344:(2017–2020) re-evaluated Süßmayr's and Eybler's addition and took into account the influence from Bach and Handel as well as from works in Mozart's environment. Involving the performers, he offers alternative performance options for the "Lacrymosa", "Sanctus" and "Benedictus". In one of these, he offers a Sanctus in D minor in order to preserve the second "Osanna" from Süßmayr's manuscript. For the "Lacrymosa", Ostryzga offers a version with Süßmayr's short cadence and another with a newly composed "Amen" fugue. The edition was commissioned by the Harvard Summer Chorus and recorded by Florian Helgath.
243:(1985–2016) re-worked Süssmayr's instrumentation in a rather conservative way, oftentimes preferring Eybler's additions. He changed the voice leading where he considered it wrong and extended the "Osanna" considerably. He was the first to attribute the woodwind parts of the "Introitus" to an author other than Mozart on the basis of his own manuscript analyses. For these reasons, he rewrote these parts. He also presented a totally new orchestration for the Kyrie. He published his edition and a detailed study justifying his approach on his own homepage.
354:(2020) provides new orchestrations to the Sequence and the Offertorium, besides adding an entirely new "Lacrymosa" and "Amen" fugue based on Mozart's original sketch. He does not makes changes to the "Sanctus", "Benedictus" and "Agnus Dei", claiming that the editorial changes to those movements "...change Süssmayr’s music in a way that does not match his intentions – and come nowhere close to the intentions of Mozart". Arman recorded his version with the
249:(1988) took a radical approach. He rewrote the orchestration working from Mozart's autographs and eliminated Süssmayr's portions except for the "Agnus Dei" and the ending of the work ("Communio"). He recomposed the "Lacrymosa" from bar 9 onwards and incorporated a completion of the "Amen" fugue based on Mozart's sketch. For his instrumentation, he relied on instances from Mozart's late operas that he deemed appropriate.
227:(1941) tried to repair shortcomings in Süssmayr's completion, such as the trombone solo in "Tuba mirum", use of trumpets, timpani, and trombones, and the key choice of the reprise of the "Osanna" fugue. To this end, he inserted two newly composed modulating measures between the "Benedictus" and the second "Osanna". Flothuis's completion was not published but was recorded by Jos van Veldhoven.
105:), and thus dates from late 1791. The only instance of the word "Amen" occurring in anything Mozart wrote in late 1791 is in the Requiem sequence. Third, as Levin points out in the foreword to his completion, the addition of the "Amen" fugue at the end of the sequence would maintain an overall pattern that closes each large section with a fugue, a design that appears intentional.
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R. C. Keitamo (2016–2018) provided a new orchestration by taking into account motivic material from other late Mozart works, reworked the "Lacrymosa", and fleshed out the "Amen" fugue. Like
Maunder, this edition dispensed with Süssmayr's "Sanctus", "Osanna", and "Benedictus". For the "Agnus Dei" he
298:
Pánczél Tamás (2006) revised Süssmayr's instrumentation. He furthermore extended the "Lacrymosa" considerably and much more radical than any other editor, adding a middle section for the soloists. He also added an extensive "Amen" fugue, and rewrote the "Benedictus" ending to lead into the "Osanna"
316:(2013) provided entirely new instrumentation based on Eybler's ideas, new elaborations of the "Amen" and "Osanna" fugues, and a new continuity of the "Lacrymosa" (after bar 18), "Sanctus", "Benedictus", and "Agnus Dei", employing those bars which Cohrs speculated Mozart might have sketched himself.
259:
much more, retained Eybler's ninth and tenth measures of the "Lacrymosa", substantially lengthened that movement and added an extended "Amen" fugue to it. He reworked the "Osanna" fugues using Süßmayr's theme, significantly extending their length. He also rewrote the "Benedictus" using the opening
347:
Jan Groth (2017–2018) made radical changes to the orchestration and rewrote Süßmayr's compositions, completely remaking
Sussmayr's instrumentation and drastically increasing the use of the trumpets and timpani. Beyond that, he also completed the Amen fugue sketch and extended Süßmayr's "Sanctus",
183:
Karl
Marguerre (1962–2016) published an essay on Süssmayr's passages in 1962, replacing a few bars in the middle of the "Lacrymosa", "Sanctus", "Benedictus" and "Agnus Dei" with quotations from other Requiem movements, Marguerre also extended the instrumentation given by Süssmayr to include high
338:(2017) followed a methodology similar to Robbins Landon in relying basically on Eybler's instrumentation but elaborated further on Süssmayr's sections Eybler did not work on. He also included a short "Amen" fugue, adding a basso obbligato to Mozart's primary material from the beginning.
148:(2000) followed Süssmayr's completion until the "Sanctus" and "Benedictus", inserting 4 bars in piano for the "Sanctus", composing a double fugue for the Osanna with Süssmayr's theme, adding more modulations to the "Benedictus" and composing a transition back to D major.
125:
Since the 1960s several composers and musicologists, usually dissatisfied with the traditional "Süssmayr" completion, have attempted alternative completions of the
Requiem. Each version follows a distinct methodology for the whole requiem or only for single movements.
237:'s orchestration with the intention of getting closer to Mozart's style and introduced minor changes to Süssmayr's sections (e.g., slightly lengthening the "Osanna" fugue for a more conclusive-sounding ending). He preserved the two different keys of the "Osanna".
200:
Emil Bächtold (1999) makes small additions and changes to
Sussmayr's completion from the "Dies Irae" to the "Hostias", having the Lacrimosa only in fragmentary form and, similarly to Maunder, dispenses the "Sanctus", "Benedictus", "Agnus Dei" and the
284:, and other instrumental passages, trying to match the instrumentation more to the practice in Salzburg. Other notable features included the execution of the "Amen" fugue and an extension of Süssmayr's "Osanna" fugue, following models of the
108:
Many composers attempting a
Requiem completion used the sketch for the "Amen" fugue discovered in the 1960s to compose a longer and more substantial setting for concluding the sequence. In the Süssmayr version, "Amen" is set as a
270:'s partial work, thinking Eybler's work represents a more reliable guide of Mozart's intentions. Where Eybler left out portions of the score, he filled them in himself. For movements Eybler did not work on, he relied on Süßmayr.
319:
Pierre-Henri Dutron (2016) revised Süssmayr's version. He rewrote the "Sanctus" and "Benedictus" from opening themes onward and took creative liberties concerning the vocals between the chorus and soloists. Conductor
309:
Letho
Kostoglou (2010) tried to fill the blanks of Mozart's manuscript in a similar vein and rhythmic patterns in completed works; unlike Gordon Kerry, he tried to keep his completion in a very close style to
117:(iv–I in D minor) at the end of the "Lacrymosa". Only Jones and Suzuki combined the two, ending the fugue with a variation on the concluding bars of Süssmayr's "Lacrymosa" as well as the plagal cadence.
204:
Giuseppe Galli (2012) rewrote the continuation of "Lacrimosa" and the entirety of "Agnus Dei", the first of which he concluded with an "Amen" fugue while incorporating parts from
Maunder's completion.
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Timothy Jones (2014) followed a Levin-like approach in reworking the "Lacrimosa" and composing an extensive "Amen" fugue modeled on the "Cum Sancto
Spiritu" fugue from the
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version. Incorporating music from various movements (including the "Requiem aeternam", "Dies irae", "Lacrymosa", and "Agnus Dei"), the bulk of the piece is set to the "
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argued that the "Amen" fugue was not intended for the
Requiem, but rather "may have been for a separate unfinished mass in D minor" to which the
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99:. Second, the fugue is found on the same page as a sketch for the "Rex tremendae" (together with a sketch for the overture of his last opera,
295:
he claimed to have changed the traditional completion "...as little as possible, so that it is not to disturb the weight of the centuries".
91:
There is, however, compelling evidence placing the "Amen" fugue in the Requiem based on current Mozart scholarship. First, the principal
155:
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173:(2013) like Finnissy, included a new "Sanctus", "Benedictus", and "Agnus Dei" to replace the Süssmayr completion of those movements.
355:
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44:", a responsory text traditionally is sung after the Requiem Mass, and concludes with a reprise of the "Kyrie" and a final "
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to write a completion. He brought new additions to the manuscript but kept the overall proportions of Süssmayr's version.
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Completions that did not try to emulate Mozart's style, but rather completed the requiem in the style of the editor.
230:
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woodwinds (oboe, clarinet, flute). His version was later republished by his granddaughter, Dorothee Heath, in 2016.
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255:(1991) also opted for a rather radical approach. He made extensive changes to the orchestration focussing on the
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theme as its starting point, elaborating on it considerably longer than probably every other version.
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Clemens Kemme (2006–2009) rewrote the orchestration in a style closer to Eybler's, emphasizing the
49:
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197:(1978) replaced the "Amen", "Sanctus", and "Agnus Dei" with parodies of Mozart's earlier works.
32:
For the first performance of the Requiem in Rio de Janeiro in December 1819, Austrian composer
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867:, Preface to 'Mozart: Requiem KV 626 Bearbeitet und ergänzt von Robert D. Levin' (Carus 1991)
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is the main theme of the Requiem (stated at the beginning and throughout the work) in strict
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276:(1993) retained the structure of Süssmayr's orchestration and contributions while adjusting
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164:(2011) used Süssmayr's orchestration as its basis but eliminated Süssmayr's compositions.
584:"PSNY: Gregory Spears – A New Sanctus, Benedictus, and Agnus Dei for the Mozart Requiem"
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in particular, and reworking the "Sanctus", "Benedictus", and extended "Osanna" fugue.
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Brett Abigaña (2012) revised Süssmayr's version and provided a new "Amen" fugue.
675:
567:
292:
696:"The Domine Jesu of Mozart's Requiem: Theory and Practice of its Completion1"
41:
480:"Wolfgang Amadeus Mozart – Requiem, Torunska Orchestra Kameralna, Knud Vad"
657:"Zur Neuinstrumentierung von Mozarts Requiem-Fragment durch Emil Bächtold"
143:
542:"Michael Finnissy Completes Mozart Requiem | University of Southampton"
507:
James Wade, "Where Words Cannot Reach": An Interview with Gordon Kerry
569:
Completing Mozart's Requiem: A description and defense of the process
441:
Mozart's Requiem: Historical and Analytical Studies, Documents, Score
905:"Mozart scholar completes legendary composition in Australian first"
52:, composed his own Mozart-inspired "Libera me" for a performance at
463:
Paul Moseley: "Mozart's Requiem: A Reevaluation of the Evidence",
324:
used Dutron's completion for performances in 2016 and recorded it.
214:. He applied the same process to the "Sanctus" and "Osanna" fugue.
65:
731:"Franz Beyer, finished Mozart's unfinished Requiem – obituary"
844:
Requiem, KV 626, für Soli, Chor und Orchester, d-moll, KV 626
785:"Mozart's Requiem From 18th Century Forgery to modern Hybrid"
632:"Mozart Requiem KV626, new version by Benjamin-Gunnar Cohrs"
829:
Druce, Duncan, Preface to 'Mozart: Requiem' (Novello 1993)
677:
A completion of three choruses from Mozart's requiem K.626
415:. Cambridge, UK: Cambridge University Press. p. 201.
387:. Cambridge, UK: Cambridge University Press. p. 91.
16:
This article lists some of the modern completions of the
1110:"Requiem, KV 626 (Wolfgang Amadeus Mozart) - ChoralWiki"
975:
W.A. Mozart Requiem KV626: Completion by Masato Suzuki
521:"Requiem movements (A completion of Mozart's Requiem)"
48:". A contemporary of Neukomm and a pupil of Mozart's,
1177:
1128:"Mozart Requiem completed and edited by Howard Arman"
68:
was discovered, which some musicologists, including
661:
Mitteilungen der Internationalen Stiftung Mozarteum
807:Mozart's Requiem : on preparing a new edition
266:(1992) orchestrated parts of his completion using
76:, believed Mozart intended as a conclusion of the
1153:"MOZART REQUIEM D-MOLL KV 626 MIT WERKEINFÜHRUNG"
610:"Erläuterungen im Nachwort zur Dirigierpartitur"
36:constructed a movement based on material in the
1084:"COV 92009 – Wolfgang Amadeus Mozart: Requiem"
443:. University of California Press. p. 30.
950:"Mozart Requiem Süßmayr Remade version, 2016"
385:Mozart's Requiem: Reception, Work, Completion
8:
332:, adapted to the Requiem's instrumentation.
1215:Musical compositions completed by others
689:
687:
466:Journal of the Royal Musical Association
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328:opted to present a contrafactum of the
121:Completions since the late 20th century
64:In the 1960s, a sketch for an "Amen"
7:
1057:"Mozart's Requiem is completed anew"
805:Maunder, Richard (August 18, 1988).
156:Australian Broadcasting Corporation
14:
879:"A rare reconstruction of Mozart"
566:Abigaña, Brett (3 October 2012).
1187:
299:reprise, as most completers did.
291:. In an interview Levin gave to
154:(2005) was commissioned by the
360:Chor des Bayerischen Rundfunks
356:Akademie für Alte Musik Berlin
1:
1026:Musica sacra, Ulrich Konrad.
999:"MOZART REQUIEM, NEW EDITION"
704:Dutch Journal of Music Theory
348:"Benedictus" and "Agnus Dei".
130:Non-musicological completions
509:. Retrieved 28 December 2017
1231:
630:Cohrs, Benjamin-Gunnar.
330:Kyrie in D minor, K. 341
973:Suzuki, Masato (2019).
694:Kemme, Clemens (2009).
674:Jones, Timothy (2014).
663:. 47.1999 (3–4): 61–65.
469:(1989; 114) pp. 203–237
80:after the "Lacrymosa".
22:Wolfgang Amadeus Mozart
932:Mozart, Requiem KV 626
848:Breitkopf & Härtel
28:Liturgical completions
948:Dutron, Jean Pierre.
936:Benjamin-Gunnar Cohrs
854: 979-0004211724.
840:Landon, H. C. Robbins
760:"Note on the Edition"
546:www.southampton.ac.uk
314:Benjamin-Gunnar Cohrs
287:Great Mass in C minor
210:Great Mass in C minor
34:Sigismund von Neukomm
1088:covielloclassics.de/
1055:Globe, Zoë Madonna.
655:Graf, Harry (1999).
264:H. C. Robbins Landon
82:H. C. Robbins Landon
56:'s funeral in 1827.
54:Ludwig van Beethoven
910:Victor Harbor Times
877:Hussey, John Paul.
846:(Urtext ed.).
809:. Clarendon Press.
736:The Daily Telegraph
487:Naxos Music Library
178:Partial completions
50:Ignaz von Seyfried
46:Requiescat in pace
913:. South Australia
608:Heath, Dorothee.
86:Kyrie K. 341
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1160:idagio.com/
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