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Rockstro is equally appreciative and musically more precise and detailed in respect of Allegri's Miserere, of which he gives many illustrations, and which he defends against certain criticisms. in the same dictionary articles on Bai, Baini.) Copyright 2017 Catholic Online.All materials contained on this site, whether written, audible or visual are the exclusive property of Catholic Online and are protected under U. and International copyright laws, © Copyright 2017 Catholic Online.The first word of the Vulgate text of Psalm 1 (Hebrew, li). It is the first psalm at Lauds in all the ferial (week-day) Offices throughout the year, outside of Paschal Time, and in the Sunday Offices from Septuagesima to Palm Sunday inclusive. It is the psalm chosen for the preces feriales at Vespers for all the weekdays in Lent with the exception of the triduum of Holy Week, for those in Advent, for the ember-days except those of the Pentecostal season, and for all vigils, except those of Christmas, Epiphany, the Ascension, and Pentecost. It is very prominent in the ceremony of the Asperges, during which the choir sings the antiphon "Asperges me, Domine, hyssopo", etc. Psalm 1:8 ; Vulgate 1:9), then the verse "Miserere mei, Deus", etc. Psalm 1:1 ; Vulgate 1:3), then the Gloria Patri, and finally the antiphon "Asperges me", the celebrant meanwhile reciting, either alone or alternately with the sacred ministers, the entire Miserere.
When he was sixteen he was knighted at Carlisle by King David of Scotland, when he was eighteen he succeeded to Normandy and Anjou, when nineteen he married Eleanor of Aquitaine, the divorced wife of Louis VII of France, and secured her inheritance, and when he was twenty he came to England and forced King Stephen to submit to terms.
The thought of giving to this second Miserere a musical treatment more elaborate than the ordinary plain-song used for the psalms in general, and of making it serve as a climax to the dramatic ceremonial of the Tenebræ, is probably due to Leo X. The oldest example extant is that of Costanzo Festa (1517), which alternated verses in plain-song with verses in falsibordoni of four and five voices.
This interestingly contrasted setting or method of treatment formed the type for imitation ever since.
It figured prominently in the ancient ceremony of the Reconciliation of Penitents on Maundy Thursday, both as one of the seven penitential psalms recited by the bishop in the sanctuary, and as one of the three psalms commencing with Miserere during the prostration of clergy and laity (including the penitents).
For an interesting description of this ancient function, cf.