Upload
beray-selen
View
221
Download
0
Embed Size (px)
Citation preview
8/13/2019 Mozart 6 Fin of Req
1/213
INFORMATION TO USERS
This manusc ript has been reproduced from the microfilm master. UMI films
th e text directly from the original or copy submitted. Thus, som e thesis and
disserta tion copies are in typewriter face, while othe rs ma y be from any type of
computer printer.
The quality of this reproduction is dep end ent up on the quality of the
cop y su bm itted . Broken or indistinct print, colored o r poo r quality illustrations
and photographs, print bleedthrough, substandard margins, and improper
alignm ent can adversely affect reproduction.
In the unlikely event that the author did not send UMI a complete manuscript
an d th ere are missing pages , the se will be noted. Also, if unauthorized
copyright material had to be removed, a note will indicate the deletion.
Oversize materials (e.g., maps, drawings, charts) are reproduced by
sec tion ing the original, beginning at the upper left-hand com er and continuingfrom left to right in equal sec tions with small overlaps.
ProQuest Information and Learning300 North Zeeb Road, Ann Arbor, Ml 48 106-1 346 USA
800-521-0600
rodu ced wi th permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ib ited wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
2/213
roduced with permission of the copyright owner. Further reproduction prohibited withou t permission.
8/13/2019 Mozart 6 Fin of Req
3/213
THE REQUIEMCONTROVERSY:
An Examination of
Six Completions of Mozarts Final Work
A thesis submitted to the
Division of Research and Advanced Studies
of the University of Cincinnati
in partial fulfillment of the
requirements for the degree of
DOCTOR OF MUSICAL ARTS (DMA)
in the Department of Choral Conducting
of the College-Conservatory o f Music
2002
by
David A. McConnell
B.M., Westminster Choir College, 1994
M.M., Temple University, 1996
Committee Chair: Dr. Stephen Coker
p rodu ced wi th permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ibi ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
4/213
UMI Number: 3069949
Copyright 2002 by
McConnell, David Allen
All rights reserved.
___
UMIUMI Microform 3069949
Copyright 2003 by ProQuest Information and Learning Company.
All rights reserved. This microform edition is protected against
unauthorized copying under Title 17, United States Code.
ProQuest Information and Learning Company
300 North Zeeb Road
P.O. Box 1346
Ann Arbor, Ml 48106-1346
rod uce d with permiss ion of the copyr igh t owner. Fur ther reproduct ion proh ibi ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
5/213
David Allen McConnell 2002
rod uced wi th permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
6/213
UNIVERSITY OF CINCINNATI
November 15 ,2 0 0 2
C D av id-A llen McCon n e ll ____ _ 7
hcrcbv submit this as part o f the requirements for the degree of:
Doctor of M usical Arts _ ___ ____
Itl __ Choral Conducting______________________________
It is entitled th e requiem controversy : an exam inat ion of s ix
_ _ _ COMPLETIONS OF MOZART'S FINAL WORK____
Approved bv:
8/13/2019 Mozart 6 Fin of Req
7/213
ABSTRACT
MozartsRequiem (K. 626) has been a staple of the choral repertoire since its first
publication in July 1800. Yet the work, left incomplete at his death, has been a source o f
frustration for performers and scholars alike, in large part because o f the numerous errors
in counterpoint and orchestration found in the first and best known comple tion o f
Mozarts unfinished torso, done by Franz X aver Sussmayr. In fact, the very first review
o f the work, published in the Allgemeine musikalische Zeitung in early 1801, suggested
that corrections be made to make the poorly written passages sound more idiomatically
Mozartian.1 Within the last forty years these unsatisfactory passages have led some
scholars and composers to prepare their own completions.
This thesis provides conductors with a resource for comparing and selecting from
the various published completions. Versions of Franz Beyer, Richard Maunder, H.C.
Robbins Landon, Duncan Druce and Robert Levin are examined and compared to
Sussmayrs completion, yielding a detailed description o f similarities and differences.
The goal o f this research is to create a single document that allows for immediate
comparison o f these various completions with Sussmayrs version as well as with each
other.
The first chapter describes the commissioning o f the work, the amount o f time
Mozart most likely worked on the score, and how the incomplete manuscript came to be
finished. Chapter II investigates problems in the traditional Sussmayr completion and his
claim to have written the Sanctus, BenedictusandAgnus Deientire ly on his own. This
chapter also considers the discovery of a fragment of Mozart autograph, found by
1Thomas Bauman, Requiem, but No Piece, I ? h-Century Mu sic 15 (1991): 154.
rodu ced wi th permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ib ited wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
8/213
Wolfgang Plath in Berlin in 1961, containing a sketch o f an Amen fugue tha t many
scholars believe Mozart intended to use in theRequiem. Chapter IV discusses elements
o f Mozarts compositional technique found in the unfinishedRequiem,and Chapters V
through IX examine the five completions in detail. The tenth chapter provides a
summary o f the comple tions, briefly discussing their strengths and drawbacks. This is
followed by a discography including performances o f each version and a bibliography
that includes information on all the completions.
rod uce d wi th permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ibi ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
9/213
ACKNOWLEDGEMENTS
The author gratefully acknowledges the permission of the publishers w ho have allowed
the use o f their music in this thesis:
Musica l Examples in Chapter IV are reprinted by permission.
Wolfgang Amadeus Mozart
Requiem. K.626
Edited by Franz Beyer
Albert J. Kunzelmann 1983
Use by permission. All rights reserved.
Musical Examples in Chapter V are reprinted by permission.
Wolfgang Amadeus Mozart
Requiem. K.626
Edited by Richard Maunder Oxford University Press 1988
Use by permission. All rights reserved.
Musical Examples in Chapter VI a re reprinted by permission.
Wolfgang Amadeus Mozart
Requiem. K.626
Edited by H. C. Robbins Landon
Breitkopf und Hartel, Wiesbaden, Germany
Excerpts used by permission.
Musical Examples in Chapter VIII are reprinted by permission.Wolfgang Amadeus Mozart
Requiem. K.626
Edited with a new completion by Duncan Druce
Copyright 1993 Novello & Com pan y Limited, London, England.
International Copyright Secured. AH Rights Reserved.
Reprinted with permission. Edited by Duncan Druce
Musical Examples in Chapter VIII are reprinted by permission.
Wolfgang Amadeus Mozart
Requiem, K.626
Edited by Robert Levin
Hanssler-Verlag, Holzgerlingen, Germany
www.haenssler-classic.de
Reprinted with permission of Hanssler-Verlag.
rodu ced wi th permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ib i ted wi thout permiss ion .
http://www.haenssler-classic.de/http://www.haenssler-classic.de/8/13/2019 Mozart 6 Fin of Req
10/213
I also v/ish to thank Jeremy Sawruk and D avid Himes, for creating most o f the musical
examples used throughout the thesis, Judith Green for her excellen t editing skills, counsel
and advice, and Dr. Stephen Coker, Dr. Earl Rivers and Dr. John Leman for their
teaching and example throughout my time at CCM.
rod uce d with permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ib ited wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
11/213
For Tate, Blair, and Tama
rod uce d with permiss ion of the copyr ight owner . Fur ther reproduct ion prohibited without permiss ion.
8/13/2019 Mozart 6 Fin of Req
12/213
CONTENTS
LIST OF TABLES 2
MUSICAL EXAMPLES 3
INTRODUCTION 8
CHAPTER I: GENESIS OF THE REQUIEM 11
CHAPTER II: PROBLEMS WITH SUSSMAYRS COM PLETION 19
CHAPTER III: MOZART S COMPOSITIONAL TECHNIQUE S
IN THE REQ UIEM 28
CHAPTER IV: THE BEY ER COMPLETION 36
CHAPTER V: THE MA UND ER COMPLETION 66
CHAPTER VI: THE LANDON COMPLETION 96
CHAPTER VII: THE DRUCE COMPLETION 115
CHAPTER VIII: THE LEVIN COMPLETION 157
CHAPTER IX: SUM MATION 193
SELECT DISCOGR APHY 197
BIBLIOGRAPHY 198
1
ro duc ed with permis sion of the copyright owner. Furthe r reproduction prohibited without permission .
8/13/2019 Mozart 6 Fin of Req
13/213
LIST OF TABLES
CHAPTER I: GENESIS OF THE REQUIEM
Table 1: Contents o f Mozarts Unfinished Manuscript p. 13
CHAPTER II: PROBLEMS WITH SUSSMAYRS COMPLETION
Table 2: Errors in Sussmayrs Completion p. 20
CHAPTER III: MOZARTS COMPOSITIONAL TECHNIQUES
IN THE REQUIEM
Table 3: RequiemKey Scheme p. 31
rodu ced wi th permiss ion of the copyr igh t owner. Fur ther reproduct ion proh ib i ted wi thout permiss ion .
2
8/13/2019 Mozart 6 Fin of Req
14/213
MUSICAL EXAMPLES
CHAPTER II: PROBLEMS WITH SUSSMAYRS COMPLETION
Example 2.1: mm. 1-5 o f the soprano line in theDies iraeand Sanctus p. 24
Example 2.2: mm. 1-2 o f the basset hom 1,
mm. 8-9 o f the choral bass in theIntroitiis, and
mm. 2-6 of the choral bass in theAgnus Dei p. 25
Example 2.3: Sketch for anAmen in D minor p. 27
CHAPTER III: MOZARTS COMPOSITIONAL TECHNIQUES
IN THE REQU IEMExample 3.1: mm. 34-35 of the Choral Parts in theIntroitus p. 30
Example 3.2: Opening 17 mm. from Handels funeral anthem.
Theways o f Zion do mourn, HMV 264 p. 33
Example 3.3: First 4 mm. of the closing chorus for Handels Dettingen
Victory Anthem, The king shall rejoice, HMV 265 p. 34
CHAPTER IV: THE BEYER COMPLETION
Example 4.1: Kyrie,mm. 48-50, woodwinds p. 37
Example 4.2: Dies irae, mm. 1-9, trumpet and timpani p. 38
Example 4.3: Dies irae, mm. 52-57, trumpet and timpani p. 38
Example 4.4: Dies irae, mm. 10-14, strings p. 39
Example 4.5: Dies irae, mm. 32-36, strings p. 40
Example 4.6: Tuba minim,mm. 24-34, bassoons p. 41
Example 4.7: Tuba minim,mm. 40-44, woodwinds p. 41
Example 4.8: Tuba minim,mm. 11-15, strings andbass solo p. 42
Example 4.9: Tuba minim,mm. 16-17, strings andtrombone solo p. 42
Example 4.10: Tuba minim, mm. 18-20, strings and tenor solo p. 43
Example 4.11: Tuba minim, mm. 34-39, strings p. 43
Example 4.12: Tuba minim, mm. 45-51, strings p. 44
Example 4.13:Rex tremendae, mm. 2 1-22, strings p. 45
Example 4.14: Recordare,mm. 45-52, woodwinds p. 45Example 4.15: Recordare,mm. 20-26, strings p. 46
Example 4.16: Recordare, mm. 46-52, strings p. 47
Example 4.17: Confutatis,mm. 6-7 and 16-17, woodwinds p. 48
Example 4.18: Lacrimosa, mm. 24-28, choral parts p. 49
Example 4.19: Lacrimosa, mm. 3-6, strings p. 50
Example 4.20: Domine Jesu, mm. 44-51, woodwinds p. 51
Example 4.21: Domine Jesu, mm. 3-9, strings p. 52
Example 4.22: Domine Jesu, mm. 18-19, strings p. 53
3
rod uce d with permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ibi ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
15/213
Example 4.23: Domine Jesu, mm. 37-40, strings p. 53
Example 4.24: Hostias, mm. 3-7, strings p. 54
Example 4.25: Sanctus, second ending to fugue, full score p. 55
Example 4.26: Sanctus. mm. 1-5, choral parts p. 56
Example 4.27: Sanctus. mm. 4-10, trumpet and timpani p. 57
Example 4.28: Sanctus, mm. 1-7, strings p. 58
Example 4.29: Sanctus. mm. 33-38, strings p. 59
Example 4.30: Benedictus,mm. 1-3, woodwinds p. 59
Example 4.31: Benedictus,mm. 9-12, woodwinds p. 60
Example 4.32: Benedictus,mm. 34-40, woodwinds p. 60
Example 4.33: Benedictus,mm. 1-3 and 9, strings p. 61
Example 4.34: Benedictus,mm. 10-13, strings p. 61
Example 4.35: Benedictus,mm. 33-34, strings and vocal soloists p. 62
Example 4.36:Agnus Dei. mm. 1-6, woodwinds p. 63
Example 4.37:Agnus Dei, mm. 5-8, 17-20, and 34-38, strings p. 64
CHAPTER V: THE MAUNDER COMPLETIONExample 5.1: Kyrie,mm. 40-41 and 48-49, woodw inds p. 67
Example 5.2: Kyrie, mm. 50-52, strings p. 68
Example 5.3: Dies irae, mm. 1-8, woodwinds p. 68
Example 5.4: Dies irae, mm. 53-59, woodwinds p. 69
Example 5.5: Dies irae, mm. 52-59, trumpet and timpani p. 70
Example 5.6: Dies irae, mm. 5-6, strings p. 70
Example 5.7: Dies irae, mm. 13-19, strings p. 71
Example 5.8: Dies irae, mm. 31-36, strings p. 72
Example 5.9: Tuba mirum. mm. 3-5, woodwinds and bass solo p. 72
Example 5.10: Tuba mirum, mm. 12-18, woodwinds and basssolo p. 72
Example 5.11: Tuba mirum, mm. 39-44, woodwinds and sopranosolo p. 73Example 5.12: Tuba mirum, mm. 5-7, strings p. 74
Example 5.13: Tuba mirum, mm. 22-23, strings p. 75
Example 5.14: Tuba mirum, mm. 26-33, strings p. 75
Example 5.15: Tuba mirum, mm. 52-56, strings p. 76
Example 5.16: Rex tremendae, mm. 7-11, woodwinds p. 77
Example 5.17: Rex tremendae. mm. 15-17, trum pet and timpani p. 77
Example 5.18: Rex tremendae, mm. 5-6, strings p. 78
Example 5.19: Recordare, mm. 45-52, woodwinds p. 79
Example 5.20: Recordare, mm. 14-26, strings p. 80
Example 5.21: Recordare, mm. 38-45, strings p. 81
Example 5.22: Recordare, mm. 46-52, strings p. 81
Example 5.23: Confutatis, mm. 6-10, woodwinds p. 82
Example 5.24: Confutatis, mm. 6 and 16, strings p. 83
Example 5.25: Confutatis, mm. 26, 30, and 34, strings p. 83
Example 5.26: Lacrimosa, mm. 9-13, choral parts and piano reduction p. 84
Example 5.27: Lacrimosa, mm. 21-24, choral parts and piano reduction p. 85
Example 5.28: Amen, mm. 44-50, choral parts p. 87
Example 5.29: Amen, mm. 52-61, choral parts p. 88
4
rodu ced wi th permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ib ited wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
16/213
Example 5.30:Domine Jesu,mm. 25-30, woodwinds p. 89
Example 5.31:Domine Jesu,mm. 71 -75, woodwinds p. 89
Example 5.32: Domine Jesu. mm. 8-11, strings p. 90
Example 5.33:Domine Jesu,mm. 33-40, strings p. 90
Example 5.34: Hostias,mm. 6-11, strings p. 92
Example 5.35:Hostias, mm. 53-54, strings p. 92
Example 5.36:Agnus Dei, mm. 9-10, orchestral bass line p. 93Example 5.37:Agnus Dei, mm. 15-22, choral parts p. 93
Example 5.38: Agnus Dei, mm. 1-4, 14-17, and 29-32, violins p. 94
Example 5.39: Lux aeterna,mm. 11-12, choral bass line p. 95
CHAPTER VI: THE LANDON COMPLETION
Example 6.1: Dies irae, mm. 1-6, woodwinds
Example 6.2: Dies irae, mm. 22-27, woodwinds
Example 6.3: Dies irae,mm. 1-6, trumpet and timpani
Example 6.4:Dies irae,mm. 52-56, trumpet and timpani
Example 6.5: Dies irae, mm. 10-14, strings
Example 6.6: Dies irae, mm. 52-56, strings
Example 6.7: Dies irae,mm. 65-68, strings
Example 6.8: Tuba mirum, mm. 11-14, strings
Example 6.9: Tuba mirum, mm. 17-20, strings
Example 6.10: Tuba mirum,mm. 57-62, strings
Example 6.11: Rex tremendae,mm. 16-22, strings
Example 6.12: Recordare,mm. 14-20, strings
Example 6.13: Recordare,mm. 45-52, strings
Example 6.14: Recordare,mm. 87-92, strings
Example 6.15: Recordare. mm. 118-122, strings
Example 6.16: Confutatis. mm. 1-6, woodwindsExample 6.17: Confutatis,mm. 11-15, trumpet and timpani
Example 6.18: Confutatis,mm. 6-7, strings
CHAPTER VII: THE DRUCE COMPLETION
Example 7.1: Kyrie,mm. 96-98, woodwinds
Example 7.2:Kyrie,mm. 96-100, trumpet and timpani
Example 7.3: Dies irae,mm. 1-8, woodwinds
Example 7.4:Dies irae. mm. 21-29, woodwinds
Example 7.5:Dies irae,mm. 65-68, woodwinds
Example 7.6:Dies irae,mm. 1-8, trumpet and timpani
Example 7.7: Dies irae,mm. 65-68, trumpet and timpaniExample 7.8: Dies irae,mm. 25-29, strings
Example 7.9:Dies irae,mm. 31-36, strings
Example 7.10:Dies irae, mm. 49-53, strings
Example 7.11: Tuba mirum,mm. 11-15, woodwinds
Example 7.12: Tuba mirum.mm. 29-34, woodwinds
Example 7.13: Tuba mirum,mm. 25-43, strings
Example 7.14: Tuba mirum,mm. 51-55, strings
p 98
p 98
p 99
p- 00
p-01
p- 02
p- 02
p- 03
p- 04
p- 05
p- 06
p- 08
p- 09
p- 10
p- 11
p- 11p- 12
p- 13
p- 16
p- 17
p- 17
p- 18
p- 18
p- 19
p- 19
p- 20
p- 20
p- 21
p- 22
p- 22
p- 23
p- 24
5
pro du ced with permission of the copyright owner. Furt her reproduction prohibited without permission .
8/13/2019 Mozart 6 Fin of Req
17/213
Example 7.15: Rex tremendae, mm. 7-15, woodwinds p. 125
Example 7.16: Rex tremendae, m. 16, woodwinds p. 125
Example 7.17:Rex tremendae,mm. 7-11, strings p. 126
Example 7.18: Recordare, mm. 14-20, woodwinds p. 126
Example 7.19: Recordare, mm. 46-52, woodwinds p. 127
Example 7.20:Recordare, mm. 20-26, strings p. 127
Example 7.21:Recordare, mm. 46-50, strings p. 128
Example 7.22: Recordare, mm. 84-87, strings p. 128
Example 7.23: Confutatis, mm. 1-9, woodwinds p. 129
Example 7.24: Confutatis, mm. 37-40, strings p. 130
Example 7.25:Lacrimosa, mm. 6-8, strings p. 131
Example 7.26:Lacrimosa,mm. 14-26, choral parts and piano reduction p. 132
Example 7.27:Amen, mm. 86-127, choral parts and piano reduction p. 134
Example 7.28:Amen, mm. 51-61, strings p. 136
Example 7.29:Amen, mm. 126-128, trumpet, timpani and trombone p. 136
Example 7.30: Domine Jesu, mm. 32-40, woodwinds p. 137
Example 7.31:Domine Jesu, mm. 67-72, woodwinds p. 138Example 7.32:Domine Jesu, mm. 1-3, strings p. 139
Example 7.33:Domine Jesu, mm. 32-36, strings p. 139
Example 7.34:Domine Jesu, mm. 44-48, strings p. 140
Example 7.35: Hostias. mm. 10-21, woodwinds p. 140
Example 7.36: Hostias, mm. 39-44, woodwinds p. 141
Example 7.37: Hostias, mm. 3-10, strings p. 141
Example 7.38: Hostias. mm. 52-54, strings p. 142
Example 7.39: Sanctus, mm. 4-12, choral parts and piano reduction p. 143
Example 7.40: Sanctus. mm. 24-31, choral parts and piano reductionp. 144
Example 7.41: Sanctus, mm. 55-61, choral parts and piano reductionp. 145
Example 7.42: Sanctus, mm. 71-80, choral parts and piano reductionp. 145
Example 7.43: Sanctus, mm. 1-5, trumpet and timpani p. 146
Example 7.44: Sanctus. mm. 1-5, strings p. 146
Example 7.45: Sanctus, mm. 72-80, strings p. 147
Example 7.46: Benedictus, mm. 1-11, full score p. 148
Example 7.47: Benedictus, mm. 71-76, full score p. 151
Example 7.48:Agnus Dei, mm. 41-60 choral parts and piano reduction p. 152
Example 7.49:Agnus Dei, mm. 1-5, woodwinds p. 154
Example 7.50:Agnus Dei, mm. 6-10, trumpet and timpani p. 154
Example 7.51:Agnus Dei. mm. 1-10, violins p. 155
Example 7.52: Lux aetem a, mm. 1-8, full score p. 155
CHAPTER VIII: THE LEVIN COMPLETION
Example 8.1: Kyrie , mm. 88-90 and 96-98, woodwinds p. 158
Example 8.2: Kyrie, mm. 96-100, trumpet and timpani p. 159
Example 8.3: Dies irae, mm. 1-8, woodwinds p. 159
Example 8.4: Dies irae, mm. 13-17, woodwinds p. 160
Example 8.5:Dies irae, mm. 52-57, trumpet and timpani p. 160
Example 8.6: Dies irae, mm. 5-8 and 12-14, strings p. 161
6
rod uce d wi th permiss ion of the copyr igh t owner. Fur ther reproduct ion proh ibi ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
18/213
Example 8.7: Dies irae,mm. 31-36, strings P- 62
Example 8.8: Tuba mirum,mm. 40-44, woodwinds P- 63
Example 8.9: Tuba mirum,mm. 55-62, woodwinds P- 63
Example 8.10: Tuba mirum,mm. 8-15, strings P- 64
Example 8.11: Tuba mirum, mm. 34-37, strings P- 64
Example 8.12: Tuba mirum, mm. 57-62, strings P- 65
Example 8.13:Rex tremendae, mm. 7-11, woodwinds P- 65
Example 8.14: Rex tremendae, mm. 5-6, strings P- 66
Example 8.15: Recordare,mm. 35-50, woodwinds and strings P- 67
Example 8.16: Recordare,mm. 82-93, strings P- 69
Example 8.17: Confutatis,mm. 5-7, woodwinds P- 70
Example 8.18: Lacrimosa, mm. 9-19, choral parts P- 71
Example 8.19: Lacrimosa,mm. 19-27, choral parts and piano reduction p. 73
Example 8.20: Lacrimosa,mm. 3-4 and 10-14, strings P- 74
Example 8.21:Amen,mm. 52-67, choral parts and piano reduction P- 75
Example 8.22: Domine Jesu,mm. 21-30, woodwinds P- 76
Example 8.23: Domine Jesu, mm. 1-3, strings P- 77Example 8.24: Domine Jesu, mm. 32-37, strings P- 77
Example 8.25: Hostias,mm. 21-28, strings P- 79
Example 8.26:Hostias,mm. 35-38, strings P- 79
Example 8.27: Sanctus,mm. 6-12, choral parts P- 80
Example 8.28: Sanctus,mm. 7-11, trumpet and timpani P- 81
Example 8.29: Sanctus,mm. l-l 1, strings P- 81
Example 8.30: Benedictus,mm. 50-56, full score P- 83
Example 8.31: Benedictus,mm. 21-32, vocal parts and piano reduction P- 84
Example 8.32: Benedictus,mm. 38-42, woodwinds P- 86
Example 8.33: Benedictus, mm. 1-3, strings P- 87
Example 8.34: Benedictus,mm. 6-11, strings P- 87Example 8.35: Benedictus.mm. 38-42, strings P- 88
Example 8.36: Agnus Dei,mm. 34-41, choral parts P- 89
Example 8.37: Agnus Dei,mm. 45-53, choral parts P- 90
Example 8.38:Agnus Dei. mm. 1-6, woodwinds P- 90
Example 8.39:Agnus Dei. mm. 1-9, 17-24, and 34-41, violins P- 91
rod uce d wi th permiss ion of the copyr igh t owner. Fur ther reproduct ion proh ibi ted wi thout permiss ion .
7
8/13/2019 Mozart 6 Fin of Req
19/213
INTRODUCTION
Mozarts unfinishedRequiem is one o f the monuments o f Western music. Yet the
work, left incomplete at his death, has been the subject o f controversy and criticism for
more than two hundred years. This is largely because o f the numerous errors in
counterpoint and orchestration found in the first and best known completion o f Mozarts
unfinished torso, done by one of his students, Franz Xaver Sussmayr.
Sussmayrs work on the Requiem is replete with poor counterpoint and
problematic orchestration. These issues have been the subject o f cri tic ism since its first
publication in 1800. The schola r Duncan Druce describes Sussmayrs contribution as:
lacking the perfection of detail, the smooth c raftsmanship, the imaginative
relationship of subsidiary material to the whole that is so characteristic of
Mozarts other mature masterpieces. Sussmayrs orchestra tion, often
perfectly workmanlike, occasionally inept, rarely imaginative, may not
often get in the way of Mozarts vision, but rarely enhances it.1
In the last century, scholars and performers have struggled to repair the many
shortcomings o f Sussmayrs work. Conductors such as Felix Weingartner and Bruno
Walter and composers such as Richard Strauss and Benjamin Britten made changes to the
orchestration for performance. In recent times, the desire to improve the work and make
it sound more idiomatically Mozartean has led several musicians to publish new
completions o f theRequiem.
8
rod uce d wi th permiss ion of the copyr igh t owner. Fur ther reproduct ion proh ibi ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
20/213
This thesis is intended to provide conductors with a resource for comparing and
selecting from the various published completions. Versions of Franz Beyer, Richard
Maunder, H. C. Robbins Landon, Duncan Druce, and Robert Levin are examined and
compared to Sussmayrs completion, yielding a detailed description o f similarities and
differences. The five chapters devoted to the various versions are, o f necessity,
somewhat pedantic; but the goal o f this research is to create a single docum ent that
allows for immediate comparison o f these various completions with Sussm ayrs version,
as well as with each other.
In the course of these chapters, each movement of theRequiem is examined in
turn. The ensuing discussion describes any compositional alterations and orchestration
changes the newer completions make to the Sussmayr version. Orchestral matters are
discussed in score order: woodwinds, trumpets and timpani, trombones and strings.2 For
a thorough appreciation of the discussion, the reader should have a full score o f the
Mozart/Sussmayr score at hand.
The first chapter describes the com missioning of the work, the amount o f time
Mozart most likely worked on the score, and how the incomplete manuscript came to be
finished. Chapter II investigates problems in the traditional Sussmayr completion and his
claim to have written the Sanctus, BenedictusandAgnus Deientirely on his own. This
chapter also considers the discovery o f a fragment of Mozart autograph, found by
Wolfgang Plath in Berlin in 1961, containing a sketch of an Amen fugue that many
scholars believe Mozart intended to use in the Requiem. Maunder, Druce and Levin
1Wolfgang Amadeus Mozart, Requiem K. 626. Comp letion by Duncan Druce. (Londo n: Novello, 1993).
viii.
Since there are no real differences in the continuo part of these completions, the organ part is not
discussed.
9
ro duc ed with permiss ion of the copyright owner . Fur ther reproduct ion prohib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
21/213
incorporate and realize this sketch as part o f their completion. Chapter IV discusses
elements o f Mozarts compositional technique found in the unfinishedRequiem , and
Chapters V through IX examine the five completions in detail, as described above. The
tenth chapter provides a summary o f the completions, briefly discussing their strengths
and drawbacks. This is followed by a select discography including performances of each
version and a bibliography that includes information on all the completions.
ro duc ed with permis sion of the copyright owner. Furth er reproduction prohibited without permission .
10
8/13/2019 Mozart 6 Fin of Req
22/213
CHAPTER I
GENESIS OF THE REQUIEM
During the early morning hours of 5 December 1791, Mozart died, leaving his
setting of the Requiem Mass unfinished. Count Franz von Walsegg had commissioned
the work in secret, sometime in the sum mer of 1791. Several accounts describe the
delivery o f the commission; one o f the best is that of Mozarts first biographer, Franz
Xaver Niemetschek:
Shortly before the coronation o f Emperor Leopold, even before Mozart
had received the order to travel to Prague, an unknown messenger3brought him a
letter without signature, which with many flattering remarks contained an enquiry
as to whether he would be willing to undertake to write a Requiem Mass. What
would be the cost, and how long would it take to complete?
Mozart, who never made the least move without his wifes knowledge, told her ofthis remarkable request, and at the same time expressed a wish to try his hand at
this type of composition, the more so as the higher forms of church music had
always appealed to his genius. She advised him to accept the offe r.4 He therefore
replied to his anonymous patron that he would write a Requiem for a given sum;5
he could not state exactly how long it would take. He wished, however, to know
where the work was to be delivered when ready. In a short while, the same
messenger appeared again, bringing not only the sum stipulated but also the
promise, as Mozart had asked so modest a price, that he would receive another
payment on delivery o f the composition. He should, moreover, write according to
his own ideas and mood, but he should not trouble to find out who had given the
commission, for it would assuredly be in vain.
3Johan n Nepo muk Sortschan, a clerk from Walse ggs Viennese law office, most likely delivered the
commission.
4 This is a questionable part of the narrative, since Constanze was at a spa in Baden from June to mid-July
1791. Perhaps the commission came later in July.
550 ducats
1 1
pro duc ed wi th permiss ion of the copyright owner . Fur ther reproduct ion prohib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
23/213
In the meantime he received a very flattering and advantageous offer to compose
the opera seriafor the coronation o f Emperor Leopold in Prague. It was too
much o f a temptation for him to refuse to go to Prague to write for his beloved
Bohemians.6
Research on the paper and ink o f the autograph indicates Mozart did not begin
work on theRequiemuntil his return from Prague in the middle of September 1791.7
Even so, he could not have dedica ted h imself to exclusive work on theRequiem ,since on
30 September he led the first performance o fDie Zauberfldte . The operas overture and
March o f the Priests were only completed on 28 September, and during the last ha lf of
the month there were likely last-minute changes and rehearsals.
Furthermore, Mozart was bedridden from 20 November until his death on 5
December, so it seems doubtful he could have accomplished much work on theRequiem.
His illness would have made him weak and shaky, and undoubtedly there would be
evidence o f this in the autograph.
Mozart, then, had a little less than two months (between 1 October and 20
November) to comple te theRequiem. Within the same two months, he completed the
Clarinet Concerto,K. 622 and the Masonic Cantata,K. 623 (the last work entered into
his thematic catalogue, dated 15 November), and he might have worked on the unfinished
Horn Concerto in D,K. 412.8
When Mozart died, his wife Constanze desperately needed to find a way to collect
the remainder o f the commission fee for theRequiem, in order to support herse lf and their
two children, and to pay off a number of significant debts left by her husband.
H. C. Robbins Landon, The Mo zart Essays(London: Thames and Hudson, 1993), 191-92.
' Alan Tyson, Mo zart: Studies o f the Autograph Scores (Cambridge: Harvard University Press, 1987), 35.
Barry Coop er Clarke, From little se eds," M us ical TimesCXXXV1I (1996): 15.
12
p roduc ed wi th permiss ion of the copyr igh t owner. Fur ther reproduct ion prohib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
24/213
She decided to have the work completed by another composer someone from Mozarts
close c ircle o f students and friends -- and to pass it o ff entirely as entirely by Mozart.9
Table 1 shows the state of the unfinished manuscript.
Table 1: Contents of Mozarts Unfinished Manuscript
Introitus
Tempo marking: Adagio
Com plete10
Kyrie
Tempo marking: Allegro
All choral parts and the orchestra l bass line
Dies irae
Tempo marking: Allegro assai
All choral parts and the orchestral bass line
The first four measuresof string writing
Violin 1 (mm. 5-9, 19-31, 40-57, 65-68)
Tuba mirum
All four solo parts and the orchestral bass line
The trombone solo (mm. 1-18)
Violin 1 (mm. 44-62) Violin 2 (m. 44)
Rex tremendae
All choral parts and the orchestral bass line
Sketches for the triple canon, beginning at measure 7
Violin I (complete)
Recordare
All vocal solo parts and the orchestral bass line
Basset horn (mm. 1-7)
Violins and viola (mm. 7-14, 52-53, 126-29)
Violin 1 (mm. 34-38, 68-79, 109, 129-30)
9Christoph Wolff, M ozart 's Requiem : H istor ica l and Analytica l Studies(Berkeley: University of
California Press, 1994): 18.
10 Levin, in the preface to the full score o f his completion, suggests the use of different color inks and the
slight variations in handwriting found in the trumpet an d timpani lines indicate that someone else
com pleted these parts - for reference see Chapter IX.
13
p roduc ed wi th permiss ion of the copyr igh t owner. Fur ther reproduct ion prohib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
25/213
Confutatis
Tempo marking: Andante
All choral parts and the orchestral bass line
Violin 1 (mm. 7-12, 17-40)
Violin 2 (mm. 38-40)
Viola (m. 40) Woodwinds (mm. 26-29)
Lacrimosa
Six measures o f choral parts and orchestral bass line (mm. 3-8)
Two measures o f upper string parts (mm. 1-2)
A sixteen-bar sketch for a Amen fugue11
Domine Jesu
All choral parts and the orchestral bass line
Violin 1 (mm. 43-46 and 67-78)
Violin 2 (mm. 67-70)
Hostias
All choral parts and the orchestral bass line
Violins and violas (mm. 1-2)
Violin 1 (mm. 44-54)
Violin 2 (mm. 44-45)
Sanctus
There are no existing sketches by Mozart.
Benedictus
There are no existing sketches by Mozart.
Agnus Dei
There are no existing sketches by Mozart.
Communio
There are no existing sketches by Mozart.
Constanze first asked Franz Jacob Freystadtler to complete theRequiem , most
likely because he was the oldest and most experienced student o f Mozart and because his
handw riting was remarkably similar to that of his teacher.
11 For m ore a detailed discussion o f this sketch, see Chapter II.
14
rod uce d wi th permiss ion of the copyr igh t owner. Fur ther reproduct ion proh ibi ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
26/213
He began with the simplest task the string and woodwind colla par tewriting for the
Kyrie fugue .12 Siissmayr, however, was asked to complete the trumpet and timpani
parts.13 Both men wrote directly on Moza rts manuscript. They completed their work
quickly, so that the Kyrie (along with theIntroitus)could be performed at Mozarts own
funeral Mass, held in St. Michaels Church, Vienna, on 10 December 1791.14 After the
funeral, for unknown reasons, Freystadtler did not continue the completion.
Constanze next turned to Joseph Eybler, the next senior student after Freystadtler
and one o f Mozarts favorites. Eybler and Mozart participated in Baron van Sweitens
Handel concerts in 1790, and Mozart wrote a glowing recommendation for Eybler in May
o f the same year.15 Eyblers receipt for the unfinished manuscript is the only
documentary evidence that Constanze commissioned another composer to complete the
work:
The undersigned [Eybler] hereby acknowledges that the widow Frau
Konztanzia Mozart has consigned to him the Requiem begun by her late husband,
with a view to completing it; that I propose to complete it by the end of this
coming Lent, and at the same time I promise that I will not allow either it to becopied or to pass to any other hands other than those o f the Frau Widow.
Vienna, 21 December 1791. [Signed] Joseph Eybler16
12F reystadtler m ade more than twenty one mistakes in the basset hom parts, m ostly transposition errors;
these were repaired in the first printed edition in 1800.
l3Christoph W olff has suggested that Siissmayr did not write the trumpet and timpani parts in time for the
funeral, but only afte r Constanze asked him to finish the en tire work, inMoz ar t's Requiem : Historical an d
An alytical S tud ies . 24-25.
14T he rem inder o f the Requiem mass was most likely sung in plainsong. Pro of o f the funeral and memorial
service w'as only recently confirmed. In December 1990 the scholar Walther Brauneis discovered records
o f the liturgy. Also, several contemporary new spape r accounts reported the event: the Au szug aller
europdischer Zeitungen, 13 December 1791; Das Berlinisch e musikalische Wochenbla tt, 31 December
1791 and Salzbu rger Intelligenzblatt.7 January 1792. Landon, The Mozart Essays. 197-98.
15 Paul M oseley, M oza rts Requiem A Re-evaluation o f the Evidence,Journal o f the Ro yal Music
Asso ciation 114 (1989): 211.
16 Landon, The Moza rt Essays. 201.
15
p rodu ced with permiss ion of the copyr igh t owner. Fur ther reproduct ion proh ib ited wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
27/213
Eybler a lso wrote directly on the manuscript, orchestrating five sections o f the
Seq uence.11 After composing two new measures of soprano part in theLacrimosa,
Eybler also stopped his work on the completion, again for unknown reasons.
Constanze possibly then turned to Abbe Maximilian Stadler, a friend and
confidant o f the Mozart family.18 While there is no direct proof Stadler had a hand in the
Requiem completion, there is circumstantial evidence. Two sections of the Offertorium
(Domine Jesu andHostias)survive in Stadlers hand; they seem to be a preliminary form
of Siissmayrs work, suggesting that Siissmayr copied and rearranged what Stadler
already had finished. Christoph W olff argues, The unfinished state o f the trombone part
[of Stad ler s version] is one indication, among others, that Stadlers work is the earlier. 19
Additionally, Stadlers detailed and intimate knowledge of the score, displayed at the
height o f the Requiem controversy in 1826,20 might have come from working with the
score years earlier.21 Unquestionably, it is Stadlers version of the Offertoriumthat
appeared in the first published edition and that today is part of the traditional Siissmayr
score.
Finally, Constanze turned to Siissmayr, who had assisted Mozart in the final
months o f his life with the operas Die ZauberfloteandLa clemenza di Tito.11
*' La ndon sugge sts Eybler might have written directly on the autograph while at Mozarts bedside ; Ey ble rs
comm ents, printed in an article in theAllgemeine musikalische Zeitung, support this idea: I had the goodfortune to retain his [Mozarts] friendship undamaged up to his death, so that I could help him during his
painful last illn ess, lifting him, laying him down and waiting on him." Landon, The Mozart Essays, 202.
11First sug gested by Walter Senn in his article Mozart, Schuler und Bekannte - in einem M usikbericht
von 1808,"Mozart-Jahrbuch 1976/77(1978): 287.
19 Wolff, M oza rts Requiem: Historical and Analytical Studies, 23.
20 Critic Gottfr ied Weber published an article in 1825 suggesting the Requiem was not by Mozart at all; this
lead to a hea ted debate as Mozarts family and friends attempted to prove otherwise. For more information
see Wolff, Mozar t 's Requiem: His tor ical an d Analytical Studies, 7-13.
2 Ibid.. 26.
Siissm ayr is generally believed to have composed the secco recitative forLa clemenza d i Tito.
16
pro du ced wi th permiss ion of the copyright owner . Fur ther reproduct ion prohib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
28/213
Neither Mozart nor his wife appears to have held Sussmayr in high regard; in a letter
written to Stadler, Constanze quoted Mozart chastising Sussmayr: Ey, there you go
again like a dying duck in a thunderstorm; you w ont understand that for a long time.23
Yet Sussmayr accepted the task and completed his work most quickly.
Sussmayr collated and revised (where he felt it necessary) the work o f his
predecessors. It appears he used Stadlers orchestration o f the Offertoriumand a good
deal of Eyblers work in the Sequence.24 He wrote the entire work out in his own hand
(thereby making it look like the work of a single composer) and falsified the date of
completion with the strange inscription di me [by me] W. A. Mozart /1792.25
In late 1799, the publishing firm of Bre itkopf und Hartel asked Sussmayr to
explain his part in theRequiem completion. His response came in a letter, dated 8
February 1800:
How it came about that I was entrusted with the completion of the
Requiem...was as follows. Mozarts widow foresaw, no doubt, that there would
be a demand for the works o f her husband left behind him; death surprised him
while he was yet at work on the Requiem.
The task o f comple ting the work was therefore offered to several masters. Some
were unable to undertake it because of the pressure o f work; others, however, did
not wish to hazard their own talent at the side o f Mozarts. Eventually the task
came to me, because it was known that while Mozart yet lived I had often sung
and played through with him the movements that were already composed; that he
frequently talked to me about the detailed working o f this composition, and
explained to me the how and wherefore of his instrumentation. The most that I
can wish for is that I may have succeeded at least well enough for connoisseurs to
be able to find here and there in it a few signs o f his unforgettable teaching.
~3 WolfT,M ozar t's Requ iem : Historica l and Analy tical Studies. 170.
Landon suggests Siissm ayr redid much o f Eyblers work not to m ake improvements but out o f a rival
pu pils pride. Landon, The Mozart Essays. 204.
5 Wolff, Moz ar t's Requiem : Histor ica l and Analy tical Stud ies . 18.
17
rodu ced wi th permiss ion of the copyr igh t owner. Fur ther reproduct ion proh ib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
29/213
O f the Requiem [Introit] with Kyrie, Dies irae, and Domine Jesu Christe,
Mozart completed the 4 vocal parts and the figured bass; o f the instrumentation,
however, he indicated only the motivic idea here and there. In the Dies irae, his
last line was qua resurget ex favilla [in fact judicandus homo reus] and he had
done the same work [there] as in the earlier movements. I finished the Dies irae
from that line onward: Judicandus homo reus, etc. The Sanctus, Benedictus,
and Agnus Dei were wholly composed by me; but in orde r to give the work
greater uniformity, I took the liberty of repeating the Kyrie fugue at the line cum
sanctis etc.26
Sussmayr was the only person to admit working on the unfinished manuscript; all
the other masters remained silent, perhaps out of loyalty to Constanze and an intense
desire to ensure the work was seen to be entirely by Mozart.27
Though there is no direct evidence as to when Constanze delivered the completed
score to Count Walsegg, a receipt for scores purchased by Baron Jacobi, a member of
Mozarts Freemasons lodge, dated 4 March 1792, includes a note for a copying charge
for theRequiem (450 florins).28 Copies also were made for Breitkopf und Hartel, Count
von Walsegg, and Constanze -- all by March 1792.29
26 Ibid., 146.
27 Ibid., 27.
8 Landon, The Mozart Essays,203.
Wolfgang Amadeus Mozart, Requiem K. 626. Completion by Franz Beyer. (Zurich: Edition
Kunzelmann. 1971), 7.
18
ro duc ed wi th permiss ion of the copyright owner . Fur ther reproduct ion prohib ited without permiss ion .
8/13/2019 Mozart 6 Fin of Req
30/213
CHAPTER II
PROBLEMS WITH SUSSMAYRS COMPLETION
Since its publication in 1800, theRequiemhas been criticized for its many errors
of musical syntax and poor orchestration. The first review, published in theAllgemeine
musikalische Zeitungon 1 October 1801 makes this clear:
The reviewer is quite prepared to admit that M ozarts Requiem is a uniquecomposition and that a similar work may be beyond the reach not only of a large
number, but probably of all living composers. However, amongst other facts the
instrumental accompaniment, which, at times, is very incorrect, proves that the
work as a whole cannot have come from Mozarts pen precisely as it stands.30
The critic also directly addressed Siissmayrs contribution:
It is, incidentally, very possible that a large part of the instrumental
accompaniment may be the work of Mr. S [Siissmayr]; but the other works of art
which Mr. S has composed, and which are known, justify a highly critical attitude
towards any claim that he can have had a large share in the creation of thiswork.31
These two points have beleaguered musicologists and performers for more than
two hundred years. Felix Weingartner, Bruno Walter, Richard Strauss, and Sir Hamilton
Harty all made changes to Sussmayrs orchestration o f theRequiem ?1 Benjamin Britten
prepared a version o f the score (which remains unpublished) for a performance at the
Aldeburgh Festival in 1971.33
30 Ibid.. 5
3 Ibid.
32 Bin Ebisawa, "The Requiem: M irror o f Mozart Performance H istory , Early Music,20 (1992): 85.
33 Floyd Horton Slo tterback, Mo zarts Requiem: History and Perform ance ,America n Choral Review, 26
(1984): 13.
19
produ ced wi th permiss ion of the copyr igh t owner . Fur ther reproduct ion prohib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
31/213
In 1951 Wilhelm Fischer wrote a paper criticizing Sussmayrs work in theLacrimosa
completion,34 and eight years later Ernest Hess examined several movements and made
suggestions for improving their many infelicities.35 Table 2 attempts to gather the major
criticisms o f contrapuntal syntax and orchestration in Sussmayrs completion o f the
work:
Table 2: Errors in the Sussmayr Completion
Kvrie
Measures 40-41: Basset horn 1 doubles soprano until m. 41, where it cannot continue
because it has reached the top of its range. This results in a clash between basset hom
1 (held G) and soprano line.
Measure 42, beat 3: Trumpets and timpani (playing A) ignore altos B-flat suspension inthe alto.
Measures 48-49: There are parallel octaves between basset hom 1 and bassoon 1.
Measures 50-52: Four-part woodwind writing changes to three-part writing for no
apparent reason (basset hom 2 and bassoon 1 play in unison).
Dies irae
There are strange inconsistencies in the orchestration: mm. 1-8 and 22-29 are the same
music (the first statement is in the tonic; the second, in the dominant) but the
orchestration is different. For example, bassoon doubles the choral bass in the first
statement; in the second, it doubles the orchestral bass. Also, Hess, Beyer, Maunder all
feel that trum pets and timpani are overused and that the even eighth-note figure usedthroughout is more in the style of Haydn than of Mozart.
Measures 1-2: According to classical rules of counterpoint, mm. 1-2 have hidden octaves
between basset hom 1 and second bassoon.
Measure 6: Parallel unison between basset hom 2 and bassoon 1.
Measure 7: On beat 3, second trumpet and timpani play an A against the G in the
orchestral bass - A is not part of the harmony.
Measure 29: Parallel octaves between basset hom 2 and bassoon I.
Measures 51-52: Parallel octaves between basset hom 2 and bassoon 2.
Measure 54: On beat 3, violin 2 anticipates the D minor harmony on beat 4.
34 Wilhelm Fischer, Das Lacrimosa dies ilia in Moza rts Requiem," Mozar t Jahrbuch 1951 (1953): 9-17.
35 Ernest Hess, Zu r Ergan zung des Requiems von Mozart durch Franz Xaver Sussmayr,
Mozart-Jahrbuch 1959 (1960): 99-108.
20
prod uce d wi th permiss ion of the copyright owner . Fur ther reproduct ion prohib ited without permiss ion .
8/13/2019 Mozart 6 Fin of Req
32/213
Tuba mirum
Measure 9: Parallel octaves between basset hom 1 and bassoon 1.
Measure 10: On beat 4, the A in viola clashes with B-flat in the trombone.
Measures 15-16: No harmony is provided for trombone solo.
Measure 17: E in violin 1 clashes with F in trombone.
Measures 18-40: Incessant use o f eighth-note accompaniment.
Measure 20: Parallel octaves between violin 1 and viola.
Measures 24-34: Most scholars argue that Sussmayrs expansion of Mozarts trombone
solo is too long and uninteresting.
Measure 51: On beat 4, violin 2 anticipates tenor note at the beginning o f the next bar.
Measure 62: Parallel octaves between basset hom 1 and bassoon 2.
Rex tremendae
Measure I: Winds chord on beat 2 anticipates the choral cry Rex in m. 3.
Measures 7-14: Violin 2 plays a third below violin 1, muddying the triple canon.
This also results in consecu tive octaves between violin 1 and viola (beat 3) and
violin 2 and bass (beat 3) o f mm. 7-9.Measure 12: Mozarts autograph has two Fs in the alto line, which Sussmayr changed to
E-F for no apparent reason.
Measures 20-1: String accompaniment thickens the texture and detracts from the
prominence of the vocal parts.
Measure 21: Violin 2 adds a seventh to the chord on the fourth beat.
Recordare
More inconsistency in the orchestration: The woodwinds play the canon in m. 7, but the
strings play the canon colla parte in mm. 14-20. Also, texture is overly thick,
especially in mm. 46-51. There is also an incessant use of the eighth-note
accompaniment: mm. 26-33, 38-45, 60-67, 116-23.
Measures 20-26: Sussmayr adds a fourth part to Mozarts three-part writing for no
apparent reason.
Measures 21-24: Four parallel octaves between violin 1 and viola.
Measure 22: Parallel unison between violin 2 and viola.
Measure 25: A in the final beat of the viola clashes with B-natural in tenor.
Measures 46-49: Basset hom 1 anticipates soprano at the beginning of each bar.
Measure 86: Sussmayr uses an incomplete minor ninth-chord, which breaks the harmonic
sequence begun by the previous phrase.
Measure 92: C in violin 1 clashes with D suspension in soprano and violin 2 and viola
resolve the chord before tenor. Also parallel octave between soprano and viola.Measures 101-2: Parallel octave between violin I and tenor, parallel unison between
first violin and tenor, parallel unison between violin 1 and soprano.
Measure 129: Viola adds the interval of a seventh, not indicated in the autograph.
rod uce d wi th permiss ion of the copyr igh t owner. Fur ther reproduct ion proh ibi ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
33/213
Confutatis
Measures 1-6 and 10-16: Inconsistency in the trombonesin first phrase they play colla
parte , and in the second phrase they have independent parts.
Measures 25-40: Sussmayr brings woodwinds in a measure ear ly (in Mozarts autograph
they enter with the choir at m. 26). Moza rts autograph also indicates woodwinds
should follow choral rhythms exactly, but Sussmayrs winds p lay through choral rests
and also in the final two measures o f movement.
Measure 28: Figuration on beat 4 indicates a seventh in the chord, but it does not appear
in the orchestra.
Lacrimosa
Measures 3-4: C-sharp of the sighing motive on beat 3 o f these mm. anticipates soprano
note on beat 4.
Measures 5-6: Woodwinds play longer notes in contrast to choral parts, which are sung as
short e ighth-notes.
Measure 9: Hidden octave between tenor and bass (beats 6-7).
Measure 10: Seventh chord on beat 3 is poorly spaced, with doubled major third, andresolves to a six/four chord, which then does not resolve.
Measures 10-11: Hidden octave between soprano and tenor between Final beat of m. 10
and first beat o f m. 11.
Measure 11: Neapolitan sixth chord makes no sense with next note in bass (A-flat). This
was pointed out in the original review of the work in 1801!
Measure 12: E in soprano clashes with anticipated resolution in tenor.
Measure 14: Imitation in soprano line suddenly stops, and expected soprano part fails to
materialize.
Measures 16-17: Progression from D-flat to D-natural in the bass is illogical
Measures 17-18: Awkward leap o f a seventh in bass.
Measure 18: Doubled seventh in last chord.
Measures 23-24: C-sharp o f sighing motive on beat 3 o f these mm. anticipates soprano
note on beat 4.
Measure 24: On beats 3 and 4, sighing motive clashes with soprano.
Measure 25: Hidden fifth between tenor and bass.
Measure 26: Hidden octave between tenor and bass as they move into the measure.
Measures 28-9: Parallel fifth between first trumpet and orchestral bass.
Domine Jesu
Measure 3: Awkward downward leaps in the violin 1.
Measures 7-10: Unconvincing syncopated inner string lines (there is nothing like this inMozarts string writing and nothing in the text that would indicate use o f this device).
Measure 18: Sussmayr changes Mozarts tenor line on beat 4 (the notes should be E to F).
Measures 21-30: Overly thick orchestration.
Measures 44-78: Incessant use of thirds in string accompaniment.
Measures 51-65: Bassoons begin to double orchestral bass for no apparent reason.
rodu ced with permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
34/213
Hostias
Orchestration inconsistencies: Bassoons double orchestral bass for first 38 measures, then
double choral bass in mm. 39-44 for no apparent reason.
Measure 4: Violin 1 plays D before sopranos sing it, and Sussm ayr adds a seventh in
violin 2 and viola not indicated in the harmonic figuration.
Measure 12: Viola anticipates soprano A.
Measure 20: Violin I B-flat clashes with soprano C, and violin 2 plays a seventh not
indicated in the figuration.
Measure 50: Violin 2 anticipates soprano C.
Sanctus
String writing in the first ten measures is uninspired. Fugue is too short, lacks
development, and ends abruptly.
Measure 4: Parallel 5ths between violin 1 and soprano.
Measure 5: Suspect cross-relation between the tenor (C-sharp) and bass (C-natural).
BenedictusOrchestration is thick throughout the movement and structure is unusual because o f the
disproportionately brief B section (five measures). Movement ends in B-fiat instead of D
major, destroying the traditional expected harmonic arch of ABA for
Osanna/Benedictus/Osanna.
Measures 1-2: Parallel octaves between violin 1 and viola.
Measure 9: Violin 1 ignores soprano line, clashing C against B-flat on beat 3 and B-flat
against A on beat 4.
Measure 11: Parallel octaves between violin 2 and orchestral bass.
Measures 22-25: Harmonic redundancy (dominan t seventh) unimaginable in Mozarts
late style.
Measure 53: Tonic and dominant harmonies clash in final beat.
Agnus Dei
Dynamics are overly fussy and Sussmayr uses trumpet and timpani in first petition but
not in second or third. The pattern in the sixteenth-note violin runs is inconsistent. In the
first two petitions, there are three beats between peccata mundi and dona e is, but not
in the third petition.
Many scholars also question Sussmayrs claim to have written the Sanctus,
BenedictusandAgnus Deion his own and speculate that he had access to other sketches
that no longer survive.36 Several documents suggest this, including a letter written by
Abbe Stadler in 1826.
36 David Humphreys, Requiem, The Mozart Compendium: a Guide to Mozart's Life and Music. H. C.
Robbins Landon, ed., (London: Thames and Hudson, 1990): 315.
23
ro duc ed with permis sion of the copyright owner. Furthe r reproduction prohibited without permission .
8/13/2019 Mozart 6 Fin of Req
35/213
In it he writes: .. a few scraps o f paper with music on them were found on M ozarts
desk afte r his death, which she [Constanze] had given to Herr Sussmayr. What they
contained and what use Sussmayr made of them, she did not know.37
These scraps of paper may have contained materials for the last movements and
were more than likely used by Sussmayr. Both movements contain many truly
Mozartean touches. In fact, Wolff argues:
Both the Sanctus(with the OsannaandBenedictus)and theAgn us Dei
betray an especially high degree o f technical unevenness and a large number o f
mistakes in the voice leading as Mozart scholars recognized at an early date. But
if the vocal substance is separated from the instrumental cladding in these
movements, an astonishing congruence between the compositional conceptionhere and that in the sections composed by Mozart come to light. Not only that,
but we also discover significantly fewer musical errors.38
The thematic connections in these movements also indicate Sussmayr used
sketches left by Mozart. The first five measures of the Sanctusare a clear reference to
the m elody o f theDies Irae.
Example 2.1
I ' l---------------- 1 I I I " " I l I I
Di * cs i - ne , di es il *la, wi-vei sae-dum in (a vil la: le tie Da*vid cum Si *byi la.
i------ 1--------- i i i ' i . . i .
f t - ........................... i f 1 1 , T f ^San - ctus, San etui, San ctus, Do - mi-nui De ui Sa - ba-och.
TheAgnus Dei begins with a homophonic declamation of the text in sharp
contrast to the contrapuntal shape o f the orchestral writing a technique also used in the
Dom ine Jesu.
37 Wolff, Mozart 's Requiem: Historical and Ana lytica l Studies. 152.
38 Ibid., 38.
24
rodu ced wi th permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
36/213
Furthermore, the orchestral bass line of theAgnus Dei begins with the opening theme of
theIntroitus.
Example 2.2
Nevertheless, as Table 2 shows, both movements exhibit poor craftsmanship and
basic counterpoint mistakes that could not be the work o f Mozart. It seems likely,
therefore, that Sussmayr had basic ideas concerning M ozarts intentions but was unable
to realize them. Moreover, there is evidence to suggest that Constanze and Sussmayr
destroyed sketches to ensure that the public would believe the work to be entirely by
Mozart.39
One such sketch has survived. In 1961, scholar Wolfgang Plath discovered a
sheet o f Mozarts composition paper in Berlin containing several fragments: a section of
the overture toDie ZauberJIote,a piano piece, a sketch to the Amen fugue o f a choral
work in D minor, and a draft o f part of the Rex trem endae in theRequiem. Many
scholars are persuaded the Amen sketch was intended to end theLacrimosa. Their
reasoning is quite sound:
fragments o f these works provide the autumn of 1791 as a definite date.
39 Mozart, Requiem (Completion by Beyer), 13.
rod uce d wi th permiss ion of the copyr igh t owner. Fur ther reproduct ion proh ibi ted wi thout permiss ion .
|U - qui-em ee ter non.
25
8/13/2019 Mozart 6 Fin of Req
37/213
the sketch is in D-minor, the overall key o f theRequiem and o f theLacrimosa
movement.
the fugue subject is the principal theme of theIn troitus, inverted and augmented.
a fugue at this point would ensure that each major section ends with a fugue:
Introitus!Kyrie fugue; Sequence!Amen fugue; Offertory/Quam olim Abrahae
fugue; Sanctus!Osanna fugue; Lux aeterna/Cum sanctis fugue.
Some scholars, however, are unconvinced. Landon suggests the sketch was
intended for an unfinished Mass in D minor, of which theKyrie(K. 341 [368a]) has been
dated to the final years of M oz arts life.40 Another noted Mozart scholar, Thomas
Bauman, believes the ske tch was most likely abandoned:
Its underlying parallel motion in imperfect intervals is monotonous and
equally so its relentless accentua tion of the downbeat. The E on the second beat
of measure 7 would be judged inexcusable if Sussmayr had written it, and so
would the constricted criss-crossing o f the voices as they slowly slide in a
huddled clump from one plodding dotted half note to the next, always in the
lowest part. This is not genuine Mozart in any meaningful sense, but mediocre
counterpoint, unworthy to stand as Mozarts conclusion to his powerful vision of
the Last Judgment.41
Despite the reservations of these two well-known musicologists, the completions
o f Maunder, Druce and Levin incorporate the sketch and rea lize the fugue as part of their
completions.
There is no evidence that Sussmayr had this sketch in his possession. However,
the Sanctus fugue indicates Sussm ayr was incapable of writing proper counterpoint, let
alone anything that could stand alongside Mozarts fugal writing. So perhaps he had the
sketch but chose to ignore it.
40 Landon, The Mozart Essays,204.
41 Thomas Bauman, Requiem , but No P iece, I -Century Music. 15 (1991): 160.
26
prod uce d wi th permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ibi ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
38/213
Example 2.3
Skizze einer .Amen-Fuge( w d i d i
8/13/2019 Mozart 6 Fin of Req
39/213
CHAPTER III
MOZARTS COMPOSITIONAL TECHNIQUES IN THE REQUIEM
In the last years o f his life, Mozarts compositional structures and textures
displayed greater complexity and sophistication, [and] the harmonic language showed
intensifying differentiation. In general, the intellectual dimensions o f Mozarts musical
composition increased significantly.42 Therefore, before examin ing the contributions of
the musicians who sought to make the unfinishedRequiem sound idiomatically
Mozartean, it is appropriate to survey the compositional devices and techniques Mozart
him self used in the work.
Counterpoint
The church compositions o f the mature Mozart make use o f counterpoint to an
unprecedented degree. With the exception of the GreatMass in C minor, K. 427, little
in his earlier church music prepares us for the volume and sophistication o f the
counterpoint he employs in theRequiem. Contrapuntal writing appears in every
movement o f theRequiem and often is used as a structural device . In theDies irae,
Mozart uses imitation between soprano and tenor in measures 10-15 to drive the
harmonies forward, create overlapping phrases and postponing cadences.43
4' Christoph WoltT, Mozarts Requiem: The composers departure for a new style," Reflections on the
sa cr ed A musicological perspective. (New Haven: Yale Institute o f Sacred Music, 1994), 41.
43 Isabelle Emerson Putnam, The Role o f Counterpoint in the Formation o f Mo zart's Late Style. (Ph.D.diss.,
Columbia University, 1977): 246.
28
rodu ced wi th permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
40/213
In the Confutatis,imitation (between mens and womens voices) is a compositional
procedure that actually expands the emotional content of the text.44
The fugues in theRequiem are the pinnacle o f Mozarts contrapuntal efforts. The
Kyrie shows a full mastery o f Baroque counterpoint and is the only example o f a choral
double fugue written during Mo zarts years in Vienna.43 In the Offertorium,he
seamlessly interweaves fugal writing into homophonic passages. The contrast between
homophony and polyphony is the structural foundation on which the Offertorium is
built .46
Canon appears in two movements. InRex tremendae,there is a triple canon (mm.
7-14) between soprano and alto, tenor and bass, upper and lower strings. The sketches on
the page discovered by Wolfgang Plath (see Chapter II) suggest that this canon was a
compositional challenge for Mozart, which he needed to first work out in a sketch.47 In
the Recordarehe offers a two-part canon, introduced by basset homs (mm. 1-7), then
taken up by the strings (mm. 7-12) and finally sung (mm. 14-26). The movement is built
on canonic writing, though its counterpoint is clouded by Sussm ayrs coarse, thickened
orchestration.
Thematic Unity
The movements of theRequiem are tightly unified by the opening Requiem
aetemam motive, which is woven throughout Mozart s unfinished torso. In the first
movement, this motive is played by bassoon I in the first measure and imitated
44 Ibid., 247
45 In the final years of his life M ozart stu died the works of Bach; he even arranged a fugue from B achs
ITell-Tempered Clavier for string qua rtet [K. 405], In 1790, he took part in Baron van Sweitens Handel
concerts and orchestratedMessiahand other oratorios by Handel for a classical instrumental ensemble.
6 Emerson Putnam, The Role o f Counterpoint in the Formation o f Mozart's Late Style, 247.
rod uce d wi th permiss ion of the copyr igh t owner. Fur ther reproduct ion proh ibi ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
41/213
immediately by the other woodwinds (mm. 1-5). This imitation is repeated in the choral
parts (mm. 8-11). The m otive reappears in the bass (m. 34) and in the alto
countersubject, where it is manipulated through inversion and diminution.
Example 3.1
3H
i " " i ~ - m
TheIntroitustheme then appears in several other movements.
In the Kyrie, the theme appears, inverted and in diminution, as part o f the second
subject (m. 3, beats 3-4, alto).
In the Dies irae, it appears in the orchestral bass (mm. 1-5) and soprano
(mm. 4-6).
In the Tuba mirum, it appears in measure 8 of the trombone solo,inverted.
In the Lacrimosa, it appears in the soprano line (mm. 4-5).
In theAmen,the fugue subject is a melodic inversion and augmentation o f this
theme.
In the Agnus Dei, it appears in the orchestral bass (mm. 1-5).
*7In the later years of his life, Mozart hardly used sketches; he usually had the entire score in his head
before he wrote it." Erich Hertzm ann, M ozarts Creative Process, The Musical Quarterly,XLIII (1957):
3 0
rod uce d with permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
42/213
Additionally, the tritone connects three movements by appearing prominently in the
melodic material: theRecordare (mm. 1-2), the Quam olim Abrahaefugue subject (mm.
44-45), and the Osannafugue subject (mm. 11-12).
A realization of theAmen fugue (as in the Maunder, Druce, and Levin completions)
adds other important unifying factors. As stated in Chapter II, a fugalAmen to conclude
theLacrimosaensures that each major section of the Requiem ends with a fugue. In
addition, theAmen fugue crea tes an alternating pattern of duple-trip le meters in the
fugues: Kyrie(duple),Amen (triple), Quam olim Abrahae(duple), Osanna(triple), Cum
sanctis tuis(duple).
Finally, Mozart followed a closely related key scheme movement to movement. This
is shown in Table 3.
Table 3: RequiemKey Scheme
Intro itus: D minor - ending on V of D minor
Dies irae:D minor
Tuba mirum : B-flat major
Rex tremendae: G minor - D minor
Recordare: F major
Confutatis:A minor/F major (in the final two bar modulation to V of D minor)
Lacrimosa:D minor
Domine Jesu:G minor
Hostias:E-flat major/G minor
Sanctus:D major
Benedictus:B-flat major48
Agnus Dei:D minor/F major
Communio: B-flat major/D minor
31
produ ced wi th permiss ion of the copyr igh t owner . Fur ther reproduct ion prohib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
43/213
Vocal Supremacy
The autograph scores from his final years show that Mozart first wrote the most
important line or lines as well as the bass line. At times, he would indicate an important
orchestral solo and in a choral work like theRequiem,he would notate some of the
instruments that would play inte rludes between choral phrases.49 As Table 1 shows [see
Chapter I], the most complete (and therefore most important) parts are the choral and solo
vocal lines. There are no obbligato solo instrumental parts (the exception being the solo
trombone in the Tuba mirum),and theRequiemdoes not contain extended orchestral
passages. The opening thirteen measures of theRecordare constitute the longest
orchestral passage in the work. TheDies irae, C onfutatis , andDomine Jesubegin
without orchestral introduction, while the Tuba mirum, R ex tremendae, Lacrimosaand
Hostiashave short two-bar preludes. Clearly, Mozart intended to make the vocal parts
the ch ief substance o f theRequiem, with the orchestra reinforcing the score by adding a
rhythmic dimension as well as tone color.50
Furthermore, the vocal parts are laid out in whole phrases or sections, and all four
voices are equally important. This is a distinct change from his earlier church music, in
which the choral writing is largely treble dominated.
Assimilation of Older Styles
TheRequiem shows M ozarts mastery of older models and styles, which he fully
assimilates into his own style. The strict Baroque counterpoint o f theKyrie already has
been mentioned, and the use o f dotted (French overture ) rhythms in theRex tremendaeis
48 To fulfill the expected ABA s tructu re o f the Sanctus, the reprise of the fugue in the Benedictusalso
should be in D major.
49 Hertzmann, Mozarts Creative Process, 192.
50 Wolff, Mozarts Requiem: Th e com posers departure for a new style, 94.
32
p roduc ed wi th permiss ion of the copyr igh t owner . Fur ther reproduction proh ib ited wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
44/213
an obvious example of homage to Handel. Moreover, the first movement of theRequiem
stands as a supreme example o f Mozarts capacity to reuse another composers motivic
ideas and textures and make them wholly his own. TheIntroitusis clearly modeled on
the opening o f George Frideric Handels funeral anthem, written for the death o f Queen
Caroline, The ways o f Zion do mourn, HMV 264.
Example 3.2
Violiai
Viola
Oboi
B e .
Alta
Tto
do
S
7 7 6 6
4S 6 66 6
33
a (toccata
rod uce d with permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ib ited wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
45/213
The two subjects in theKyrie fugue come from another Handel work: the closing chorus
of the Dettingen Victory Anthem, The king shall rejoice, HMV 265.
Example 3.3
c4Uegro mo Jera to
Tromba I. m
Tromba II
Principal.
Tympani.
Oboe I
ObQe U
Bassons.
Viol ino I
Violino 11.
Vio a
C a n t o I
We, will re
9ftr jcmduen
ibrttlut drinrm
A l t o .
We i l l r r ie lb r ftl
in d t i j i f fHtrjtmdum Umt
We til l re .
W/lUllA
IO t b f u l
im drinrm
A .le - I- .
T e n o h e .
B asso
Org ano , eTutti Bassi.
34
rodu ced wi th permiss ion of the copyr igh t owner. Fur ther reproduct ion proh ib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
46/213
Mozart recasts Handels music into something new. This is
apparent from the very first bars, in the breaking up o f the strict rhythm of
Handels string chords, the modification o f the bass line, and the transposition of
the oboes contrapuntal line down to the tenor register (bassoons and basset
horns). The result far outreaches the Handelian original in contrapuntal
complexity (note, for example , the contrapuntal stretto using Hande ls motives in
bars 20-25) and in refined compositional accomplishment as a w hole .51
However unfinished, M ozarts manuscript provides a ke y to his compositional
techniques and priorities. These can be summarized as: a pervasive and h ighly skilled
use of counterpoint; a concern to connect movements through motives and melodic
figures and to create a larger overall structural unity for the entire work; the supremacy of
the choral and vocal parts in the overall texture; and, a masterful capacity to transform the
models of older masters into something new and wholly owned. These elements provide
the clues - indeed, the instructions - for completing the unfinished autograph so that it
sounds authentically more Mozartean than the commonly used Sussmayr version.
Ibid.
35
rod uce d wi th permiss ion of the copyr igh t owner. Fur ther reproduct ion proh ibi ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
47/213
CHAPTER IV
THE BEYER COMPLETION
German musicologist Franz Beyer published the first revision o f the
Mozart/Sussmayr Requiem in 1971. I term it a revision rather than a completion
because Beyers version primarily concerns itse lf with orchestral matters that create a
more transparent orchestration. His goal was to free the original picture o f Mozarts
scoreas it reveals itselfa cappella from its over painting. 52 While he repaired some
of Sussmayrs more obvious errors o f voice leading, Beyers efforts w ere by no means
exhaustive. He also made no attempt to complete the Amen sketch.
Introit
Beyer makes one editorial comment, suggesting trombones not play in mm. 34-42
in order to give a special luminosity to the words et lux perpetua.03
Kvrie
Beyer rewrites basset hom parts in mm. 40-41 and 47-49. His rewrite in measure
48 does not fix the problematic octaves between basset hom 1 and bassoon 1 found in the
traditional version,54 though he avo ids the octaves in m. 49.
s' Wolfgang Amadeus Mozart, Requiem. To lzer Knabenchor and Collegium Aureum, Deutsche Harmonia
Mundi 6347387 (1974), program notes by Franz Beyer.
53 Mozart, Requiem (Completion by Beyer ), 16.
The label traditional version here (and throughout the dissertation) refers to the first published version,
with the work of Freystadtler and Sussmayr, as discussed in Chapter I.
36
rod uce d wi th permiss ion of the copyr igh t owner. Fur ther reproduct ion proh ibi ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
48/213
Example 4.1
Basset Hom
Bassoon
i
j r u . n
Beyer also alters trumpet and timpani in measure 8, removes them in mm. 20 and
38, and simplifies their parts in mm. 39 and 42-43. They enter in measure 48 and play to
the end, including the anacrusis into the penultimate bar. In measure 51, Beyer avoids
having the tonic note in the trumpet, so as not to anticipate the arrival at D minor in the
final bar. Trombone and string parts are unaltered.
Dies irae
Throughout the movement, basse t horns double soprano and alto; on rare
occasions basset hom 2 doubles tenor. Bassoons double the orchestral bass, with two
exceptions: in mm. 9-14 they reinforce the harmonies, and in mm. 31-52 they double
tenor and bass.
While trumpet and timpani play in most o f the same measures as the Sussmayr,
their writing is usually simplified. This is clearly shown in the opening nine measures:
rod uce d wi th permiss ion of the copyr igh t owner. Fur ther reproduct ion proh ibi ted wi thout permiss ion .
3 7
8/13/2019 Mozart 6 Fin of Req
49/213
Example 4.2
Trumpet inD
Tunpni in D-A
j j ij f]jj w w v w w w zr
DTpL
Timp.
m 0DTpt.
Timp.
The interjection in mm. 12-13 is simplified, and trumpet 2 in m. 15 plays the seventh of
the chord, making the note more prominent and adding a new color to the orchestration.
To maintain consistency, trumpet and timpani in mm. 22-29 reuse the rhythms o f the
opening eight bars. In measure 23, second trumpet again asserts the seventh o f the chord.
Trumpet and timpani parts are rewritten in mm. 39-40, removed from mm. 44, 48, 50,
and reworked in mm. 52-68, using a dotted eighth/sixteenth rhythm that adds drive to the
line.
Example 4.3
Trumpet in D
Timpanii in D-A | ;
38
rodu ced wi th permiss ion of the copyr igh t owner . Fur ther reproduct ion prohib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
50/213
D T p l
Timp.
1 1 ^ - 1 0
E3- f *
------- 3
m t j
4 J -# J JU J - L 9
m
The string writing is subt ly different from the open ing measures: in mm. 5-8,
violin 2 doubles violin 1 down an octave, strengthening the line. Throughout mm. 10-18,
Beyer makes slight changes, more noticeable in violin 2 and viola.
Example 4.4
Violin I
Violin U
Viola
p * L m - F ' - f r r r rA n - f ~ - - j - - - = 4
J = 2 = L = f =
- * ------T * 4
Ik
5 i J J =
J f j
Via I
Via U
Via.
, ______ EH
L J r a s J m t
k m = m
f
Violas play sixteenth notes w ith violins in mm. 19-21, and at the restatement of Dies
irae (mm. 22-29) strings play a transposed and slightly modified version of the pattern
set in the first eight measures. Beyer reworks the strings in mm. 31-40 to include figures
in the violins that outline triads (mm. 33 and 36), creating a rhythmic agitation that
counters the static harmony.
3 9
rod uced wi th permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
51/213
Example 4.5
34
Violin I
*=3Violin II
Viola
AVln. I
Vln. n
Via.
Throughout mm. 41-52, he varies the string texture: in mm. 42-44, violins are in unison
while viola doubles orchestral bass; in mm. 46-48, violins split into two parts, with viola
playing a third above the orchestra l bass; and in mm. 51-52, violins play in octaves as
viola continues playing a third above the bass. Violas join violins in playing sixteenth
notes in mm. 41, 45, 49 and forward. In measures 53-55, violin 2 and viola are rewritten;
in mm. 56-65, Beyer adopts a two-part texture (violins in octaves and viola doubling
orchestral bass) with viola playing in sixteenth notes. The viola continues playing in
sixteenth notes (with the violins) in the four-bar coda.
Tuba mirum
Woodwinds first appear in m. 18, bassoons accompanying the tenor solo (mm.
18-34). In measures 24-34, the bassoon 1 line is closely modeled on Sussmayrs
trombone line, though Beyer omits the trombone in these bars.
4 0
rodu ced with permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
52/213
Example 4.6
Bassoon*8=
d3 dH
/ M T j jBsn. - J y
Woodwinds then join the strings to accompany the first part of the soprano solo.
Example 4.7
Basset Horn
Bassoon
IIE [fZl
s
ik
m
I
At measure 51, woodwinds (revoiced and beginning in lower register) join the solo
quartet, playing to the downbeat of m. 61. The movement ends with strings alone. Beyer
does not add to Mozarts trombone solo,55 and there are no parts for trumpet or timpani.
In the strings, Beyers desire to create a more interesting accompaniment is
apparent in the first seventeen measures, where the writing is less static and more athletic.
In measure 11, Beyer introduces an imitative passage for the upper strings based on the
vocal bass line.
55 In Moza rts manuscript, the trombone solo does not extend beyond the first eighteen m easures.
41
rod uced wi th permiss ion of the copyr igh t owner . Fur ther reproduct ion proh ib i ted wi thout permiss ion .
8/13/2019 Mozart 6 Fin of Req
53/213
Example 4.8
Violin I
Violin n
Viola
Bass
m
so - num
on
m
m pper se - pul - chra re - g) -
W = f ^ J J
r ~ = \ r = = = :
FF-f= = |
y r j J r =a=j1 ' W W=\
-J J "t1 1 -- t ' _ - - - - -
,r^ r 1
r f r ----------------- -------------------------------L, ^
o num co - get om - nes an te thro num
Via I
Via n
Via.
B.
In measures 16-17, strings accompany the solo trombone.
Example 4.9
UB
Tenor Trombone
Violin I
Violin n
Viola
iPfrJ/f-if. |
f^.. tr i l l l r t i J
C" J tw - l]J J i * i=^
^ be---k
j ipj "JJ * t.
f ^ *
ro duc ed with permis sion of the copyright owner. Furthe r reproduction prohibited without permission .
8/13/2019 Mozart 6 Fin of Req
54/213
With the tenor entrance in m. 18, Beyer alters Sussmayrs version to add interest to the
orchestral texture and to allow the violin 1 to reinforce the quarter-note ornament of the
tenor in m. 20.
Example 4.10
Violin I
Violin n
Viola
Tenor
l i ...........Jp
H iJ p
J p
P
a j j j j j j
t o ;
w
mM ors stu - p e bit et na - tu ra cum re - sur - get e re a -
Beginning with the alto solo (m. 34), Beyer uses Sussm ayrs rhythmic pattern but
revoices the parts, attempting to add interest to the more static lines o f Siissmayr. He also
removes Sussmayrssforzandomarking in measure 36.
Example 4.11
Violin I
Violin n
Viola
Vln. I
Vln. n
Via.
p M ^
[m- I . >L
^----- -s
p)
S i v J v i i J' 7 ' '
- P P ^ t
j " ^ W
p) L
r----- 4a
k * p) l 7 ^ 7 ^ 7l t r J
[ f a r n , ^
J ' ' J= U = -_
f a. + y K f - -
v r r r
J - J J ^ i -
y~ 0 i 0 y 0 y - j I
4 3
roduced with permission of the copyright owner. Further reproduction prohibited without permission.
8/13/2019 Mozart 6 Fin of Req
55/213
In measures 45-61, subtle changes are made throughout the viola line, and violin 2 is
rewritten in m. 51 to avoid anticipating the tenor solo.
Example 4.12
Violin
Violin I
Vln. I
Via n
Via.
In measure 58, violin 2 doubles violin I an octave lower, and in mm. 59-61, second violin
consistently plays in sixths with the firsts. Violas divide in mm. 57-58 and the last bars,
enriching the inner harmonies.
Rex tremendae
Woodwinds do not play in the first measure and are subtly revoiced in mm. 2-5.
They play colla parte throughout the canon and are silent in the final bars. Trombones
also do not play in m. 1; they enter in m. 2, and like the woodwinds are revoiced. They
play colla parteto the downbeat o f m. 17 and are tacet for the rest of the movement.
Trumpet and timpani are the same in mm. 6-7, removed from m. 10 and reworked in mm.
15-17.
p - r l j -z e z
y ^ T , v
I f r > r
~j ^ l------- 1
y = * j *_ r = * =
s p - - f = j
r * m
------------ L------f -----..-.rJ
,
')
(
'
a
r r j . r
7 j j H
r
L - T J J
r
j
w---- ;-----V----- n
-i .----------? t
4 4
roduced with permission of the copyright owner. Further reproduction prohibited without permission.
8/13/2019 Mozart 6 Fin of Req
56/213
The strings are slightly modified. In measure 5, violas play Sussmayrs line an
octave higher. Throughout the canon, violas double the orchestral bass line two octaves
higher, while violins play in unison. Measures 17-19 are the sam e as Sussmayr, except in
m. 17, viola plays even eighth-notes. The strings drop out in m. 20, allowing the choir
and continuo to sound alone until m. 21, where strings re-enter in the second ha lf of the
bar with newly written parts.
Example 4.13
J 1- J jL J L ^
, h , J
7" 1 7 , a I
, J> , -h---, - i* 7 V K___J ---------
Violin I
Violin II
Viola
Recordare
Beyers woodwinds first enter in m. 26 with bassoons doubling the choral bass.36
In measure 31 basset horns enter, creating three-part writing that ends on the downbeat of
m. 34. Woodwinds link the two vocal phrases in mm. 41-42. In measure s 45-52,
Sussmayrs dense texture is substantially thinned.
Example 4.14
Basset Horn
Bassoon
&
56 Mozar t wrote the first seven m easures o f woodwind .
45
roduced with permission of the copyright owner. Further reproduction prohibited withou t permission.
8/13/2019 Mozart 6 Fin of Req
57/213
Following the accompaniment pattern used in mm. 26-34, bassoons ente r at m. 60, joined
by basset horns in m. 65, ending on the downbeat o f m. 68. Woodwinds play colla parte
in mm. 72-81, as well as interjecting emphaticfortepianosthat link the solo quartets
phrases in mm. 75-76 and 79-80. They re-enter in mm. 91-92, reinforcing the cadence.
In measures 93-97 , bassoon 1 plays a solo resembling the vocal lines; in mm. 99-103
basset horn 1 does the same. Woodwinds join strings in m. 104 (again reinforcing the
cadence) and from m. 106-9, they play colla parte. In measure 112 bassoons once again
double the bass li