The earliest-known score of Allegri's Miserere that shows in detail 'how the ornamentation [rifiorimenti] learned by tradition should be performed' survives in identical form in two manuscripts, one in Paris, the other in Manchester. It includes not only the famous abbellimenti but much else besides, summarized by Burney as 'certe espressioni e Gruppi'. Both manuscripts were compiled in 1798 by singers of the papal choir for a French public servant called Louis Mesplet. His story is told, particularly the period of his interaction with the singers of the chapel, corroborated from papal archives, the writings of Giovanni Baini and the correspondence of the painter Jean-Auguste-Dominique Ingres, who was his friend.
An examination of the two manuscripts shows that the one now in Manchester was largely a draft for that which must have been presented to Mesplet and returned with him to Paris. The latter contains 19 other works, one of which is Palestrina's Improperia, which is also provided with a 'performing version'. A full list of contents and concordances shows a close relationship with the traditions and repertory of the papal choir. The 1838 Paris publication of the Allegri part of the manuscripts is also discussed, and possible reasons for its rapid suppression suggested. Finally the process by which such a score must have been created is considered, together with some preliminary remarks about implications of the rifiorimenti, which are transcribed in full, for performance of the Miserere.
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