Mozart: Requiem in D minor, K. 626
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Mozart: Requiem in D minor, KV 626 (Vocal Score), Publisher: Edition Peters, Publisher number: EP 11036, ISBN: 9790014107864.
The Requiem in D minor (KV 626) is the final, unfinished composition by the Austrian composer Wolfgang Amadeus Mozart. He only completed one part of his composition project for the setting of the texts of the Latin Missa Defunctorum (Mass for the Dead or Requiem, named after the opening words of the Introit).
For the subsequent Kyrie, a fugue, he fully wrote out only the vocal parts and the basso continuo part, but not (yet) the orchestral parts. Nevertheless, this part of the total composition can also be considered complete, because when the (strict) fugue form is used in 18th-century church music compositions—which is the case with the Kyrie of Mozart's Requiem—the orchestra usually follows the vocal parts literally. Consequently, the orchestral parts do not need to be written out in the composition score. The second Kyrie (in F-sharp minor) from Johann Sebastian Bach's Mass in B minor is also noted in the original, handwritten fair copy score in this way, just like the Kyrie fugue from Mozart's Requiem as a 5-part composition: for four vocal parts (SATB) and with a supporting basso continuo part.
The fact that the Requiem was able to come into existence and is now considered one of the most beloved and appreciated works in Mozart's entire oeuvre is thanks to his former student, friend, and colleague Franz Xaver Süßmayr, who at a certain point took up the abandoned Requiem composition project and completed the polyphonic music. In fact, and strictly speaking, the Requiem composition contains even more Süßmayr than Mozart.
Mozart likely conceived and sketched the entire Requiem composition both before and during his final illness in November and early December 1791. Because the Requiem was a commissioned composition, the work was completed at the insistence of Mozart's widow, Constanze Mozart—it had to be finished—initially by Joseph Eybler but later, in its entirety, by Süßmayr, both friends and colleagues of Mozart. This development has sparked long discussions regarding the originality of the piece.
Besides its musical quality, the work is also known for the story behind Mozart's mysterious client.
In the course of 1791, Mozart was approached by an anonymous intermediary working for the eccentric Count Franz von Walsegg. Through an intermediary, Von Walsegg asked Mozart to write a setting of the Requiem, with half of the total amount paid in advance. Von Walsegg's wife, Anna, had died on February 14, 1791, and as an avid music lover, he wanted to have a Requiem composition performed in her honor during a memorial service. The Requiem had to be delivered anonymously so that Von Walsegg could pass it off as his own work.
In composing the Requiem sections, Mozart naturally adhered to the Latin texts of the classical Requiem Mass as well as its official order. He only refrained from composing music for the texts of the Gradual and the Tract: presumably based on instructions from Mozart's anonymous client, who was following local performance conventions where these parts of the Requiem Mass were performed monophonically, in Gregorian chant. As a model for his Requiem setting, Mozart kept the Requiem by Michael Haydn, the younger brother of Joseph Haydn, in mind.
During the composition phase of the Requiem, Mozart's health deteriorated rapidly. By his death on December 5, 1791, Mozart only had the opening, the Introit (the Requiem aeternam), complete with orchestral and vocal parts on paper. Only the vocal parts and the basso continuo part of the Kyrie were completed, as well as a significant part of the Dies irae. Furthermore, for other parts of the Requiem composition, there are usually only beginnings of a few measures noted: the 'reminders' for later development into a complete section. In the surviving compositional material by Mozart's hand, the (beginnings of the) Sanctus, the Benedictus, the Agnus Dei, and the Communio are completely missing.
When Süßmayr worked on the completion of Mozart's unfinished Requiem project, he may have had access to original compositional material. However, it cannot be ruled out that Süßmayr composed these three sections entirely on his own, in the Mozart style.
The Requiem in D minor (KV 626) is the final, unfinished composition by the Austrian composer Wolfgang Amadeus Mozart. He only completed one part of his composition project for the setting of the texts of the Latin Missa Defunctorum (Mass for the Dead or Requiem, named after the opening words of the Introit).
For the subsequent Kyrie, a fugue, he fully wrote out only the vocal parts and the basso continuo part, but not (yet) the orchestral parts. Nevertheless, this part of the total composition can also be considered complete, because when the (strict) fugue form is used in 18th-century church music compositions—which is the case with the Kyrie of Mozart's Requiem—the orchestra usually follows the vocal parts literally. Consequently, the orchestral parts do not need to be written out in the composition score. The second Kyrie (in F-sharp minor) from Johann Sebastian Bach's Mass in B minor is also noted in the original, handwritten fair copy score in this way, just like the Kyrie fugue from Mozart's Requiem as a 5-part composition: for four vocal parts (SATB) and with a supporting basso continuo part.
The fact that the Requiem was able to come into existence and is now considered one of the most beloved and appreciated works in Mozart's entire oeuvre is thanks to his former student, friend, and colleague Franz Xaver Süßmayr, who at a certain point took up the abandoned Requiem composition project and completed the polyphonic music. In fact, and strictly speaking, the Requiem composition contains even more Süßmayr than Mozart.
Mozart likely conceived and sketched the entire Requiem composition both before and during his final illness in November and early December 1791. Because the Requiem was a commissioned composition, the work was completed at the insistence of Mozart's widow, Constanze Mozart—it had to be finished—initially by Joseph Eybler but later, in its entirety, by Süßmayr, both friends and colleagues of Mozart. This development has sparked long discussions regarding the originality of the piece.
Besides its musical quality, the work is also known for the story behind Mozart's mysterious client.
In the course of 1791, Mozart was approached by an anonymous intermediary working for the eccentric Count Franz von Walsegg. Through an intermediary, Von Walsegg asked Mozart to write a setting of the Requiem, with half of the total amount paid in advance. Von Walsegg's wife, Anna, had died on February 14, 1791, and as an avid music lover, he wanted to have a Requiem composition performed in her honor during a memorial service. The Requiem had to be delivered anonymously so that Von Walsegg could pass it off as his own work.
In composing the Requiem sections, Mozart naturally adhered to the Latin texts of the classical Requiem Mass as well as its official order. He only refrained from composing music for the texts of the Gradual and the Tract: presumably based on instructions from Mozart's anonymous client, who was following local performance conventions where these parts of the Requiem Mass were performed monophonically, in Gregorian chant. As a model for his Requiem setting, Mozart kept the Requiem by Michael Haydn, the younger brother of Joseph Haydn, in mind.
During the composition phase of the Requiem, Mozart's health deteriorated rapidly. By his death on December 5, 1791, Mozart only had the opening, the Introit (the Requiem aeternam), complete with orchestral and vocal parts on paper. Only the vocal parts and the basso continuo part of the Kyrie were completed, as well as a significant part of the Dies irae. Furthermore, for other parts of the Requiem composition, there are usually only beginnings of a few measures noted: the 'reminders' for later development into a complete section. In the surviving compositional material by Mozart's hand, the (beginnings of the) Sanctus, the Benedictus, the Agnus Dei, and the Communio are completely missing.
When Süßmayr worked on the completion of Mozart's unfinished Requiem project, he may have had access to original compositional material. However, it cannot be ruled out that Süßmayr composed these three sections entirely on his own, in the Mozart style.
| Merk | Edition Peters |
|---|---|
| Serie | Choral Music Mozart |
| Instrument | Vocal Score/Piano Reduction |
| Artikelnummer | EP11036 |
| Barcode (EAN) | 9790014107864 |
