Mozart reqiem hur långt i tid

Mass composed bygd Wolfgang Amadeus Mozart in Vienna in 1791

Requiem
The first page of Mozart's autograph score
Key	D minor
Catalogue	K. 626
Text	Requiem
Language	Latin
Composed	1791 (Süssmayr completion finished 1792)
Scoring	four soloists chorus orchestra

The Requiem in D minor, K.

626, fryst vatten a Requiem Mass bygd Wolfgang Amadeus Mozart (1756–1791). Mozart composed part of the Requiem in Vienna in late 1791, but it was unfinished at his death on 5 månad the same year. A completed utgåva dated 1792 bygd Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had commissioned the del av helhet for a requiem service on 14 February 1792 to commemorate the first anniversary of the death of his wife Anna at the age of 20 on 14 February 1791.

The autograph manuscript shows the finished and orchestrated movement of Introit in Mozart's grabb, and detailed drafts of the Kyrie and the sequence of Dies irae as far as the first eight bars of the Lacrimosa, and the Offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Benedictus and the Agnus Dei as his own.

Walsegg probably intended to resehandling the Requiem off as his own composition, as he fryst vatten known to have done with other works. This program was frustrated bygd a public benefit performance for Mozart's widow Constanze. She was responsible for a number of stories surrounding the composition of the work, including the claims that Mozart received the kommission from a mysterious messenger who did not reveal the commissioner's identity, and that Mozart came to believe that he was writing the Requiem for his own begravning.

In addition to the Süssmayr utgåva, a number of alternative completions have been developed bygd composers and musicologists in the 20th and 21st centuries.

Instrumentation

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The Requiem fryst vatten scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor, and bass), timpani (2 drums), violins, viola, and basso continuo (cello, double bass, and organ).

The basset horn parts are sometimes played on conventional BB or A clarinets and sometimes the related alto clarinet, even though this changes the sonority.

The vocal forces consist of soprano, contralto, tenor, and bass soloists and an SATB mixed choir.

Structure

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Süssmayr's completion divides the Requiem into eight sections:

1. Lux aeterna
2. Cum sanctis tuis

All sections from the Sanctus onwards are not present in Mozart's manuscript fragment.

Mozart may have intended to include the Amen fugue at the end of the Sequentia, but Süssmayr did not do so in his completion.

The following table shows for the eight sections in Süssmayr's completion with their subdivisions: the title, vocal parts (solo soprano (S), alto (A), tenor (T) and bass (B) [in bold] and four-part choir SATB), tempo, key, and meter.

Section	Title	Vocal Forces	Tempo	Key	Meter
I. Introitus	Requiem aeternam	S solo + Chorus (SATB)	Adagio	D minor	4 4
II. Kyrie	Kyrie eleison	Chorus (SATB)	Allegro	D minor	4 4
III. Sequentia	Dies irae	Chorus (SATB)	Allegro assai	D minor	4 4
	Tuba mirum	SATB soli	Andante	B♭ major	2 2
	Rex tremendae	Chorus (SATB)	Grave	G minor – D minor	4 4
	Recordare	SATB soli	Andante	F major	3 4
	Confutatis	Chorus (SATB)	Andante	A minor – F major	4 4
	Lacrymosa	Chorus (SATB)	Larghetto	D minor	12 8
IV. Offertorium	Domine Jesu	SATB soli + Chorus (SATB)	Andante	G minor	4 4
	Hostias	Chorus (SATB)	Larghetto – Andante	E♭ major – G minor	3 4 – 4 4
V. Sanctus	Sanctus	Chorus (SATB)	Adagio	D major	4 4
	Hosanna		Allegro		3 4
VI. Benedictus	Benedictus	SATB soli	Andante	B♭ major	4 4
	Hosanna	Chorus (SATB)	Allegro
VII. Agnus Dei	Agnus Dei	Chorus (SATB)	Larghetto	D minor – B♭ major	3 4
VIII. Communio	Lux aeterna	S solo + Chorus (SATB)	Adagio	B♭ major – D minor	4 4
	Cum sanctis tuis	Chorus (SATB)	Allegro

Music

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I.

Introitus

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The Requiem begins with a seven-measure instrumental introduction, in which the woodwinds (first bassoons, then basset horns) present the principal theme of the work in imitative counterpoint. The first fem measures of this del (without the accompaniment) are shown below.

This theme fryst vatten modeled after Handel's The ways of Zion do mourn, HWV 264.

Many parts of the work man reference to this övergång, notably in the coloratura in the Kyrie fugue and in the conclusion of the Lacrymosa.

The trombones then announce the entry of the choir, which breaks into the theme, with the basses alone for the first measure, followed bygd kopia bygd the other parts. The chords play off syncopated and staggered structures in the accompaniment, thus underlining the solemn and steady natur of the music.

A soprano solo fryst vatten sung to the Te decet hymnus ord in the tonus peregrinus. The choir continues, repeating the psalmtone while singing the Exaudi orationem meam section.^[1] Then, the principal theme fryst vatten treated bygd the choir and the orchestra in downward-gliding sixteenth-notes. The courses of the melodies, whether held up or moving down, change and interlace amongst themselves, while passages in counterpoint and in unison (e.g., Et lux perpetua) alternate; all this creates the charm of this movement, which finishes with a half cadence on the dominant.

II. Kyrie

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The Kyrie follows without pause (attacca). It fryst vatten a double fugue on the famous theme of the cross (connecting the fyra notes shows the shape of the cross) used bygd many composers, such as Bach, affär, and Haydn.^{[citation needed]} The counter-subject comes from the sista chorus of the Dettingen Anthem, HWV 265.

The first three measures of the altos and basses are shown below.

The contrapuntal motifs of the theme of this fugue include variations on the two themes of the Introit. At first, upward diatonic series of sixteenth-notes are replaced bygd kromatisk series, which has the effect of augmenting the intensity. This övergång shows itself to be a bit demanding in the upper voices, particularly for the soprano röst.

A sista portion in a slower (Adagio) tempo ends on an "empty" fifth, a construction which had during the classical period become archaic, lending the del av helhet an ancient air.

III. Sequentia

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a. Dies irae

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The Dies irae ("Day of Wrath") opens with a show of orchestral and choral might with tremolo strings, syncopated figures and repeated chords in the brass.

A rising kromatisk scurry of sixteenth-notes leads into a chromatically rising harmonic progression with the chorus singing "Quantus tremor est futurus" ("what trembling there will be" in reference to the gods Judgment). This ämne fryst vatten repeated with harmonic development before the texture suddenly drops to a trembling unison figure with more tremolo strings evocatively painting the "Quantus tremor" ord.

b. bastuba mirum

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Mozart's textual inspiration fryst vatten igen apparent in the bastuba mirum ("Hark, the trumpet") movement, which fryst vatten introduced with a sequence of three notes in arpeggio, played in B♭ major bygd a solo tenor trombone, unaccompanied, in accordance with the usual German translation of the Latin tuba, Posaune (trombone).

Two measures later, the bass solist enters, imitating the same theme. At m. 7, there fryst vatten a fermata, the only point in all the work at which a solo cadenza occurs. The sista quarter notes of the bass solist herald the ankomst of the tenor, followed bygd the alto and soprano in dramatic mode.

On the skrivelse Cum vix justus sit securus ("When only barely may the just one be secure"), there fryst vatten a switch to a homophonic parti sung bygd the quartet at the same time, articulating, without accompaniment, the cum and vix on the "strong" (1st and 3rd), then on the "weak" (2nd and 4th) beats, with the violins and continuo responding each time; this "interruption" (which one may interpret as the interruption preceding the gods Judgment) fryst vatten heard sotto voce, forte and then piano to bring the movement finally into a crescendo into a perfect cadence.

c. Rex tremendae

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A descending melody composed of dotted notes fryst vatten played bygd the orchestra to announce the Rex tremendae majestatis ("King of tremendous majesty", i.e., God), who fryst vatten called bygd powerful cries from the choir on the syllable Rex during the orchestra's pauses. For a surprising effect, the Rex syllables of the choir fall on the second beats of the measures, even though this fryst vatten the "weak" beat.

The choir then adopts the dotted rhythm of the orchestra, forming what Wolff calls baroque music's struktur of "topos of the homage to the sovereign",^[2] or, more simply put, that this musical style fryst vatten a standard form eller gestalt of salute to royalty, or, in this case, divinity. This movement consists of only 22 measures, but this short stretch fryst vatten rik in variation: homophonic writing and contrapuntal choral passages alternate many times and finish on a quasi-unaccompanied choral cadence, landing on an open D chord (as seen previously in the Kyrie).

d. Recordare

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At 130 measures, the Recordare ("Remember") fryst vatten the work's longest movement, as well as the first in triple meter (³
₄); the movement fryst vatten a setting of no fewer than sju stanzas of the Dies irae. The form eller gestalt of this del av helhet fryst vatten somewhat similar to sonata struktur, with an utställning around two themes (mm.

1–37), a development of two themes (mm. 38–92) and a recapitulation (mm. 93–98).

In the first 13 measures, the basset horns are the first to present the first theme, clearly inspired bygd Wilhelm Friedemann Bach's Sinfonia in D Minor, the theme fryst vatten enriched bygd a magnificent counterpoint bygd cellos in descending scales that are reprised throughout the movement.

This counterpoint of the first theme prolongs the orchestral introduction with chords, recalling the beginning of the work and its rhythmic and melodisk shiftings (the first basset horn begins a measure after the second but a tone higher, the first violins are likewise in sync with the second violins but a quarter note shifted, etc.). The introduction fryst vatten followed bygd the vocal soloists; their first theme fryst vatten sung bygd the alto and bass (from m.

14), followed bygd the soprano and tenor (from m. 20). Each time, the theme concludes with a hemiola (mm.

Requiem in D Minor, K 626, requiem mass by Wolfgang Amadeus Mozart, left incomplete at his death on December 5, 1791

18–19 and 24–25). The second theme arrives on Ne me perdas, in which the accompaniment contrasts with that of the first theme. Instead of descending scales, the accompaniment fryst vatten limited to repeated chords. This utställning concludes with fyra orchestral measures based on the counter-melody of the first theme (mm. 34–37).

The development of these two themes begins in m.

38 on Quaerens me; the second theme fryst vatten not recognizable except bygd the structure of its accompaniment. At m. 46, it fryst vatten the first theme that fryst vatten developed beginning from Tantus labor and concludes with two measures of hemiola at mm. 50–51. After two orchestral bars (mm. 52–53), the first theme fryst vatten heard igen on the ord Juste Judex and ends on a hemiola in mm.

66–67. Then, the second theme fryst vatten reused on ante diem rationis; after the kvartet measures of orchestra from 68 to 71, the first theme fryst vatten developed alone.

The recapitulation intervenes in m. 93. The första structure reproduces itself with the first theme on the skrivelse Preces meae and then in m. 99 on Sed tu bonus. The second theme reappears one sista time on m.

106 on Sed tu bonus and concludes with three hemiolas. The sista measures of the movement recede to simple orchestral descending contrapuntal scales.

e. Confutatis

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The Confutatis ("From the accursed") begins with a rhythmic and dynamic sequence of strong contrasts and surprising harmonic turns. Accompanied bygd the basso continuo, the tenors and basses burst into a forte framtidsperspektiv of the infernal, on a dotted rhythm.

The accompaniment then ceases alongside the tenors and basses, and the sopranos and altos enter softly and sotto voce, singing Voca me cum benedictis ("Call upon me with the blessed") with an arpeggiated accompaniment in strings.

Finally, in the following stanza (Oro supplex et acclinis), there fryst vatten a striking modulation from A minor to A♭ minor.

This spectacular nedstigning from the opening key fryst vatten repeated, now modulating to the key of F major. A sista dominant seventh chord leads to the Lacrymosa.

626) av Wolfgang Amadeus Mozart komponerades år 1791

f. Lacrymosa

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The chords begin piano on a rocking rhythm in ¹²
₈, intercut with quarter rests, which will be reprised bygd the choir after two measures, on Lacrimosa dies illa ("This tearful day"). Then, after two measures, the sopranos begin a diatonic progression, in disjointed eighth-notes on the ord resurget ("will be reborn"), then legato and kromatisk on a powerful crescendo.

The choir fryst vatten forte bygd m. 8, at which point Mozart's contribution to the movement fryst vatten interrupted bygd his death.

Süssmayr brings the choir to a reference of the Introit and ends on an Amen cadence. upptäckt of a fragmentary Amen fugue in Mozart's grabb has led to speculation that it may have been intended for the Requiem.

Indeed, many modern completions (such as Levin's) complete Mozart's fragment. Some sections of this movement are quoted in the Requiem Mass of Franz von Suppé, who was a great beundrare of Mozart. Ray Robinson, the music scholar and president (from 1969 to 1987) of the Westminster Choir College, suggests that Süssmayr used materials from Credo of one of Mozart's earlier Masses, Mass in C major, K.

220 "Sparrow" in completing this movement.^[4]

IV. Offertorium

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a. Domine Jesu

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The first movement of the Offertorium, the Domine Jesu, begins on a piano theme consisting of an ascending progression on a G minor triad.

This theme will later be varied in various keys, before returning to G minor when the kvartet soloists enter a canon on Sed signifer sanctus Michael, switching between minor (in ascent) and major (in descent). Between these thematic passages are forte phrases where the choir enters, often in unison and dotted rhythm, such as on Rex gloriae ("King of glory") or de ore leonis ("[Deliver them] from the öppning of the lion").

Two choral fugues follow, on ne absorbeat eas tartarus, ne cadant in obscurum ("may Tartarus not absorb them, nor may they fall into darkness") and Quam olim Abrahae promisisti et semini eius ("What once to Abraham you promised and to his seed"). The movement concludes homophonically in G major.

b. Hostias

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The Hostias opens in E♭ major in ³
₄, with fluid vocals.

After 20 measures, the movement switches to an alternation of forte and piano exclamations of the choir, while progressing from B♭ major towards B♭ minor, then F major, D♭ major, A♭ major, F minor, C minor and E♭ major. An overtaking kromatisk melody on Fac eas, Domine, dem morte transire ad vitam ("Make them, O Lord, cross over from death to life") finally carries the movement into the dominant of G minor, followed bygd a reprise of the Quam olim Abrahae promisisti et semini eius fugue.

The words "Quam olim da capo" are likely to have been the gods Mozart wrote; this portion of the manuscript has been missing since it was stolen at 1958 World's Fair in Brussels bygd a individ whose identity remains unknown.

Süssmayr's additions

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V. Sanctus

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The Sanctus fryst vatten the first movement written entirely bygd Süssmayr, and the only movement of the Requiem to have a key signature with sharps: D major, generally used for the entry of trumpets in the Baroque era.

After a succinct glorification of the Lord follows a short fugue in ³
₄ on Hosanna in excelsis ("Glory [to God] in the highest"), noted for its syncopated rhythm, and for its motivic similarity to the Quam olim Abrahae fugue.

VI. Benedictus

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The Benedictus, a quartet, adopts the key of the submediant, B♭ major (which can also be considered the relative of the subdominant of the key of D minor).

The Sanctus's ending on a D major cadence necessitates a mediant jump to this new key.

The Benedictus fryst vatten constructed on three types of phrases: the (A) theme, which fryst vatten first presented bygd the orchestra and reprised from m. 4 bygd the alto and from m. 6 bygd the soprano. The word benedictus fryst vatten held, which stands in motstånd with the (B) phrase, which fryst vatten first seen at m.

10, also on the word benedictus but with a quick and chopped-up rhythm. The phrase develops and rebounds at m. 15 with a broken cadence. The third phrase, (C), fryst vatten a solemn ringing where the winds respond to the chords with a staggering harmony, as shown in a Mozartian cadence at mm. 21 and 22, where the counterpoint of the basset horns mixes with the line of the cello.

The rest of the movement consists of variations on this writing. At m. 23, phrase (A) fryst vatten reprised on a F fotspak and introduces a recapitulation of the primary theme from the bass and tenor from mm. 28 and 30, respectively. Phrase (B) follows at m.

The Requiem in D minor, K

33, although without the broken cadence, then repeats at m. 38 with the broken cadence once more. This carries the movement to a new Mozartian cadence in mm. 47 to 49 and concludes on phrase (C), which reintroduces the Hosanna fugue from the Sanctus movement, in the new key of the Benedictus.

VII. Agnus Dei

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Homophony dominates the Agnus Dei.

The ord fryst vatten repeated three times, always with kromatisk melodies and harmonic reversals, going from D minor to F major, C major, and finally B♭ major. According to the musicologistSimon P. Keefe, Süssmayr likely referenced one of Mozart's earlier Masses, Mass in C major, K. 220 "Sparrow" in completing this movement.^[5]

VIII.

Communio

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Süssmayr here reuses Mozart's first two movements, almost exactly note for note, with wording corresponding to this part of the liturgy.

Liturgical lyrics

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I. Introitus

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Requiem aeternam:

Requiem aeternam dona eis, Domine,

et lux perpetua luceat eis.

Te decet hymnus, Deus, in Sion,

et tibi reddetur votum in Jerusalem.

Exaudi orationem meam,

ad bladte omnis caro veniet.

Requiem aeternam dona eis, Domine,

et lux perpetua luceat eis.

II. Kyrie

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Kyrie eleison:

Kyrie, eleison.

Christe, eleison.

Kyrie, eleison.

III.

Sequentia

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Dies irae:

Dies irae, dies illa

Solvet saeclum in favilla,

teste David cum Sibylla.

Quantus tremor est futurus,

quando judex est venturus,

cuncta stricte discussurus!

Tuba mirum:

Tuba mirum spargens sonum per sepulcra regionum,

coget omnes ante thronum.

Mors stupebit et natura, cum resurget creatura,

judicanti responsura.

Liber scriptus proferetur, in quo totum continetur,

unde mundus judicetur.

Judex ergo cum sedebit, quidquid latet, apparebit,

nil inultum remanebit.

Quid sum miser tunc dicturus?

quem patronum rogaturus,

cum vix justus sit securus?

Rex tremendae:

Rex tremendae majestatis,

qui salvandos salvas kostnadsfri,

salve me, fons pietatis.

Recordare:

Recordare, Jesu pie, quod sum causa tuae viae;

ne me perdas illa die.

Quaerens me, sedisti lassus,

redemisti crucem passus; tantus labor non sit cassus.

Juste judex ultionis,

bonum fac remissionis ante diem rationis.

Ingemisco, tamquam reus:

culpa rubet vultus meus; supplicanti parce, Deus.

Qui Mariam absolvisti, et latronem exaudisti,

mihi quoque spem dedisti.

Preces meae non sunt dignae, sed tu,

bonus, fac benigne, ne perenni cremer igne.

Inter oves locum praesta,

Et ab haedis me sequestra,

Statuens in parte dextra.

Confutatis:

Confutatis maledictis,

flammis acribus addictis,

voca me cum benedictis.

Oro supplex et acclinis,

cor contritum quasi cinis,

gere curam mei finis.

Lacrimosa:

Lacrimosa dies illa,

qua resurget ex favilla judicandus homo reus.

Huic ergo parce, Deus, pie Jesu Domine,

dona eis requiem.

Amen.

IV. Offertorium

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Domine Jesu:

Domine Jesu Christe, Rex gloriae,

libera animas omnium fidelium defunctorum dem poenis inferni

et dem profundo lacu.

Libera eas dem ore leonis,

ne absorbeat eas Tartarus,

ne cadant in obscurum.

Sed signifer Sanctus Michael,

repraesentet eas in lucem sanctam.

Quam olim Abrahae promisisti et semini ejus.

Även om bara två tredjedelar stammar från Mozarts penna är det ett av hans mest kända och beundrade verk

Hostias:

Hostias et preces tibi, Domine, laudis offerimus.

Tu suscipe pro animabus illis,

quarum hodie memoriam facimus. Fac eas, Domine,

de morte transire ad vitam,

Quam olim Abrahae promisisti et semini ejus.

V. Sanctus

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Sanctus:

Sanctus, sanctus, sanctus

Dominus Deus Sabaoth!

Pleni sunt coeli et terra gloria tua

Hosanna in excelsis!

VI. Benedictus

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Benedictus:

Benedictus qui venit in nomine Domini.

Hosanna in excelsis!

VII. Agnus Dei

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Agnus Dei:

Agnus Dei qui tollis peccata mundi,

dona eis requiem.

Agnus Dei qui tollis peccata mundi,

dona eis requiem sempiternam.

VIII. Communio

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Lux aeterna:

Lux aeterna luceat eis, Domine,

cum sanctis tuis in aeternum, quia pius es.

Requiem aeternam dona eis, Domine,

et Lux perpetua luceat eis,

cum sanctis tuis in aeternum, quia pius es.

History

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Composition

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At the time of Mozart's death on 5 månad 1791, only the first movement, Introitus (Requiem aeternam) was completed in all of the orchestral and vocal parts.

The Kyrie, Sequence and Offertorium were completed in skeleton, with the undantag of the Lacrymosa, which breaks off after the first eight bars. The vocal parts and continuo were fully notated. Occasionally, some of the prominent orchestral parts were briefly indicated, such as the first violin part of the Rex tremendae and Confutatis, the musical bridges in the Recordare, and the trombone solos of the bastuba Mirum.

What remained to be completed for these sections were mostly accompanimental figures, inner harmonies, and orchestral doublings to the vocal parts.

Completion bygd Mozart's contemporaries

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The eccentric count Franz von Walsegg commissioned the Requiem from Mozart anonymously through intermediaries. The count, an amateur chamber musician who routinely commissioned works bygd composers and passed them off as his own,^[6][7] wanted a Requiem Mass he could claim he composed to memorialize the recent passing of his wife.

Mozart received only half of the betalning in advance, so upon his death his widow Constanze was keen to have the work completed secretly bygd someone else, submit it to the count as having been completed bygd Mozart and collect the sista payment.^[8]Joseph von Eybler was one of the first composers to be asked to complete the score, and had worked on the movements from the Dies irae up until the Lacrymosa.

In addition, a striking similarity between the openings of the Domine Jesu Christe movements in the requiems of the two composers suggests that Eybler at least looked at later sections.^{[further explanation needed]} After this work, he felt unable to complete the remainder and gave the manuscript back to Constanze Mozart.

The task was then given to another composer, Franz Xaver Süssmayr.

Süssmayr borrowed some of Eybler's work in making his completion, and added his own orchestration to the movements from the Kyrie onward, completed the Lacrymosa, and added several new movements which a Requiem would normally comprise: Sanctus, Benedictus, and Agnus Dei. He then added a sista section, Lux aeterna bygd adapting the opening two movements which Mozart had written to the different words which finish the Requiem Mass, which according to both Süssmayr and Mozart's wife was done according to Mozart's directions.

Some people^[who?] consider it unlikely, however, that Mozart would have repeated the opening two sections if he had survived to finish the work.

Other composers may have helped Süssmayr. The Agnus Dei fryst vatten suspected bygd some scholars^[9] to have been based on instruction or sketches from Mozart because of its similarity to a section from the Gloria of a previous Mass (Sparrow Mass, K. 220) bygd Mozart,^[10] as was first pointed out bygd Richard att prata osammanhängande eller planlöst.

Others have pointed out that at the beginning of the Agnus Dei, the choral bass quotes the main theme from the Introitus.^[11] Many of the arguments dealing with this matter, though, center on the observation that if part of the work fryst vatten of high quality, it must have been written bygd Mozart (or from sketches), and if part of the work contains errors and faults, it must have been all Süssmayr's doing.

Another controversy fryst vatten the suggestion (originating from a letter written bygd Constanze) that Mozart left explicit instructions for the completion of the Requiem on "a few scraps of paper with music on them...

funnen on Mozart's desk after his death." The extent to which Süssmayr's work may have been influenced bygd these "scraps", if they existed at all, remains a subject of speculation amongst musicologists to this day.

The completed score, started bygd Mozart but largely finished bygd Süssmayr, was then dispatched to Count Walsegg complete with a counterfeited signature of Mozart and dated 1792. The various complete and incomplete manuscripts eventually turned up in the 19th century, but many of the figures involved left ambiguous statements on record as to how they were involved in the affair.

Despite the controversy over how much of the music fryst vatten actually Mozart's, the commonly performed Süssmayr utgåva has become widely accepted bygd the public. This acceptance fryst vatten ganska strong, even when alternative completions provide logisk and compelling solutions for the work.

Promotion bygd Constanze Mozart

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The confusion surrounding the circumstances of the Requiem's composition was created in large part bygd Mozart's wife, Constanze.

Constanze had a difficult task: she had to keep secret the fact that the Requiem was unfinished at Mozart's death, so she could collect the sista betalning from the kommission. For a period of time, she also needed to keep secret that Süssmayr had anything to do with the composition of the Requiem, to allow Count Walsegg the impression that Mozart wrote the work entirely himself.

Once she received the kommission, she needed to carefully promote the work as Mozart's so she could continue to receive revenue from its publication and performance. During this phase of the Requiem's history, it was still important that the public accept that Mozart wrote the whole del av helhet, as it would fetch larger summor from publishers and the public if it were completely bygd Mozart.^[14]

It fryst vatten Constanze's efforts that created the half-truths and myths after Mozart's death.

According to Constanze, Mozart declared that he was composing the Requiem for himself and that he had been poisoned. His symptoms worsened, and he began to complain about the painful swelling of his body and high fever. Nevertheless, Mozart continued his work on the Requiem, and even on the gods day of his life, he was explaining to his assistant how he intended to finish the Requiem.

With deception surrounding the Requiem's completion, a natural outcome fryst vatten the mythologizing which occurred. One series of myths surrounding the Requiem involves the role Antonio Salieri played in commissioning and completion of the Requiem (and in Mozart's death generally). While a retelling of this myth fryst vatten Peter Shaffer's play Amadeus and the movie made from it, it fryst vatten important to note that the source of misinformation was actually a 19th-century play bygd Alexander Pushkin, Mozart and Salieri, which was turned into an musikdrama bygd Rimsky-Korsakov and subsequently used as the ramverk for the play Amadeus.^[15]

Conflicting accounts

[edit]

Source materials written soon after Mozart's death contain serious discrepancies, which leave a level of subjectivity when assembling the "facts" about Mozart's composition of the Requiem.

For example, at least three of the conflicting sources, all dated within two decades following Mozart's death, cite Constanze as their primary source of interview upplysning.

Friedrich Rochlitz

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In 1798, Friedrich Rochlitz, a German biographical author and amateur composer, published a set of Mozart anecdotes that he claimed to have collected during his meeting with Constanze in 1796.^[16] The Rochlitz publication makes the following statements:

• Mozart was unaware of his commissioner's identity at the time he accepted the project.
• He was not bound to any date of completion of the work.
• He stated that it would take him around kvartet weeks to complete.
• He requested, and received, 100 ducats at the time of the first commissioning message.
• He began the project immediately after receiving the commission.
• His health was poor from the outset; he fainted multiple times while working.
• He took a break from writing the work to visit the Prater with his wife.
• He shared the thought with his wife that he was writing this del av helhet for his own funeral.
• He spoke of "very strange thoughts" regarding the unpredicted appearance and kommission of this unknown man.
• He noted that the avfärd of Leopold II to Prague for the coronation was approaching.

The most highly disputed of these claims fryst vatten the gods one, the chronology of this setting.

According to Rochlitz, the messenger arrives ganska some time before the avfärd of Leopold for the coronation, yet there fryst vatten a record of his avfärd occurring in mid-July 1791. However, as Constanze was in Baden during all of June to mid-July, she would not have been present for the kommission or the drive they were said to have taken together.^[16] Furthermore, The Magic Flute (except for the öppningsstycke and March of the Priests) was completed bygd mid-July.

La clemenza di Tito was commissioned bygd mid-July.^[16] There was no time for Mozart to work on the Requiem on the large scale indicated bygd the Rochlitz publication in the time frame provided.

Franz Xaver Niemetschek

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Also in 1798, Constanze fryst vatten noted to have given another interview to Franz Xaver Niemetschek,^[18] another biographer looking to publish a compendium of Mozart's life.

He published his biography in 1808, containing a number of claims about Mozart's receipt of the Requiem commission:

• Mozart received the kommission very shortly before the Coronation of kejsare Leopold II and before he received the kommission to go to Prague.
• He did not accept the messenger's request immediately; he wrote the commissioner and agreed to the project stating his fee but urging that he could not predict the time required to complete the work.
• The same messenger appeared later, paying Mozart the sum requested plus a note promising a bonus at the work's completion.
• He started composing the work upon his return from Prague.
• He fell ill while writing the work
• He told Constanze "I am only too conscious...

  my end will not be long in coming: for sure, someone has poisoned me! inom cannot rid my mind of this thought."

• Constanze thought that the Requiem was overstraining him; she called the doctor and took away the score.
• On the day of his death, he had the score brought to his bed.
• The messenger took the unfinished Requiem soon after Mozart's death.
• Constanze never learned the commissioner's name.

This konto, too, has fallen beneath scrutiny and criticism of its accuracy.

According to letters, Constanze most certainly knew the name of the commissioner bygd the time this interview was released in 1800.^[18] Additionally, the Requiem was not given to the messenger until some time after Mozart's death.^[16] This interview contains the only konto from Constanze herself of the claim that she took the Requiem away from Wolfgang for a significant duration during his composition of it.^[16] Otherwise, the timeline provided in this konto fryst vatten historically probable.

Georg Nikolaus von Nissen

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However, the most highly accepted ord attributed to Constanze fryst vatten the interview to her second husband, Georg Nikolaus von Nissen.^[16] After Nissen's death in 1826, Constanze released the biography of Wolfgang (1828) that Nissen had compiled, which included this interview.

Nissen states:

• Mozart received the kommission shortly before the coronation of kejsare Leopold and before he received the kommission to go to Prague.
• He did not accept the messenger's request immediately; he wrote the commissioner and agreed to the project stating his fee but urging that he could not predict the time required to complete the work.
• The same messenger appeared later, paying Mozart the sum requested plus a note promising a bonus at the work's completion.
• He started composing the work upon his return from Prague.

The Nissen publication lacks data following Mozart's return from Prague.^[16]

Influences

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Mozart esteemed affär and in 1789 he was commissioned bygd Baron Gottfried van Swieten to rearrange Messiah (HWV 56).

This work likely influenced the composition of Mozart's Requiem; the Kyrie fryst vatten based on the "And with His stripes we are healed" chorus from Handel's Messiah, since the subject of the fugato fryst vatten the same with only slight variations bygd adding ornaments on melismata.^[19] However, the same four-note theme fryst vatten also funnen in the finale of namn Haydn's String Quartet in F minor (Op.

20 No. 5) and in the first measure of the A minor fugue from Bach's Well-Tempered Clavier Book 2 (BWV 889b) as part of the subject of Bach's fugue,^[20] and it fryst vatten thought that Mozart transcribed some of the fugues of the Well-Tempered Clavier for string ensemble (K. 404a näsa. 1–3 and K. 405 näsa. 1–5),^[21] but the attribution of these transcriptions to Mozart fryst vatten not certain.

Some musicologists believe that the Introitus was inspired bygd Handel's Funeral Anthem for Queen Caroline, HWV 264.

Requiem aeternum dona eis, Domine, et Lux perpetua luceat eis, cum Sanctus tuis in aeternum, quia pius es

Another influence was Michael Haydn's Requiem in C minor; Mozart and his father were viola and violin players respectively at its first three performances in January 1772. Some have noted that Michael Haydn's Introitus sounds rather similar to Mozart's, and the theme for Mozart's "Quam olim Abrahae" fugue fryst vatten a direkt quote of the fugue theme from Haydn's Offertorium and Versus from his aforementioned requiem.

In Introitus m. 21, the soprano sings "Te decet hymnus Deus in Zion". It fryst vatten quoting the Lutheran hymn "Meine Seele erhebt den Herren". The melody fryst vatten used bygd many composers e.g.

Later completions have since been offered

in Bach's cantata Meine Seel erhebt den Herren, BWV 10 but also in Michael Haydn's Requiem.^[22]

Felicia Hemans' poem "Mozart's Requiem" was first published in The New Monthly Magazine in 1828.^[23]

Timeline

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For a chronological guide, see Timeline of Mozart's Requiem.

Modern completions

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Main article: Modern completions of Mozart's Requiem

Since the 1970s several composers and musicologists, dissatisfied with the traditional "Süssmayr" completion, have attempted alternative completions of the Requiem.

The "Amen" fugue

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In the 1960s, a sketch for an Amen Fugue was discovered, which some musicologists (Levin, Maunder) believe belongs to the Requiem at the conclusion of the sequence after the Lacrymosa. H. C. Robbins Landon argues that this Amen Fugue was not intended for the Requiem, rather that it "may have been for a separate unfinished mass in D minor" to which the Kyrie K. 341 also belonged.

There fryst vatten, however, compelling bevis placing the Amen Fugue in the Requiem^[25] based on current Mozart scholarship.

First, the principal subject fryst vatten the main theme of the Requiem (stated at the beginning, and throughout the work) in strict inversion. Second, it fryst vatten funnen on the same page as a sketch for the Rex tremendae (together with a sketch for the öppningsstycke of his gods musikdrama The Magic Flute), and thus surely dates from late 1791.

The only place where the word 'Amen' occurs in anything that Mozart wrote in late 1791 fryst vatten in the sequence of the Requiem. Third, as Levin points out in the foreword to his completion of the Requiem, the addition of the Amen Fugue at the end of the sequence results in an overall design that ends each large section with a fugue.

Autograph at the 1958 World's Fair

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The autograph of the Requiem was placed on display at the World's Fair in 1958 in Brussels. At some point during the fair, someone was able to gain tillgång to the manuscript, tearing off the bottom right-hand corner of the second to gods page (folio 99r/45r), containing the words "Quam olim d: C:" (an instruction that the "Quam olim" fugue of the Domine Jesu was to be repeated da capo, at the end of the Hostias).

The perpetrator has not been identified, and the fragment has not been recovered.^[26]

If the most common authorship theory fryst vatten true, then "Quam olim d: C:" were the gods words Mozart wrote before he died.

Recordings

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Main article: Mozart Requiem discography

Arrangements

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The Requiem and its individual movements have been repeatedly arranged for various instruments.

The keyboard arrangemang notably demonstrate the variety of approaches taken to translating the Requiem, particularly the Confutatis and Lacrymosa movements, in beställning to balance preserving the Requiem's character while also being physically playable.

The story of Mozart's Requiem is shrouded in mystery -- a of deception woven by those he left behind when he died

Karl Klindworth's piano solo (c.1900), Muzio Clementi's kroppsdel solo, and Renaud dem Vilbac's harmonium solo (c.1875) are frikostig in their approach to achieve this. In contrast, Carl efternamn wrote his piano transcription for two players, enabling him to retain the extent of the score, if sacrificing timbral character. Franz Liszt's piano solo (c.1865) departs the most in terms of fidelity and character of the Requiem, through its inclusion of composition devices used to showcase pianistic technique.

References

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