Requiem (Mozart)

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The first five bars of Lacrimosa in the “working score”. Upper left the string parts of the introduction, lower right the beginning of the vocal movement and the continuo, both in Mozart's handwriting. Eybler's donation note for “Last Mozart's Manuscript” to the k. k. Court library. On the back of the sheet, after three more bars, Mozart's manuscript breaks off.

The Requiem in D minor ( KV 626) from 1791 is Wolfgang Amadeus Mozart's last composition . Although only about two-thirds of it actually came from Mozart, it is one of his most popular and highly valued works. Mozart died during the composition. Since it was a commissioned work, Joseph Eybler and Franz Xaver Süßmayr , a student of Mozart, completed the Requiem on behalf of Constanze Mozart , the composer's widow. The genesis and quality of the subsequent additions have been hotly debated for a long time. The unusual circumstances of the composition commission and the temporal connection between this soul mass and Mozart's early death have also stimulated the creation of a lush myth.

To the history of origin

In the last years before his death, Mozart turned increasingly to church music - a number of Kyrie fragments are dated to the years 1787–1791. He tried to secure a livelihood in the church music subject by successfully applying to St. Stephan in Vienna, Leopold Hofmann , as adjunct of the cathedral music director in April 1791 . Although the position was unpaid, Mozart thus earned the “expectation of the position of Kapellmeister with 2000 guilders”, ie the assurance of a very lucrative position. On June 17, 1791, Mozart composed the short Corpus Christi - motet Ave verum corpus (K. 618). A work assignment for a larger church had to be very accommodating to him.

In the course of 1791 Mozart was commissioned to compose a requiem through intermediaries who acted for the eccentric Count Franz von Walsegg and received half of the payment in advance. He stuck to the usual text form of the Requiem and simply refrained from setting the Gradual and Tractus to music, as is the case in most musical arrangements . Michael Haydn's Requiem in C minor may have served as a model, the premiere of which Mozart had participated in the orchestra at the age of fifteen.

Mozart fell seriously ill during the composing process. During the composing phase he met several times with Benedikt Schack , Franz Xaver Gerl - both of whom were part of the premiere cast of The Magic Flute - and his brother-in-law Franz de Paula Hofer to sing through the parts that had been completed by then; Mozart himself took over the alto part. According to the memories of Benedikt Schack, the last of these rehearsals should have taken place on the day before his death. Until his death on December 5, 1791, he had only the opening movement of the Introit (Requiem aeternam) with all the orchestral and vocal tune written. The following Kyrie and most of the Dies Irae - Sequence (from Dies irae to Confutatis ) were only in the vocal parts and figured bass completed, in addition, some important orchestral passages (as were variously trombone solo in Tuba mirum , often voice the first Violins) briefly outlined. The last movement of the sequence, the lacrimosa , broke off after eight bars and remained incomplete. In the 1960s a sketch for one was Amen - Fugue discovered that apparently the sequence after the Lacrimosa should finish would. The following two movements of the Offertorium , the Domine Jesu Christe and the Hostias , were again worked out in the vocal parts and partly in the continuo . Sanctus with Benedictus , Agnus Dei and Communio were completely absent.

Constanze Mozart. Portrait of Joseph Lange
First page of the “delivery score” in Mozart's handwriting. The signature “di me WA Mozart mppr. 1792 ”( di me =“ from me ”, mppr. = Manu propria , handwritten), which, according to manuscript analyzes , was forged by Süßmayr.

Mozart's widow, Constanze Mozart , was understandably very keen that the incomplete work was completed so that the advance payment would not be repaid and the second half of the purchase price received. She therefore commissioned other composers, mostly Mozart's students, to complete the work. First she turned to Joseph Eybler . He worked on the instrumentation of the movements from Dies irae to Lacrimosa , but then gave the order back for unknown reasons. He wrote his additions directly in Mozart's autograph score .

The work was entrusted to another young composer and student of Mozart, Franz Xaver Süssmayr , who was able to rely on Eybler's work for the instrumentation. Süßmayr completed the orchestration of the sequence and the offertory , completed the lacrimosa and composed further movements: Sanctus , Benedictus and Agnus Dei . Then he supplemented the Communio ( Lux aeterna ) by repeating the two opening movements that Mozart had composed himself and adding the text of the Lux aeterna to them . Whether the trumpet and timpani parts in the Kyrie also come from Süßmayr is a matter of dispute today.

While the additions to the Kyrie and Eybler's instrumentation were entered directly into Mozart's score , Süßmayr transferred Mozart's musical text and also (partly changed according to his own ideas) Eybler's additions to new music paper for the rest of the work . This resulted in two scores: the “working score”, which only contains Mozart's handwriting and Eybler's additions and was used by Süßmayr as a working basis, and the “delivery score” in the version completed by Süßmayr. The latter was provided with a forged signature by Mozart (by Süßmayr), dated to 1792 and in that year also handed over to the messenger of Count Walsegg, who remained anonymous. The key manuscripts, in particular the “delivery score” and the “working score”, gradually found their way to the Vienna Court Library (now the Austrian National Library ) between 1830 and 1840 .

In addition to Eybler, other composers have probably also worked on the completion, whose notes Süßmayr was probably also able to use. Thus Maximilian Stadler apparently at least preliminary work on the orchestration of the Domine Jesu done. The accompanying voices in the Kyrie, which “go along” with the choir voices ( colla parte voices), also come from another hand; Leopold Nowak , the editor of the Requiem volume of the New Mozart Edition (NMA), suspected Franz Jakob Freystädtler to be the author, but this can be ruled out by more recent manuscript findings.

Since the newly added parts from Süßmayr z. Some of them have clear motivic references to the musical text originating from Mozart and references to other compositions by Mozart were discovered, it is often assumed that Süßmayr or others involved in the work were able to fall back on oral or written information from Mozart (Mozart's widow has "Trümmer" or "Little slip" mentioned by Mozart).

To the music

The work is made up of four vocal soloists ( soprano , alto , tenor and bass ), a four-part choir and a small classical orchestra , consisting of two basset horns , two bassoons , two trumpets , three trombones , timpani , string orchestra and basso continuo ( organ ). The lack of high woodwinds ( flutes , oboes ) and French horns is striking . The sound of the orchestra is thus largely determined by the pliable, dark tone of the basset horns. In this way, "a strong darkening and transparency, which is even more intensified by the economical instrumentation, and a gloomy, serious mood is achieved".

In the Mozart Requiem, the focus is consistently on the four-part vocal movement; there are only short, purely instrumental parts. With a few exceptions, the orchestra has more of a serving function. The vocal soloists also take a back seat to the choir and are (except in the tuba mirum ) mainly used as an ensemble . Arias and comparable forms of solo virtuosity are completely absent, unlike in other church music works or even operas by Mozart and his contemporaries. However, at least in the Kyrie , the choir has considerable room to develop its brilliance.

The main key of the Requiem is D minor , a key that is often (as in the Commander's scenes of Don Giovanni or in Franz Schubert's string quartet Death and the Maiden ) assigned to serious things or things related to the afterlife. The keys move (with the exception of the Sanctus in D major, which is not from Mozart ) for the most part in the range of B-flat keys, which are often associated with darkness, emotion, romance and death (in addition to D minor, for example, F major, G minor E flat major, B flat major, also A minor). Often the connections of the movements are related to a third ( e.g. from D minor to B flat major).

The performance takes about an hour (depending on the version of the completion and the tempo chosen by the conductor).

Work shape

(in the traditional completion by FX Süßmayr)

I. Introit : Requiem aeternam , Adagio , d (choir, soprano solo, choir). Immediately afterwards:

II. Kyrie , Allegro , d (fugue) (chorus)

III. sequence

  1. Dies irae , Allegro assai, d (chorus)
  2. Tuba mirum , Andante , Bb (soloist quartet)
  3. Rex tremendae , g (chorus)
  4. Recordare , F (soloist quartet)
  5. Confutatis , Andante, a (choir)
  6. Lacrimosa , d (choir)

IV. Offertory

  1. Domine Jesu , Andante con moto, g (choir, soloists), Fugue Quam olim Abrahae (choir)
  2. Hostias , Eb (chorus) with repetition of the fugue Quam olim Abrahae

V. Sanctus , Adagio, D with fugue Osanna (choir)

VI. Benedictus , Andante, B (soloist quartet) and Fugue Osanna (choir)

VII. Agnus Dei , d (chorus). Immediately afterwards:

VIII. Communio : Lux aeterna , Adagio, d (soprano solo, choir) + Allegro, d (fugue, chorus) ( parody of Mozart's Introit [from bar 19] and Kyrie )

Introit and Kyrie

Introïtus , Bruno Walter , 1956.
Entrance bars of the requiem with the introduction of the main theme - basset horns above, bassoons below ( audio sample ? / I )Audio file / audio sample

The Requiem begins with a seven-bar orchestral introduction in which the woodwinds (first bassoons, then basset horns) introduce the main theme of the work in an “overlapping” sequence. It is based on an anthem by George Frideric Handel (the choir The ways of Zion do mourn from the Funeral Anthem for Queen Caroline , HWV 264) and is particularly memorable thanks to the ascending tone sequence in quarters. In several sentences of the book are echoes from including in the coloratura of the Kyrie - fugue and finale of the Lacrimosa . This network of motivic relationships is of great importance for the work.

Kyrie , Bruno Walter , 1956.

The trombones then announce the beginning of the choir, which takes up the theme first in the bass part and then imitating it in the other voices. The strings play syncopated accompanying figures shifted by a sixteenth, which underline the solemn, measured character of the music through their “opening”. After a soprano solo to the text Te decet hymnus (in the tone peregrinus ), the motifs of which the choir picks up, the main theme and another theme, characterized by downward flowing sixteenth notes, is processed by the choir and orchestra. Alternation and intertwining of “held” ascending and descending melodies, but also alternation between contrapuntal and chordal-declamatory passages (Et lux perpetua) make up the charm of this movement, which ends with a half-close on the dominant A major.

Entry bars of the Kyrie . In the bass the main theme (on the text Kyrie eleison ), in the alto the counter-subject on Christe eleison ( audio sample ? / I )Audio file / audio sample
Choir bass, bar 33f of the Kyrie. Chromatic variation of the counter-subject ("Gurgeleien" after Weber) ( audio sample ? / I )Audio file / audio sample

The lively Kyrie fugue follows without a break ( attacca ) , the theme of which - including the counter-subject - is also taken from Handel (namely from the final chorus We will rejoice in Thy salvation from the Anthem for the victory of Dettingen HWV 265 ). Mozart knew this theme well from his arrangement of Handel's Messiah (cf. the choral movement And with his stripes we are healed from the Messiah ). The counterpoint motifs on this fugue theme take up the two themes from the introit and vary them. The sixteenth-note runs, which initially rise diatonic, are increasingly replaced by chromatic runs over the course of the performance , which increases the intensity. There are some demands on the treble, especially in the soprano part (up to two-stroke b). A closing formula at a slower tempo (Adagio) ends in an empty fifth, a sound without a third that seems archaic in the classical age, as a conscious recourse to the past.

Sequence (dies irae)

The beginning of the Dies irae in the autograph with Eybler's instrumentation. Top right Nissen's note: “Everything that is not fenced in with a Bley pen is Mozart's handwriting except for pagina 32.” “Fenced in” are the wind parts (lines 4–7) as well as the second from bar 5, as shown in the illustration Violins and violas (lines 2 and 3). The voice of the first violins (line 1), the choir parts (lines 8-11) and the figured bass (last line) are entirely by Mozart.

The dies irae begins powerfully with a full orchestra and choir without an introduction. The powerful choir calls are grounded and amplified by a tremolo of the orchestra and syncopated interjections in the choir breaks. This is followed several times by rapid chromatic sixteenth runs of the first violins up to the renewed choir entries. An effective passage is the “trembling” repeated three times, performed in unison by the basso continuo, violins in the lower register and the choir bass, changing from G sharp and A in eighth notes to the text Quantus tremor est futurus (“What tremors will be”, namely on the dies irae , during the day of the Last Judgment) - Mozart was apparently inspired by the text here.

This also applies to the next movement, Tuba mirum , which - according to the usual German translation of tuba with trombone - is introduced by the triad breaks of the unaccompanied solo trombone in B flat major, a mediante from D minor. After two bars the solo bass starts imitating. A fermata follows in bar 7 - the only passage that could be used for a solo cadenza . The solo tenor sets in on the last quarter of the bass solo, and then solo alto and solo soprano in a similar manner, each in a rather dramatic manner. To the text Cum vix justus sit securus (“When the righteous person is hardly safe”) the piece goes over into a homophonic movement of the four solo voices, which articulate “cum” and “vix” unaccompanied on bars 1 and 3, while on the “ weak “beats 2 and 4 violins and continuo answer; this “faltering” (which could be interpreted as faltering before the Last Judgment) sounds muted once (sotto voce) , then forte and immediately again piano , whereupon a crescendo leads into the final cadence .

A sharply dotted descending sequence of notes in the orchestra heralds the "King of Terrifying Majesty" (Rex tremendae majestatis) , who is called three times with powerful choir chords on the syllable Rex during the orchestra pauses. Then the choir takes over the dotted rhythm of the orchestra, which was known in baroque music as the " topos of homage to rulers" (Wolff). The movement has only 22 bars, but is very varied over this short distance: homophonic and contrapuntal choir passages change several times and at the end lead to an almost unaccompanied choir cadenza, which in turn ends in a third-free sound on D (as in the Kyrie ).

This is followed by the longest movement in the work with 130 bars (and the first in odd meter , namely in three-quarter time ), the Recordare , in which no fewer than six stanzas of the Dies irae are processed. In a thirteen-bar introduction, the basset horns first introduce the theme being carried, then the strings answer it with descending scales that had already sounded in the cellos . This introduction recalls the beginning of the entire work, as do the rhythmic and melodic shifts (basset horn I starts a measure after basset horn II, but a whole tone higher; violins II shifted by a quarter compared to violins I, etc.). Then the solo quartet sets in, always in new combinations of the voices, whereby the repeatedly differentiated alternating vocal patterns between the voices are particularly impressive. As Erich Prieger noted in 1910, the subject of the Recordare is largely identical to a passage from Wilhelm Friedemann Bach's Sinfonia in D minor (= Adagio and Fugue for two transverse flutes, strings and continuo , Fk 65, bar 32ff). In contrast to Introitus and Kyrie , Christoph Wolff does not use a conscious quotation here , but rather a borrowing from the “musical vocabulary customary at the time”.

Bar 25ff. of Confutatis. Below figured bass (not numbered), above the four-part choral setting to the text Oro supplex et acclinis . Modulation from A minor to A minor ( audio sample ? / I )Audio file / audio sample

The subsequent Confutatis captivates with sharp rhythmic, dynamic and layer contrasts and surprising harmonic twists. The male voices of the choir intone forte to a "rolling" bass figure and the vision of hell in sharply dotted rhythms ( Confutatis maledictis, flammis acribus addictis = "The evildoers are banned, given over to the searing flames"). Then the continuo accompaniment pauses, and the female voices of the choir sing softly and sotto voce the request to join the ranks of the blessed (voca me cum benedictis) . Finally, in the next stanza - to the text of the "bent penitent" (Oro supplex et acclinis) - an enharmonic modulation from A minor via a diminished seventh chord to E flat 7 and finally A minor; this surprising lowering of the base is repeated with a strong effect until F is finally reached, but now in major. A seventh chord on A leads to the last movement of the dies irae , the lacrimosa , which follows without a pause.

In a swaying twelve-eighth measure, the strings begin piano with motifs of sighs , to which the choir joins after two measures ( Lacrimosa = "tearful"). A sweeping gesture with an ascending sixth and a falling second give the soprano an intensely painful expression. After two more bars the soprano part of the choral movement begins to rise in the rhythm of dotted quarters (to the text resurget = "will resurrect"), initially diatonic and - because of the notation in eighth notes and pauses - hesitantly, then legato and chromatic with powerfully swelling dynamics. The forte is already reached in bar 8 - and here Mozart's manuscript broke off. Süßmayr continues the homophonic choral movement, which finally leads to a quotation from the beginning of the Requiem (in the choral soprano) and a two-bar Amen cadenza.

Offertory

The first movement of the offertory, the Domine Jesu , begins with a theme sung piano , which (in the soprano part of the choral movement) consists of the notes of a G minor triad in ascending order. This theme is later varied on other harmonic levels: A flat major, B flat minor, followed by the major third D. The solo quartet later processes it in a descending fifth canonical sequence , with the third tone constantly between the minor third (in the ascent) and the Major third (in descent) varies. Between these thematic passages are forte articulated, often unison sung phrases in dotted rhythms (for example on the text "Rex gloriae" = "glorious king" or "de ore leonis" = "[save us] from the jaws of the lion"). This varied network is further varied by a fugato of the choir voices with very large interval falls (to the text "ne absorbeat eas tartarus, ne cadant in obscurum" = "that they do not devour hell, that they do not fall into darkness"). The movement closes with the Quam olim Abrahae , which first sounds as a fugue and then merges into a sharply rhythmic homophonic movement that finally ends in G major.

Measure 46ff. des Hostias , four-part choral setting to the text Fac eas, Domine, de morte transire ad vitam , which leads with a strong piano effect from E flat major to the festive key of D major - from death to life.

Mediantically in E flat major, the Hostias follows , which is in three-four time. The flowing vocal movement merges into individual exclamations of the choir after twenty bars, alternating in forte and piano . This is associated with increased harmonic activity: moving from B flat major to B flat minor, then F major, D flat major, A flat major, F minor, C minor and again E flat major. About a surprising chromatic melody to the text , eas fac Domine, de morte transire ad vitam ( "let them, O Lord, from death to life cross over") is finally D Major achieved, and now again includes the tongetreu repeated fugue Quam olim Abrahae to . The instruction to repeat this (“Quam olim da capo”) is probably Mozart's last act on the Requiem . However, this handwritten note was probably lost in 1958 at the world exhibition in Brussels , where the score was shown - the lower right corner of the last sheet of score, where it stood, was apparently torn out by an unknown hand and stolen. However, the instructions have been preserved on facsimiles. (This fact was taken up by the Austrian writer Gerhard Roth and discussed in his novel The Plan .)

Süßmayr's additions: Sanctus, Benedictus, Agnus Dei

The Sanctus is the first movement that comes entirely from Franz Xaver Süßmayr , and the only one of the entire Requiem in a sharp key (namely the "festive" key of D major, which was often used for the use of baroque trumpets ). The praise of the Lord, which is very short at ten bars, is followed by a fugal movement on the text Osanna in excelsis in three- four time , conspicuously syncopated .

The Benedictus , in the sub-median in B flat major, exposes the soloist quartet. A theme presented in the first round by alto and soprano is processed in motifs in all four parts; the second passage brings the theme first in bass and tenor. This is followed again by the Osanna in excelsis , which this time remains in B flat major and has varied parts. The expected back modulation to the key of the first Osanna , D major, does not occur.

In the Agnus Dei the homophonic sentence dominates. The text Agnus Dei begins three times , each with chromatic melodies and harmonic turns that lead from D minor to E major (and then back to B major). The choir bass quotes the theme of the first movement (Requiem aeternam) . Attacca , the piece merges into the Lux aeterna , which follows Mozart's first movement (from Te decet hymnus ) and later his Kyrie almost true to notes to the end, only with changed text.

Second creation: premiere, musical text, autographs

First performance in the plural

View of the high altar of the Michaelerkirche
Today, Café Frauenhuber is located on the floor under the former Jahn restaurant

There are indications of a (fragmentary) first performance even before the work was even finished, namely on December 10, 1791 in connection with the exequies for Mozart, which Emanuel Schikaneder had held in the Michaelerkirche in Vienna , where there is also a memorial plaque today that reminds of this event. At most, however, the first two movements, Introit and Kyrie , could have been played there, since the others were not yet complete. It is not known which instruments were used.

The first performance of the entire work took place on January 2, 1793 in the Jahn Restoration Hall in Vienna, where Mozart had his last appearance as a pianist in 1791. It was organized by Gottfried van Swieten as part of a benefit concert for Constanze Mozart and her children. The performance seems to have been based on copies that Constanze Mozart and Süßmayr had made before the score was delivered. Presumably this happened without the knowledge of the client, Graf Walsegg, who owned the rights to it.

It was not until December 14, 1793 (in the collegiate church of the Cistercian monastery Neukloster in Wiener Neustadt ) that the first performance was performed that met the terms of the contract and the original purpose: as a soul mass for the deceased Countess Walsegg. According to the report of one of the musicians involved, the client himself conducted the work and used a copy of the score in which he as the author had himself entered - apparently a procedure that he used more often (and which also explains the anonymous ordering). Another performance took place on February 14, 1794, the third anniversary of Countess Walsegg's death, in the patronage church of the Count, Maria Schutz am Semmering (now part of Schottwien ).

The reputation of the work spread beyond Vienna and Wiener Neustadt through a performance in the concert hall of the Gewandhaus in Leipzig on April 20, 1796, conducted by Johann Gottfriedschicht , who later became the Thomaskantor . The announcement has been preserved, so more details are known. After the approximately one-hour Requiem, further Mozart works with two interpreters were planned: Constanze Mozart (vocals) and August Eberhard Müller ( organ ). Müller later was the editor of the first edition of the score.

How the manuscripts became the Mozart Requiem

In the first detailed biography of Mozart, which was published by Franz Xaver Niemetschek in 1798, the Requiem is already mentioned in great detail. The fragment character is addressed as well as the anonymous ordering.

The Breitkopf & Härtel publishing house turned to Constanze Mozart in the course of 1799 to start negotiations about the Mozart estate and the printing of the Requiem score. While the former failed, the latter succeeded - also because Constanze Mozart did not have the rights to the work. The publisher, which already had a copy of the score, tried to obtain more detailed information from Constanze Mozart regarding copyright , authorship and the exact musical text . Constanze Mozart sent Breitkopf & Härtel their copy of the score to compare the musical text and advised the publisher to contact Süssmayr for the details of the completion of the work. In fact, in a letter to the publisher in February 1800, Süßmayr explained, essentially correctly, his share in the Requiem, but does not seem to have insisted on naming his name - because Breitkopf & Härtel published the first print of the score soon after, as the author only stated Mozart, provided a clear musical text and in no way revealed the fragmentary character of the work.

Mozart's obituary in the musical correspondence of the German Filarmonic Society of December 28, 1791

However, the newspaper advertisements with which the publisher advertised the work also attracted the attention of Count Walsegg, stepped out of his anonymity and made demands on Constanze Mozart, which could apparently be compensated by a compromise. Probably at his urging, but perhaps also in the interest of Constanze Mozart, who would have liked to obtain and sell the original score to the music publisher Johann Anton André , the purchaser of the Mozart estate, a memorable meeting also took place in the Viennese notary's office in the autumn of 1800 by Dr. Johann Nepomuk Sortschan, who acted for Walsegg. All the important manuscripts were available: the “delivery score” that the count had received; the “working score”, which was then owned by Constanze Mozart; plus a copy of the first edition by Breitkopf & Härtel. Maximilian Stadler and Georg Nikolaus Nissen (Constanze Mozart's second husband) represented the Mozart family. Stadler had organized Mozart's estate and therefore knew Mozart's handwriting well and was probably also involved in the instrumentation of the offertory ; Therefore it fell to him to separate the parts of Mozart and Sussmayr. This happened u. a. by “fencing in” the non-Mozart passages with a “Bley pen” in the “working score”. The result of this collation was recorded by the notary and confidentiality agreed. Then the originals returned to their owners.

Basically, only now was there really a "Mozart Requiem" as a uniform work: the legal questions had been clarified, a score was available on the market and was soon supplemented by a piano reduction (published by André 1801) and parts (1812 in Vienna) ( consistently with Mozart as the sole author), performances, score studies and reviews were possible. On the other hand, the share of Süßmayr was also known, because his above-mentioned letter to Breitkopf & Härtel was printed in the Allgemeine musical newspaper in 1801 . Until 1825, the design of the work was no longer significantly publicly discussed.

The Requiem Dispute

In 1825, the editor of the “Cäcilia - Zeitschrift für die Musikische Welt”, Jacob Gottfried Weber , published his essay “On the authenticity of Mozart's Requiem”, which caused considerable controversy. He not only brought back to mind the fact that Mozart was not the sole author of the Requiem and that until now no conclusive documents for an authorship were available to the public; on the contrary, he generally questioned whether the published score went back to Mozart at all, and assumed that Süßmayr had put together the entire musical text from possibly “sketches”. He got himself into great trouble, however, because he linked the question of authenticity with aesthetic evaluations. He called the chromatic coloratura in the Kyrie (see above) "wilde gorgheggj" (gargling) a. also highly disrespectful of the sharp contrasts in Confutatis - that is why he does not want to have to attribute them to Mozart without proof.

Weber's attack reached a fairly large audience and generated sharp reactions. Ludwig van Beethoven noted in his copy of Cäcilia “O du Erzesel” and “O du doppelter Esel” in the margin of the article, Carl Friedrich Zelter also expressed himself very ungraciously about Weber in a letter to Goethe . Of course Weber was not alone in his criticism. Hans Georg Nägeli also rejected the unconventional harmonic disposition of the Kyrie : “Such a violation of the relationship of the keys ... the fugue turns into a barbaric tangle of clay.” There was a lively debate about the questions of authenticity and the aesthetic valuation that reflected in various magazines (including Cäcilia, Allgemeine Musikische Zeitung, Berliner Allgemeine Musikische Zeitung). Maximilian Stadler's answer was particularly important for the question of authenticity. He referred to the above-described editorial meeting of autumn 1800, which was thus made public for the first time, and referred to the autographs of Mozart: "I had these originals in my hands two times a short time ago and looked through them carefully". He was also the first to notice that Mozart "chose the great Handel ... as his model in serious singsong" and pointed to Handel's "Anthem for the Funeral of Queen Caroline" as the model for the first movement. That was grist to the mill Weber, who in his public response in "Cäcilia" pleaded for Requiem and Kyrie to be viewed as Mozart's sketches after Handel, since he did not want to accuse Mozart of plagiarism . It stands to reason that Weber represented a concept of original creation that did not correspond to Mozart's free approach to models.

After all, Weber's attack resulted in Mozart's autographs coming to light over the next few years. Initially, in 1827, Johann Anton André organized the first “edition of the Requiem corrected from Mozart's and Süßmayr's handwriting”, and two years later a special edition of the sequence and the offertory with Mozart's own musical text. In 1829 Stadler sold the autograph of the sequence he owned to the court library in Vienna, and in 1833 the same library received the autographs of the lacrymosa fragment and the offertory from Eybler . Finally, in 1838, the library also acquired the complete “delivery score” from the Walsegg estate, so that now - apart from the above-mentioned sketch of the Amen fugue - all important original documents were publicly accessible. To this day, they form the basis for the ongoing controversy about the “correct” Requiem figure.

To the reception

Despite the complicated history of its creation and publication, the Requiem was Mozart's first major church music work to be printed. It also enjoyed constant popularity that was hardly affected by the boom in Mozart's reception. The reasons for this are not purely musical: the myths and secrets of Mozart's end played a major role here.

The contribution of myth-making

Right from the start, the reception of the Mozart Requiem was shaped by the formation of legends about its creation and the death of Mozart. An early example of this is an article by Johann Friedrich Rochlitz in the Allgemeine Musikischen Zeitung from 1798, i.e. before the score was first printed. Rochlitz stylized the "Gray Messenger" into a messenger from the afterlife. Mozart was firmly convinced that "the man with the noble reputation is a very unusual person who is in closer contact with that world, or who was sent to him to announce his end". He then worked on the work day and night and to the point of fainting, because he believed he was “working this piece for his own funeral”. With such intervention by otherworldly powers, it is no wonder "that such a perfect work came about". The report was based on unreliable information from Constanze Mozart and is in no way covered by the autograph findings, which show no signs of haste.

A moment from the last days of Mozart - lithograph by Friedrich Leybold from 1857 based on descriptions by Franz Schramms

However, he increased curiosity about Mozart's last work and was later taken up again and again and further embellished, among other things by rumors circulating early on that Mozart had been poisoned, possibly by his rival Antonio Salieri . From the early 19th century until today, from Alexander Pushkin's drama Mozart and Salieri (which Rimsky-Korsakov served as a model for his opera Mozart and Salieri of the same name ) to Miloš Forman's film Amadeus , this trait plays a central role in the reception of the work.

It was also Rochlitz who - in an article entitled "Mozart and Raphael" in the Allgemeine musical newspaper  - laid the foundations for a parallelization of Mozart and Raphael . In the course of the 19th century it became a topos to describe Mozart as "Raphael of Music", as a naively composing, cheerful godly darling who ennobled everything he touched. In this tradition, the Requiem appeared almost like Mozart's passion - also a bracketing of the mythically charged biography with the work.

The way to the "state composition"

At the same time, the work established itself early on as a prime example of the sublime in music. So estimated Johann Adam Hiller , head of Musikübenden company back from the April 20, 1796 at the Leipzig Gewandhaus and Thomas cantor, to which the above-mentioned performance, the work to a very high - after Gruber's judgment because it "the pathetic musical tastes most likely corresponded" . He headed his copy of the score “opus summum viri summi” (highest work of the highest man) . Above all, however, he backed a German text and thus created an important prerequisite for transferring the work from the church to the secular environment, the concert hall. Since Hiller tended in his performances of Handel's Messiah, for example , to occupy the choirs very strongly and thus to create an impression of the monumental, this should also apply to the Requiem performance.

As a result, the Requiem became a formal “state composition” early in the 19th century in German-speaking countries and soon beyond. In 1800 it was performed by the Singakademie in Berlin at the funeral for its founder Carl Friedrich Christian Fasch - Jean Paul , who was present, praised the contrast between “Mozartian thunder clouds” and “nightingale songs” in a letter to Johann Gottfried Herder . It was heard in 1803 at the splendid funeral service for Friedrich Gottlieb Klopstock , 1808–1810 at the annual memorial services at Ludwigslust Palace for the deceased Duchess Luise Charlotte zu Mecklenburg , in 1812 in Vienna at the unveiling of a monument to Heinrich Joseph von Collin and in Berlin at the funeral service for the Prussian queen widow, in France and Naples at the funeral for a French general, and later at the official funeral for Ludwig van Beethoven , Frédéric Chopin and many other musicians.

Romantic review: ETA Hoffmann's seminal review

The early Romantics largely valued Mozart's secular music very much and gave it features of an art religion. In general, however, this did not apply to his church music, which was criticized in the course of the romantic Palestrina veneration, as was Joseph Haydn's masses . Classical church music was considered too secular, operatic and virtuoso, and thus obscured the religious message. Ludwig Tieck, for example, lets a figure argue in a dialogue in Phantasus that music is “the most religious” of the arts and “cannot be pathetic and insist on its strength and power, or want to let off steam in despair”. This is then directly related to Mozart and the Requiem: “I would have to be without feeling ... if I were not to honor and love the wondrous, rich and deep spirit of this artist, if I did not feel carried away by his works. But you don't have to let me want to hear a requiem from him, or try to convince me that he, like most newer musicians, was really able to set sacred music. "

Criticism of this type played a major role in Romanticism and later in Cecilianism ; but it is precisely in the most important romantic review that the Requiem is excluded from this criticism, namely in the essay "Old and New Church Music" published by E. T. A. Hoffmann in the Allgemeine musical newspaper in 1814. Hoffmann criticized the "disgusting sweetness" of newer church music and did not exclude the masses of Haydn and Mozart, which were commissioned works anyway. Mozart, however, “opened up his inner being in a single church work: and who is not seized by the most ardent devotion, by the most sacred rapture that radiates from it? His Requiem is probably the highest thing that the latest ecclesiastical cult has to offer. ”The musical justification is remarkable: Mozart dispenses with the“ colorful, frizzy figures ”that would otherwise be used so often as decorations“ like glued-on, crackling gold tinsel ", And concentrate the new instrumentation possibilities of the Viennese classicism entirely on the glorification of the" genuine church "feeling. Significantly, Hoffmann criticizes the Tuba mirum alone , the only passage that enables, indeed demands, solo brilliance, as being too “ oratorio-like ”. He adds a remark critically relating to the early secular and monumentalizing performance practice: “The Requiem performed in the concert hall is not the same music; the appearance of a saint at the ball! "

Hoffmann's text was very effective in the history of reception and was quoted again and again, directly or indirectly. Even at Alfred Einstein , the remark place, the principal trombonist in Tuba mirum do to want to produce the impression to announce instead the horrors of the Last Judgment - and this is the most problematic point of the Requiem in Mozart's own musical text. And Nikolaus Harnoncourt holds Mozart's Requiem for "Mozart's only work of an autobiographical reference".

Between memorial music and heavenly counterworld

However, this did not change the fact that the Requiem continued to be performed particularly frequently as representative, monumentally pathetic funeral and memorial music: for example at the funeral for Napoleon on the occasion of the transfer of his body to the Invalides Cathedral and at the celebration of the 100th anniversary of Mozart's death in Salzburg Dom . This later also applied to the young Soviet Union: It was performed on May 1, 1918 for “those who fell in the Revolution” in the Petersburg Winter Palace, shortly afterwards on the 100th birthday of Karl Marx and on the first anniversary of the October Revolution . A remarkable curiosity is the Parisian performance of Don Giovanni in 1834, in which the final sextet (after the protagonist's descent into hell), which was perceived as too profane and therefore often left out, was replaced by sentences from the Requiem. Even at a time when Mozart's operas were becoming increasingly rare in European opera houses (from around 1870), the requiem was still given frequently - on “appropriate occasions”. Admittedly, the criticism of these rituals grew: George Bernard Shaw , a great admirer of Mozart, mocked the "spirit of pious melancholy" that was reflected in the choice of works at such celebrations. And in 1915 Karl Kraus wrote his poem “At the sight of a strange poster” - the eponymous poster announces a Requiem performance for charitable purposes, but the lyrical ego sees only mortars everywhere , even in the representation of a church window on the poster. Kraus contrasts the “heavenly music” of Mozart with the propaganda that is carried out with it, he contrasts Mozart's Requiem with the Requiem of Europe: the First World War .

A chilling example of the government appropriation of the Mozart Requiem criticized by Kraus is a record from 1941 with Bruno Kittel and the Berlin Philharmonic on the 150th anniversary of Mozart's death. Here, any reference to the Jewish roots of Christianity has been removed from the text. For example, it was called “Te decet hymnus, Deus in coelis” instead of “Deus in Sion” (ie “God in heaven” instead of “God in Zion ”) and “hic in terra” (“here on earth”) instead of “in Jerusalem "; "Quam olim Abrahae promisisti" ("as you once promised Abraham") became Quam olim homini promisisti ("as you once promised to man").

Theologians like Karl Barth and Hans Küng, on the other hand, believed after the Second World War that they could find “traces of transcendence” and “God's special, direct access to this person” in Mozart's work.

Revaluations

In the 1970s a new evaluation of the work began, which was mainly fed from two sources. First, in the course of the work on the New Mozart Edition, there had been increased philological work on the existing sources. Süßmayr's instrumentation and additions, which had attracted criticism from the start, were examined in detail, analyzed and compared with Eybler's preliminary work. By examining paper and handwriting and finding new sketches, it was possible to illuminate the context in which the work was created much more precisely. In this context, a series of new installations of the plant emerged, all of which attempted to evaluate the new knowledge both about the plant and about the historical context.

On the other hand, historical performance practice began to influence the reception of the Mozart Requiem. There was criticism of the well-known representative recordings, for example by Bruno Walter (first complete recording of the Requiem, 1937), Karl Böhm or Herbert von Karajan . The baroque and archaic elements of the work were taken more seriously than before, experimenting with boys' voices, historical instruments, small ensembles, brisk tempos and articulation and phrasing more closely approximated to the baroque (keyword “ sound speech ”). In the recordings of John Eliot Gardiner (with the English Baroque Soloists 1986), Nikolaus Harnoncourt (with his Concentus Musicus Wien ) or Christoph Spering (2002), the Requiem sounded less opulent, but more audible, more transparent, and sometimes more severe. The fragmentary nature of the work was also emphasized more strongly: for example, Spering's recording even contains tracks with the pure vocal and figured bass parts from the sequence and offertory , as found in Mozart's handwriting. And in 1995, during a concert tour to mark the 50th anniversary of the atomic bombing on Hiroshima , the conductor Bernhard Klee had the Lacrimosa movement interrupted after the eighth bar - followed by Luigi Nono's oratorio Canti di vita e d'amore. Add Sul ponte di Hiroshima .

Newer recordings often use the revised version by Beyer (see below, section New versions); In recent years, the Levin version has also been increasingly played. Recordings of the more radical new versions (Maunder, Druce) have not yet caught on.

Omnipresent Marketing

Nowadays the work (understandable from countless performances and various CD offers in the low-price sector) enjoys general popularity, which has been increased by the omnipresent marketing of Mozart's work. There are jazzed-up versions and performances that are enriched by ballet and dance. The unbroken popularity of the work can also be seen in its diverse uses in popular culture. Requiem sentences were used as early as 1968 in the film music for Teorema - Geometry of Love by Pier Paolo Pasolini , later in Eyes Wide Shut , The Big Lebowski , The Lion King , X-Men 2 , The Incredibles - The Incredibles , Elizabeth , Revolver , Watchmen and of course in Amadeus . In current music it is mainly used by metal bands ( Symphony X , Children of Bodom , Moonspell ), but also in the work of other artists ( Ludacris , Tarja Turunen , Sweetbox , Trans-Siberian Orchestra , Evanescence , Julian Rosefeldt ). It has even found its way into the world of video games, it is one of the main themes in Onimusha 3: Demon Siege and is used in the trailer for Command & Conquer 2 . In all of these areas, the “Dies irae” and the “Lacrimosa” are particularly popular.

Productive reception

The posthumous fame and popularity of the requiem had consequences: none of the subsequent composers could ignore this work; it had a major impact on the history of the genre. The requiems by Joseph Eybler , Anton Reicha , Sigismund von Neukomm and also an early requiem by Anton Bruckner all refer to Mozart's model down to the details of the motif.

For later Requiem settings, the step that the Mozart Requiem took from the church into the concert hall (of course only after Mozart's death) remained binding. However, they generally refrained from making direct references to Mozart's work and rather tried to break away from the genre-historical model. In his Grande Messe des Morts , Hector Berlioz rather went back to the French tradition of François-Joseph Gossec : with a very large cast and spatially distributed groups of instruments. Giuseppe Verdi , who with his Messa da Requiem also created a very successful setting of the Requiem text, used, for example, the dotted falling line from Mozart's Rex tremendae majestatis in a modified form, but transferred it to the choir bass and let it go fortissimo into the anxious question "plunge into" the Last Judgment. The further development of the movement with its dramatic climax is also very different from that of Mozart.

The 1991–2000 cycle of paintings by the contemporary painter Thomas Grochowiak testifies to the effect of the Requiem in the visual arts . He takes one sentence of the work as the starting point for a color composition.

Revisions

Historical edits

Sigismund von Neukomm, who completed the Requiem liturgically in 1821 with another sentence

Shortly after it was first published, attempts were made to supplement the traditional version of Mozart's Requiem. The Salzburg composer Sigismund von Neukomm , who emigrated to Rio de Janeiro in 1816, added the responsory “Libera me, Domine” to the work for a performance in Brazil . Neukomm's liturgically justified completion of the Requiem, two of which have survived, was rediscovered twice at the end of the 20th century. First in the Academic Music Library in Stockholm by Ulrich Konrad , whose version, edited for print, was performed in 1996 and recorded for a radio broadcast in 1999. The second copy was found in the French National Library and served Jean-Claude Malgoire in November 2005, regardless of Konrad's publication, as a template for the first recording of the Neukomm version on CD.

For a long time thereafter, the Süßmayr version of the work remained the only one performed, although there were always clear criticisms of Süßmayr's instrumentation and, above all, of the new movements he wrote. The first attempt to create an alternative was made in 1923 by Gerhard von Keussler . In his article Mozart without Süssmayr , he suggested replacing Süssmayr's new compositions of Sanctus , Benedictus and Agnus Dei with movements from other Mozart masses. Hardly anyone seems to have followed this suggestion.

For a performance under Eduard van Beinum in 1941 on the 150th anniversary of Mozart's death, the then deputy artistic director of the Amsterdam Concertgebouw Orchestra , Marius Flothuis , wrote a revised version of Süßmayr's version. Flothuis slimmed down the orchestral line-up a little (in particular he did without the trumpets in Sanctus and Benedictus and largely also on the trombone support for the vocal parts ) and inserted two modulating bars in the Benedictus in order to avoid the key change when the Osanna fugue was repeated. Shortly before Flothui's death in 2001 this version was recorded for the first time (by Jos van Veldhoven with the orchestra and choir of the Nederlandse Bachvereniging ).

Requiem but no peace

After the Second World War, the discussion about Süßmayr's additions did not calm down, as Friedrich Blume's influential article Requiem but no peace (1961) impressively shows in the title. Sussmayr's instrumentation was the focus of criticism. The first attempts come from Wilhelm Fischer , Ernst Hess and Karl Marguerre .

In an article published in the 1959 Mozart Yearbook, Hess meticulously analyzed the weaknesses of the Süssmayr version and suggested specific changes and improvements in numerous sheet music examples. Several of these suggestions were incorporated into the later revisions by Franz Beyer, Richard Maunder, and Robert Levin. A supplement and new instrumentation listed in Hess' catalog raisonné cannot be found at the moment.

Marguerre, who had published an essay on Süßmayr's passages in the Requiem in 1962/63, developed a version in the 1960s that he performed many times with the choir and orchestra of the Technical University of Darmstadt. His granddaughter Dorothee Heath edited this version after his death and published it in print. It was performed publicly on November 26, 2016 in Münster . In particular, Marguerre's version extended the instrumentation given by Süßmayr to include high woodwinds (oboe, clarinet, flute) and also intervened in Süßmayr's musical text at individual points, where he considered the composition to be clumsy.

In 1971 Franz Beyer presented a completely new version of the Requiem, which he revised again for the second edition in 1979. Above all, he intervened in Süssmayr's instrument parts and eliminated awkwardness in the movement (such as unintentional parallel fifths ). His changes went a little further in the parts that were entirely by Süßmayr (he changed the choir entries in the back of the Lacrimosa ). Beyer's cautious revision established itself alongside the traditional Süssmayr version in performance practice. a. recorded by Nikolaus Harnoncourt, Leonard Bernstein and Neville Marriner .

The musicologist and Mozart researcher Hans-Josef Irmen, however, resorted to Keussler's idea of ​​completing Mozart with Mozart. Among other things, he replaced the Sanctus and Benedictus with the chorus "Godhead above everything mighty" from Mozart's Thamos music , to which he placed the liturgical text of Sanctus. To win an Amen fugue, he added the choral fugue “Laudate pueri” from Mozart's Vesperae solennes de Confessore . Irmen's version was performed in 1978 in Düsseldorf and Antwerp, among others, and was printed in the same year as a score. Since Prisca-Verlag (the author's own publishing house) was liquidated after Irmen's death in 2007, this version is no longer available.

Richard Maunder presented a radical new version . This was recorded in 1983 by Christopher Hogwood with the Academy of Ancient Music and was printed in 1988. Maunder completely rejected Sussmayr's Sanctus and Benedictus and excluded them from the work, only the Agnus Dei appeared to him acceptable on the basis of detailed comparisons with other church works by Mozart. He also composed an Amen fugue for the conclusion of Lacrimosa , for which he used Mozart's sketch sheet and a fugue for organ roll by Mozart (KV 608) as a starting point. He also intervened heavily in Süßmayr's instrumentation.

Three further attempts at completion were made on the occasion of the 200th anniversary of Mozart's death in 1991. H. C. Robbins Landon created a new version for the performance of Georg Soltis with the Vienna Philharmonic and the choir of the Vienna State Opera in St. Stephen's Cathedral on December 5, 1991 and published the score in 1992. Landon waived New compositions, but the instrumentation was much more oriented towards Joseph Eybler's work than the previous arrangers.

The completion of Duncan Druce, however, reached deeper into the substance of the work. Like Maunder, Druce wanted to largely eradicate Sussmayr's contributions, but he replaced them to a much greater extent with new compositions. He strove to "put himself in the shoes of a capable composer of the 18th century who was close to Mozart's style and who knew his tools quite well". Druce also composed an Amen fugue - far more extensive than Maunder's -, plus an extensive new composition by Benedictus and an instrumental introduction to Communio . Druce's version was commissioned by the Yorkshire Bach Choir; it was recorded in 1991 by Roger Norrington with the London Classical Players and the Schütz Choir of London. The score was published in 1993.

Finally, Robert D. Levin's version was premiered in 1991 by Helmuth Rilling , the Bach-Collegium Stuttgart and the Gächinger Kantorei at the European Music Festival in Stuttgart (the score was published in 1994). Levin, like Beyer, went back to Süssmayr's version and sought a musically more coherent design of Süssmayr's movement. He loosened up the instrumentation and brought out the four-part vocal movement more clearly. However, he changed the movements from Süßmayr alone much more than Beyer: a newly composed Amen fugue, an extended elaboration of the Osanna fugue and a lightening of the sound in the Sanctus through the use of clarinets are examples of this.

In 1996, the Zurich organist Emil Bächtold (1916–1998) presented a version in which he only edited Mozart's fragment and dispensed with Süssmayr's compositions Sanctus , Bendictus and Agnus Dei . Bächtold had the orchestrated Lacrimosa fragment broken off after Mozart's eight bars. The work ends with the hostias from the offertory. Bächtold was influenced and stimulated by his collaboration with Ernst Hess. The world premiere took place on January 20, 1996 in the Reformed Church of Bülach by the singing circle Zürcher Unterland, the choir of the Kantonsschule Zürcher Unterland and the Zurich Symphony Orchestra under the direction of Hans Egli. The score has not been published.

Now there was a whole series of quite different revisions to choose from. For example, although all three Amen fugues were based on Mozart's sketch, they turned out to be very different, as Ulrich Konrad notes with amusement. Conductors now also had the opportunity to “mix” their own requiem: Claudio Abbado, for example, based his performance with the Berliner Philharmoniker on the Süßmayr version, but followed some of Beyer's corrections and some of Levin's changes. The traditional Süssmayr version and the arrangements by Beyers and Levin are most widely used.

In 2006, Mozart's 250th year of birth, a new version was created, this time by Clemens Kemme . It was premiered on October 17, 2006 under Frans Brüggen in Warsaw (sound recordings do not yet exist on the market).

Benjamin Gunnar Cohrs presented a further new version in 2013 (world premiere under his direction on September 20, 2013 in Bremen and September 21, 2013 in Dortmund). Cohrs retained - with minor modifications - those passages by Süssmayr which, in his opinion, go back to Mozart's sketches; He composed the end of Lacrymosa , the continuations of Sanctus , Benedictus and Agnus dei , the Amen fugue (based on Mozart's sketch sheet ) and the Osanna fugue. He redrafted the instrumentation on the basis of Eybler's manuscript. Finally, Cohrs added an alternative ending with an extended plagal cadenza in D major.

In 2016, Pierre-Henri Dutron published a new version of the Requiem based on Süßmayr's supplement. There is a recording with René Jacobs and the Freiburg Baroque Orchestra .

literature

grades

  • Mozart / Günter Brosche: Requiem KV 626. Complete facsimile edition in the original format of the original manuscript in two parts based on the musical manuscripts 17.561 of the music collection of the Austrian National Library. Academic printing and Publishing House, 1990, ISBN 3-201-01508-3
  • New Mozart Edition, Series I / 1 / Dept. 2/1: Requiem (fragment), ed. by Leopold Nowak 1965 (in the appendix: the sketch for the Amen fugue) : Score and critical report in the New Mozart Edition
  • New Mozart Edition, Series I / 1 / Dept. 2/2: Requiem (supplements), ed. by Leopold Nowak 1965 (contains both Eybler's and Süßmayr's work) : Score in the New Mozart Edition
  • Mozart: Requiem for four solo voices, choir and orchestra KV 626 / Urtext of the fragment supplemented by Franz Beyer (score), Edition Kunzelmann, Adliswil 1979, revised 2006
  • Mozart: Requiem K 626, revised and edited. by Richard Maunder, Oxford University Press, 1988
  • Mozart: Requiem. Mozart's fragment with the additions by Joseph von Eybler and Franz Xaver Süßmayr , completed and edited. by HC Robbins Landon , Wiesbaden, Breitkopf & Härtel, 1992
  • Mozart Requiem K. 626. Completed by Duncan Druce, London, Novello, 1993
  • Mozart: Requiem in D minor KV 626, supplemented by Robert D. Levin, Neuhausen and Stuttgart, Hänssler and Carus-Verlag , 1994
  • Mozart: Requiem in D minor KV 626, newly completed and edited by Benjamin-Gunnar Cohrs, study score with commentary: Musikproduktion Höflich, Munich, 2013; Performance material: BGC Manuscript Edition, Bremen, 2013.
  • Requiem : Sheet Music and Audio Files in the International Music Score Library Project

Web links

Commons : Requiem (Mozart)  - album with pictures, videos and audio files

Texts

Audio samples

Individual evidence

  1. ↑ Wolff 2003, p. 41
  2. ^ Pressburger Zeitung , May 22, 1791; quoted from Wolff 2003, p. 120.
  3. ↑ "Wolfgang Amadeus Mozart, who took part in the Salzburg premiere in the orchestra, was impressed by the work and later - as some obvious echoes show - used it as a model for his own Requiem." Angela Pachovsky: Missa pro defuncto archiepiscopo Sigismundo (c -Minor). "Schrattenbach Requiem". In: Silke Leopold , Ullrich Scheideler (Ed.): Oratorienführer . Bärenreiter, Kassel 2000, p. 331.
  4. ↑ Benedict Schack. [Obituary]. In: General musical newspaper . Volume 29, No. 30, July 25, 1827, Col. 519-521. Also quoted in: Christoph Wolff: Mozart's Requiem. History - music - documents. Bärenreiter, Kassel 1991, ISBN 3-7618-1242-6 , p. 126 f.
  5. ↑ Korten 1999, p. 104
  6. ↑ See the critical report in the Neue Mozart-Ausgabe , where an unknown author is assumed.
  7. ↑ Michael Lorenz : Freystädtler's Supposed Copying in the Autograph of K. 626: A Case of Mistaken Identity . paper read at the MSA conference Mozart's Choral Music: Composition, Contexts, Performance , Bloomington 2006; see. also the critical report of the New Mozart Edition.
  8. ^ Peter Jost: Instrumentation - history and change of the orchestral sound . Bärenreiter, Kassel, ISBN 3-7618-1719-3 , p. 77.
  9. ↑ For example, B. Johann Mattheson in The newly opened Orchester in 1713 the characteristic of D minor as “something submissive, calm, then also something big, pleasant and content [……] then the same tohn in church matters the devotion, in communi vita but the minds -Child to promote capable sey; ... “quoted from Hans Heinrich Eggebrecht: Bach's Art of Fugue - Appearance and Interpretation. Piper-Schott, Munich, 1984, 3rd edition 1988, pp. 43 and 44.
  10. ^ Gerhard Bellosa: The language of music. Books on Demand GmbH, 2001, p. 14 ff.
  11. ↑ Explanation: Individual letters mark the key: lower case stands for minor, and upper case for major
  12. ↑ Hans Joachim Marx, Wolfgang Sandberger: Göttinger Handel Contributions , Volume 12. Vandenhoeck & Ruprecht, 2008, p. 24 u. 25th
  13. ↑ Hans Joachim Marx, Wolfgang Sandberger: Göttinger Handel Contributions , Volume 12. Vandenhoeck & Ruprecht, 2008, p. 25
  14. ↑ On the website of the Bach Choir Tübingen Ingo Bredenbach compares the themes of the Messiah -Chor and the Kyrie -Fugue, with an instructive example of music; see bachchor-tuebingen.de , scroll down.
  15. ↑ Wolff 2003, pp. 84f .; see. also Volker Hagedorn: The Unfinished. Artist legend and genius between the ages: Friedemann Bach was born in Weimar 300 years ago . In: Die Zeit , No. 47/2010
  16. ^ Gerhard Roth : The plan . S. Fischer, Frankfurt 1998
  17. ↑ Wolff 2003, p. 44.
  18. ↑ See the eyewitness report by Anton Herzog: True and detailed history of the Requiem by WA Mozart. From the creation of the same in 1791 to the present time in 1839 . Quoted from Wolff, pp. 130-137.
  19. ↑ The relevant pages with Beethoven's handwritten comments can be viewed online on the pages of the digital archive in the Beethoven-Haus Bonn: beethoven-haus-bonn.de
  20. ↑ Hans Georg Nägeli: Lectures on music with consideration of a dilettante . Stuttgart / Tübingen 1826, p. 99. Quoted here from Peter Ackermann: Requiem KV 626 . In: Hochradner / Massenkeil 2006, pp. 125–154, here: p. 142.
  21. ^ Defense of the authenticity of Mozart's Requiem , 1826, cited above. according to Wolff 2001, pp. 148–152
  22. ↑ In: Allgemeine Musikische Zeitung , 1 [1798 | 99], Sp. 147–151; quoted here from Konrad, cf. Klassik.com .
  23. ^ Konrad, klassik.com .
  24. ↑ see for example Wolff 2001, p. 9
  25. ↑ Gruber 1985, pp. 170-171, cf. also Harald Schützeichel, Martin Haselböck: Mozart's church music . Publishing house of the Catholic Academy of the Archdiocese of Freiburg, 1992, p. 86
  26. ↑ Gruber 1985, p. 45.
  27. ↑ a b Gruber 1985, p. 82.
  28. ^ Letter to Herder dated October 8, 1800, in: Complete Works, Section III / Volume 4, Berlin 1960, p. 2.
  29. ↑ Ludwig Tieck: Phantasus, first part . (PDF) p. 425f.
  30. ↑ Allgemeine Musical Zeitung , No. 35, 1814, raptusassociation.org
  31. ^ Alfred Einstein: Mozart. His character, his work. New edition 2005 (originally 1947), p. 370.
  32. ↑ hiberniaschule.de - Thoughts and impressions on the "Requiem" by Nikolaus Harnoncourt ( Memento from August 7, 2011 in the Internet Archive )
  33. ^ Karl Schlögel: Petersburg. The Laboratory of Modernity 1909–1921 . Fischer, Frankfurt 2009, pp. 449f.
  34. ↑ Silke Leopold: "Mozart's spirit must blow alone and purely in his works" - Mozart in musical practice at the beginning of the 19th century . In this. (Ed.): Mozart Handbook . Kassel 2005, pp. 28–33, here: p. 29.
  35. ↑ Gruber, 1985, p. 220
  36. ↑ Gruber, 1985, pp. 217, 218 and 253
  37. ↑ About this Recording 8.111064 - MOZART: Requiem in D minor (Tassinari, Tagliavini, De Sabata) (1941); on www.naxos.com
  38. ^ Karl Barth: Wolfgang Amadeus Mozart . Evangelischer Verlag 1956, p. 16, and Hans Küng: Traces of Transcendence - Experiences with Mozart's Music . Munich 1991.
  39. ↑ See Grochowiak's website, especially grochowiak.com
  40. ↑ Erich Gelf: Lost and Found . A “completed” Mozart Requiem from Brazil from 1821 . In: Neue Chorszene , 4th year, July 2007, pp. 13–21.
  41. ↑ In: German Music Yearbook , 1, Essen 1923, pp 210-216; quoted from Matthias Korten: On the performance and supplementary history of the Requiem . In: Hochradner / Massenkeil 2006, pp. 445–481.
  42. ^ Ernst Hess: To supplement Mozart's Requiem by FX Süssmayr. In: Mozart Yearbook 1959. S 99.
  43. ↑ Ernst Hess: From Harry Graf, Rudolf Klein, Kurt Fischer. One hundred and fifty-fourth New Year's sheet of the Zurich General Music Society; To the year 1970.
  44. ↑ Concert choir sings Mozart Requiem in the Marguerre version. In: Westfälische Nachrichten , November 23, 2016. Online . See Daniel N. Leeson: Opus ultimum. The Story of the Mozart Requiem . Algora, New York 2004, pp. 143f .; see also Karl Marguerre: Mozart and Süßmayr. In: Mozart-Jahrbuch 1962/63, pp. 172–177.
  45. ↑ Dorothee Heath: On the orchestral line-up in Mozart's Requiem , accessed on April 3, 2018 (with audio sample Dies Irae and others - also in comparison to the Süßmayr version - in the WDR interview ).
  46. ↑ Hans-Josef Irmen: WA Mozart: Requiem. Attempt to recast. Prisca-Verlag, Zülpich 1978 (published 1998).
  47. ↑ Druce in the booklet to the recording with Roger Norrington, quoted from Korten, in: Hochradner / Massenkeil 2006, p. 466. Translation: Wikipedia; Original text: "Trying not so much to put myself into Mozart's shoes as into those of a competent eighteenth century composer, sympathetic as to his style and reasonably knowledgable as to his methods."
  48. ↑ NZZ , January 16, 1996; NZZ January 22, 1996.
  49. ↑ NZZ , January 16, 1996.
  50. ↑ Klassik.com
  51. ^ Korten, in: Hochradner / Massenkeil 2006, p. 481.
  52. ↑ nifc.pl
  53. ↑ Süßmayr Remade , only in French, the score is freely accessible
This article was added to the list of excellent articles on December 8, 2006 in this version .