Requiem (Mozart)

Requiem (Mozart)
Name	Requiem
Composer	Wolfgang Amadeus Mozart
Caption	First page of the ''Requiem'' Mass in D minor
Key	D minor
Catalogue	K. 626
Form	Requiem
Composed	1791 (unfinished)
Published	1800
Text	Requiem Mass
Scoring	Four soloists, four-part choir, orchestra

Requiem (Mozart). The Requiem in D minor, K. 626, is the final, incomplete mass composed by Wolfgang Amadeus Mozart in 1791. Commissioned anonymously by Count Franz von Walsegg to commemorate his late wife, the work was left unfinished at Mozart's death on December 5, 1791, leading to its completion by his pupil Franz Xaver Süssmayr. As one of the most revered and enigmatic works in the Western classical canon, it encompasses profound emotional depth, complex counterpoint, and has been surrounded by enduring myths regarding its creation and the composer's final days.

Composition and commission

In mid-1791, Mozart received an anonymous commission through an intermediary, Anton Leitgeb, to compose a Requiem for a patron later revealed to be Count Franz von Walsegg. The Count, an amateur musician, intended to pass the work off as his own in memory of his wife, Anna von Walsegg, who had died in February. Mozart began composition while simultaneously working on ''Die Zauberflöte'' and the Clarinet Concerto. His health deteriorated rapidly during the autumn, and by November 20 he was bedridden, dictating passages to students including Franz Jacob Freystädtler and Joseph von Eybler. He died having fully orchestrated only the opening ''Introitus'' and sketched the vocal parts and basso continuo for much of the ''Sequence'' and Offertory.

Structure and musical analysis

The work follows the traditional Latin liturgical text. Its key of D minor, a tonality Mozart associated with solemnity and tragedy, dominates the opening movements. The Introitus establishes a solemn mood with its woodwind sighs and dotted rhythms in the strings. The ensuing Kyrie is a masterful double fugue showcasing Mozart's contrapuntal skill. The dramatic Dies irae sequence features stark contrasts, from the fiery fury of the "Dies irae" to the poignant lyricism of the "Recordare", a quartet for soprano, alto, tenor, and bass soloists. The ''Lacrimosa'', of which Mozart wrote only eight bars, is notably haunting. The work employs a standard Classical orchestra with the addition of basset horns and trombones for solemn color.

Completion by other composers

Following Mozart's death, his widow Constanze sought to have the fragment completed to secure the remaining commission fee. The task was first given to Joseph von Eybler, who orchestrated parts of the Dies irae before abandoning it. The commission then passed to Mozart's younger pupil, Franz Xaver Süssmayr, who had assisted the composer in his final weeks. Süssmayr's completion, delivered to Count Walsegg in 1792, included orchestrating the unfinished movements from the Sanctus onward and composing entirely new settings for the ''Agnus Dei'', ''Communio'' ("Lux aeterna"), and a reprise of the "Requiem aeternam" fugue. His version, the most commonly performed, has been both criticized and defended by scholars and composers for centuries.

Authorship and authenticity debates

The extent of Mozart's versus Süssmayr's contributions has been a persistent subject of musicological scrutiny. The authenticity of the manuscript, partially in Mozart's hand and partially in his assistants', was famously questioned in the play and film ''Amadeus'', which popularized the myth of Salieri as a rival and poisoner. Major studies, including those by Albi and Eva Rosenthal and Wolfgang Plath, have analyzed the paper types and handwriting. In the late 20th century, several new "completions" emerged, notably by scholars Beyer, Maunder, and Robert Levin, each attempting to strip away Süssmayr's work in favor of stylistically closer orchestration and, in Levin's case, a new ''Amen'' fugue.

Premiere and early performance history

The first performance of a completed version likely occurred on December 14, 1793, in Wiener Neustadt at a memorial service for the Count's wife, organized by Count Franz von Walsegg. The first public performance in Vienna took place on January 2, 1794, at a benefit concert for Constanze Mozart organized by the Baron van Swieten at the Jahn'sche Saal. Early performances were often for memorials, such as one for François Duquesnoy in 1804. The work was published in 1800 by Breitkopf & Härtel, cementing its place in the repertoire. Early admirers included Beethoven, who studied the score closely.

Legacy and cultural impact

Mozart's Requiem stands as a cornerstone of the choral-orchestral repertoire and a powerful symbol of artistic mortality. It has been used in state funerals, including those for Haydn and Chopin, and featured prominently in films like ''Amadeus'' and ''The Big Lebowski''. Its influence extends to later Requiem compositions by Berlioz, Verdi, and Fauré. The work is a staple for major orchestras and choirs worldwide, from the Berlin Philharmonic to the Vienna Philharmonic, and its mystique continues to fuel public fascination with the circumstances of Mozart's death and the nature of artistic genius.

Category:Compositions by Wolfgang Amadeus Mozart Category:Requiems Category:1791 compositions