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Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Don't show me this message again. Miserere mei, Deus composer. January Total duration: Other recordings available for download. Incorporating leftover music from West Side Story, Bernstein employs organ, harp and percussion as he extends a theme of peace and unity between nations from the opening Jubilate , to the restful uplift of Psalm The organ can sometimes hang too heavily over the pieces by Wesley and Parry.

But the highlight is the beautiful version of Allegri's Miserere mei, Deus , with its solo treble soaring high and weightless likes the vaulting of a cathedral' The Independent. It is highly unlikely that the widely accepted twenty-first-century version was ever written down by the composer and it has come into being as a result of a number of factors.

Recordings from all of these choirs can be found on Amazon. And if you are simply looking for a good recording of Allegri's Miserere, then do indeed look elsewhere--St. Paul's Cathedral Choir has a much better recording, with Jeremy Budd as the treble soloist, and there is also a classic King's College Choir version with Roy Goodman as the soloist, which is lovely.

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Amazon Rapids Fun stories for kids on the go. Amazon Restaurants Food delivery from local restaurants. ComiXology Thousands of Digital Comics. East Dane Designer Men's Fashion. Shopbop Designer Fashion Brands. Withoutabox Submit to Film Festivals. The Inferno line proposes not an identity but an aggressive opposition, in which Love, as an impersonal and numinous force, takes possession of the ethical heart and brings it to instantaneous destruction. It would be easy to blame Francesca at this point for failing to display the lexical intelligence that Beatrice exhibits whenever she utters. Yet that is hardly fair.

After all, Dante himself wrote the line. And this, I suggest, can be taken to imply that he knew as well as T. Setting out to write a narrative poem, all but unprecedented in the vernacular verse-tradition, Dante confronts a kind of imaginative schizophrenia which will lead him, in dramatising alien voices, to employ his own best words against his own best interests. But Dante, knowing this, has also built into his poem a principle that, at least until Beatrice arrives, can help to resist such slippage.

Two French Words.

But in slippery Inferno v, Francesca demonstrates how easily this word, too, can decay into a tear-jerk ll. In the Aeneid , pietas , so far from implying a kittenish cultivation of private sentiment, denotes public duty, an unwavering commitment such as Aeneas displays to the well-being of the state and to Justice. In choosing Virgil as his guide, Dante had explicitly devoted himself to the virtue of political justice, which he took to be embodied in the Roman Empire.

Yet justice is already seen here to involve something of that discriminating attention to words that Beatrice displays. And on further examination of etymology, lex — law — would appear to have been connected as early as its Sanskrit origins with leggere — to read. Law is that which is publically legible. Just look at how the canto begins. Drawing directly on Aeneid vi, Dante here at lines introduces the figure of Minos, judge of the underworld.

And so he might be in the Commedia — if only Dante had not endowed him with that ridiculous tail, which Minos here twirls to indicate the number of the circle to which the damned are to descend. No sooner has Dante embarked on his ethical epic than he finds himself criticising, even ridiculing, the principle of mechanical justice on which the plan of Inferno , at least, so largely depends. But in Inferno v there is one third and final symptom to be noted.

And that is a certain discomfort over the very competence of literature itself. So at lines to we find her attributing her downfall to her reading of French Romances. Eyes flutter and flicker above the pages. Trembling, a mouth is kissed, though is it really a kiss? And even Dante, himself a reader of the Romances and author of the present version, swoons to the point of death in sympathetic sentiment.

And, in fiction, justice, too, may degenerate into grotesque, Minoan absurdity. So where we do we go from here?

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Well, obviously to Purgatory. And then we shall, I hope, discover in the wonderfully imaginative second realm the beginnings of a freedom from all those ills that in Inferno infect the language both of love and justice. Like Francesca, La Pia — the figure who appears in the final moments of Purgatorio v — was murdered by her husband, thus suffering the violent death that deprives all of the characters in this canto of the time they needed to perform a formal act of expiation.

Then, too, both cantos depict scenes of violent storm: Consider the voice that Dante attributes to La Pia, and in particular the line that attracted T. We have here a remote anticipation of Piccarda — whose story is still being told in Paradiso v, where a voice fades into the elegiac singing of the Ave Maria — but only after delivering some of the most intelligently clear-sighted lines that Dante ever wrote. But the rationale for this attempt emerges most clearly from the storm-episode that runs from lines to The tempest depicted here is not — as it was in Inferno v — an infernal punishment.

The natural elements now are stirred by a demonic power to battle, in the end ineffectually, against the physical body of a soldier who has just died of his wounds, having dragged himself with his last breath away from the field of conflict. Here Dante constructs a narrative fiction in which the human protagonist, in a wholly unexpected moment of conversion, leaps over the gaps between life, death and eternal salvation.

More than that, he was the leader of the Arezzo cavalry in the Battle of Campaldino on June 11th, In that battle Dante, aged a mere 24, fought on the opposing side in the army of the Florentine Guelfs commanded by Corso Donati. Though the Guelphs were victorious at Campaldino, the party was soon to split into factions in which Dante, veering now towards a Ghibelline-ish position, would find himself in bitter enmity with his own erstwhile commander, Corso.

Miserere mei, Deus (Allegri) - from SIGCD - Hyperion Records - MP3 and Lossless downloads

But there is more at stake here than a merely political conversion. And going further still, there is evidence here that Dante is now freeing himself from that crudely judgemental conception of the after-life that, I suggested earlier, revealed its limitations in the absurd figure of Minos. Guido — and Dante, too, in the Convivio — plainly got it wrong.

In Purgatorio v, in exact, even comic, contrast, Buonconte is claimed by the angels at line He arrives with no papal free pass in his hand. His salvation defies all logic. Yet, as Dante imagines it, he gets there all the same. And if he does, it is because Dante, in the construction of his fiction, has begun to explore a new conception of mercy and freedom. And from the first it is more like a prayer or act of devotion than any piece of political or military polemic.

But Dante is interested enough to invent almost a hagiography on his behalf. Why, Dante asks, was Buonconte never seen again after his defeat at Campaldino? It might be supposed that he had defected. But not at all. Rather, he presented himself to a conflict more ferocious than any earthly battle could be. The answer that Dante devises for Buonconte involves the celebration of a fortitude that defeats all manner of satanic power — and, indeed, of logicality.

Mortally wounded, Buonconte had summoned up his last remaining energies to crawl two miles away from the field of battle. And his last dying act ll. But the specific contribution that this episode can offer is a celebration of heroic vulnerability. In articulo mortis , the muscles of the wounded lock in the form of a cross.

Throughout, the fifth canto has evoked landscapes where flux, vapours and fogs are in the ascendancy.

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La Pia dies in the malarial Maremma. Jacopo del Cassero ll.

2. The Visitors

And with the crossing of his arms the fragile human body spells out a significance which can only be described as liturgical. Physical nature, as in the liturgy, now means something — something that links it to the creator and redeemer of that physical nature. And water itself becomes more than a disastrous flood. But this significance has already been registered in the long sequence ll.

The landscape he is traversing is the magically realistic landscape of Mount Purgatory where natural features are at every point endowed with liturgical significance. As the penitents in a group approach him they are singing the Miserere. Yes, it is obviously right, liturgically, that all penitents should sing, repeatedly, the Miserere , which means here the whole of the penitential psalm number Violating all logic, even beyond the sequential logic of liturgical devotion, we shall be returned at the Day of Judgement to our specifically physical identities.

And there is more still. The Miserere is sung at Mass as part of the Agnus Dei immediately before the sacrament of Eucharistic communion. But through a willing participation in the act of communion we participate in both the violence that Christ, sacrificially, endured for us and also in the creative unity that our faithful participation in the Body of Christ is now making sure. And perhaps the most marvellous — and poetic thing of all — is that announcement is made not in a flash of epiphanic light but rather through the shadow cast by a mortal, still vulnerable, indeed rather silly, human body.

Grace operates as much in shadowed fragility as it does in the eye of the storm, and draws those who know it together in unknown communion. So, happily, we are about to return to Paradiso. But before we do there are one or two links of my own — certain gaps, violent segues and penitential points — that I need first to identify. The question, as Derrida might put it, is whether there can be any such thing as a gift freely given without expectation of return. In the Convivio , Dante argues that his use of vernacular Italian in that work is itself a true gift to his reader. Might not those readers who do freely choose to continue with the text be thought of as accepting a gift — or even as taking a vow of fidelity to its author?

If we truly value the other, we must value him in his specificity and therefore my presence before the other is ineradicable from a situation which is paradigmatic for the ethical.