - Nineteenth-century sources 2 – Alfieri’s Il Salmo Miserere of 1840

pp 147-162

11 - The Papal Choir in the nineteenth century 2 – Domenico Mustafà

pp 163-168

12 - Nineteenth-century sources 3 – The Vatican manuscript of Domenico Mustafà

pp 169-182

Part Four - Performing the Miserere in the Twentieth Century

pp 183-184

13 - The current ‘popular’ version of ‘the Allegri’: the ‘English Miserere’

pp 185-214

14 - Introduction to the editions

pp 215-216

15 - Aspects of performance practice 1 – Performing pitch

pp 217-226

16 - Aspects of performance practice 2 – Expression

pp 227-240

17 - Aspects of performance practice 3 – Performing forces

pp 241-250

18 - Conclusion

pp 251-254