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2970:. SĂĽssmayr borrowed some of Eybler's work in making his completion, and added his own orchestration to the movements from the Kyrie onward, completed the Lacrymosa, and added several new movements which a Requiem would normally comprise: Sanctus, Benedictus, and Agnus Dei. He then added a final section, Lux aeterna by adapting the opening two movements which Mozart had written to the different words which finish the Requiem Mass, which according to both SĂĽssmayr and Mozart's wife was done according to Mozart's directions. Some people consider it unlikely, however, that Mozart would have repeated the opening two sections if he had survived to finish the work.
1718:'s Sinfonia in D Minor, the theme is enriched by a magnificent counterpoint by cellos in descending scales that are reprised throughout the movement. This counterpoint of the first theme prolongs the orchestral introduction with chords, recalling the beginning of the work and its rhythmic and melodic shiftings (the first basset horn begins a measure after the second but a tone higher, the first violins are likewise in sync with the second violins but a quarter note shifted, etc.). The introduction is followed by the vocal soloists; their first theme is sung by the alto and bass (from
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allow Count
Walsegg the impression that Mozart wrote the work entirely himself. Once she received the commission, she needed to carefully promote the work as Mozart's so she could continue to receive revenue from its publication and performance. During this phase of the Requiem's history, it was still important that the public accept that Mozart wrote the whole piece, as it would fetch larger sums from publishers and the public if it were completely by Mozart.
3352:; Mozart and his father were viola and violin players respectively at its first three performances in January 1772. Some have noted that Michael Haydn's Introitus sounds rather similar to Mozart's, and the theme for Mozart's "Quam olim Abrahae" fugue is a direct quote of the fugue theme from Haydn's Offertorium and Versus from his aforementioned requiem. In Introitus m. 21, the soprano sings "Te decet hymnus Deus in Zion". It is quoting the Lutheran hymn "
2913:
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53:
2984:. Others have pointed out that at the beginning of the Agnus Dei, the choral bass quotes the main theme from the Introitus. Many of the arguments dealing with this matter, though, center on the perception that if part of the work is of high quality, it must have been written by Mozart (or from sketches), and if part of the work contains errors and faults, it must have been all SĂĽssmayr's doing.
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3462:), and thus surely dates from late 1791. The only place where the word 'Amen' occurs in anything that Mozart wrote in late 1791 is in the sequence of the Requiem. Third, as Levin points out in the foreword to his completion of the Requiem, the addition of the Amen Fugue at the end of the sequence results in an overall design that ends each large section with a fugue.
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left ambiguous statements on record as to how they were involved in the affair. Despite the controversy over how much of the music is actually Mozart's, the commonly performed SĂĽssmayr version has become widely accepted by the public. This acceptance is quite strong, even when alternative completions provide logical and compelling solutions for the work.
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211:. She was responsible for a number of stories surrounding the composition of the work, including the claims that Mozart received the commission from a mysterious messenger who did not reveal the commissioner's identity, and that Mozart came to believe that he was writing the Requiem for his own funeral.
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commissioned the
Requiem from Mozart anonymously through intermediaries. The count, an amateur chamber musician who routinely commissioned works by composers and passed them off as his own, wanted a Requiem Mass he could claim he composed to memorialize the recent passing of his wife. Mozart received
3214:
This account, too, has fallen under scrutiny and criticism of its accuracy. According to letters, Constanze most certainly knew the name of the commissioner by the time this interview was released in 1800. Additionally, the
Requiem was not given to the messenger until some time after Mozart's death.
3014:
Constanze had a difficult task: she had to keep secret the fact that the
Requiem was unfinished at Mozart's death, so she could collect the final payment from the commission. For a period of time, she also needed to keep secret that SĂĽssmayr had anything to do with the composition of the Requiem, to
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was one of the first composers to be asked to complete the score, and had worked on the movements from the Dies irae up until the
Lacrymosa. In addition, a striking similarity between the openings of the Domine Jesu Christe movements in the requiems of the two composers suggests that Eybler at least
1405:
series, which has the effect of augmenting the intensity. This passage shows itself to be a bit demanding in the upper voices, particularly for the soprano voice. A final portion in a slower (Adagio) tempo ends on an "empty" fifth, a construction which had during the classical period become archaic,
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The
Requiem and its individual movements have been repeatedly arranged for various instruments. The keyboard arrangements notably demonstrate the variety of approaches taken to translating the Requiem, particularly the Confutatis and Lacrymosa movements, in order to balance preserving the Requiem's
3066:
Source materials written soon after Mozart's death contain serious discrepancies, which leave a level of subjectivity when assembling the "facts" about Mozart's composition of the
Requiem. For example, at least three of the conflicting sources, all dated within two decades following Mozart's death,
3018:
It is
Constanze's efforts that created the half-truths and myths after Mozart's death. According to Constanze, Mozart declared that he was composing the Requiem for himself and that he had been poisoned. His symptoms worsened, and he began to complain about the painful swelling of his body and high
2932:
At the time of Mozart's death on 5 December 1791, only the first movement, Introitus (Requiem aeternam) was completed in all of the orchestral and vocal parts. The Kyrie, Sequence and
Offertorium were completed in skeleton, with the exception of the Lacrymosa, which breaks off after the first eight
2373:
and introduces a recapitulation of the primary theme from the bass and tenor from mm. 28 and 30, respectively. Phrase (B) follows at m. 33, although without the broken cadence, then repeats at m. 38 with the broken cadence once more. This carries the movement to a new
Mozartian cadence in mm. 47 to
3126:
The most highly disputed of these claims is the last one, the chronology of this setting. According to Rochlitz, the messenger arrives quite some time before the departure of Leopold for the coronation, yet there is a record of his departure occurring in mid-July 1791. However, as Constanze was in
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The completed score, started by Mozart but largely finished by SĂĽssmayr, was then dispatched to Count Walsegg complete with a counterfeited signature of Mozart and dated 1792. The various complete and incomplete manuscripts eventually turned up in the 19th century, but many of the figures involved
2987:
Another controversy is the suggestion (originating from a letter written by Constanze) that Mozart left explicit instructions for the completion of the Requiem on "a few scraps of paper with music on them... found on Mozart's desk after his death." The extent to which SĂĽssmayr's work may have been
1633:
of the homage to the sovereign", or, more simply put, that this musical style is a standard form of salute to royalty, or, in this case, divinity. This movement consists of only 22 measures, but this short stretch is rich in variation: homophonic writing and contrapuntal choral passages alternate
3504:
in Brussels. At some point during the fair, someone was able to gain access to the manuscript, tearing off the bottom right-hand corner of the second to last page (folio 99r/45r), containing the words "Quam olim d: C:" (an instruction that the "Quam olim" fugue of the
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The Sanctus is the first movement written entirely by SĂĽssmayr, and the only movement of the Requiem to have a key signature with sharps: D major, generally used for the entry of trumpets in the Baroque era. After a succinct glorification of the Lord follows a short
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This interview contains the only account from Constanze herself of the claim that she took the Requiem away from Wolfgang for a significant duration during his composition of it. Otherwise, the timeline provided in this account is historically probable.
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were fully notated. Occasionally, some of the prominent orchestral parts were briefly indicated, such as the first violin part of the Rex tremendae and Confutatis, the musical bridges in the Recordare, and the trombone solos of the Tuba Mirum.
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section. Then, the principal theme is treated by the choir and the orchestra in downward-gliding sixteenth-notes. The courses of the melodies, whether held up or moving down, change and interlace amongst themselves, while passages in
1548:
on the "strong" (1st and 3rd), then on the "weak" (2nd and 4th) beats, with the violins and continuo responding each time; this "interruption" (which one may interpret as the interruption preceding the Last Judgment) is heard
3079:, a German biographical author and amateur composer, published a set of Mozart anecdotes that he claimed to have collected during his meeting with Constanze in 1796. The Rochlitz publication makes the following statements:
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Other composers may have helped SĂĽssmayr. The Agnus Dei is suspected by some scholars to have been based on instruction or sketches from Mozart because of its similarity to a section from the Gloria of a previous Mass
1730:, in which the accompaniment contrasts with that of the first theme. Instead of descending scales, the accompaniment is limited to repeated chords. This exposition concludes with four orchestral measures based on the
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He did not accept the messenger's request immediately; he wrote the commissioner and agreed to the project stating his fee but urging that he could not predict the time required to complete the work.
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He did not accept the messenger's request immediately; he wrote the commissioner and agreed to the project stating his fee but urging that he could not predict the time required to complete the work.
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Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow
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The trombones then announce the entry of the choir, which breaks into the theme, with the basses alone for the first measure, followed by imitation by the other parts. The chords play off
1453:
strings, syncopated figures and repeated chords in the brass. A rising chromatic scurry of sixteenth-notes leads into a chromatically rising harmonic progression with the chorus singing "
4023:
165:, who had commissioned the piece for a requiem service on 14 February 1792 to commemorate the first anniversary of the death of his wife Anna at the age of 20 on 14 February 1791.
3019:
fever. Nevertheless, Mozart continued his work on the Requiem, and even on the last day of his life, he was explaining to his assistant how he intended to finish the Requiem.
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3556:'s piano solo (c.1865) departs the most in terms of fidelity and character of the Requiem, through its inclusion of composition devices used to showcase pianistic technique.
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syllables of the choir fall on the second beats of the measures, even though this is the "weak" beat. The choir then adopts the dotted rhythm of the orchestra, forming what
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With deception surrounding the Requiem's completion, a natural outcome is the mythologizing which occurred. One series of myths surrounding the Requiem involves the role
2365:. The third phrase, (C), is a solemn ringing where the winds respond to the chords with a staggering harmony, as shown in a Mozartian cadence at mm. 21 and 22, where the
1461:). This material is repeated with harmonic development before the texture suddenly drops to a trembling unison figure with more tremolo strings evocatively painting the "
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was commissioned by mid-July. There was no time for Mozart to work on the Requiem on the large scale indicated by the Rochlitz publication in the time frame provided.
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Since the 1970s several composers and musicologists, dissatisfied with the traditional "SĂĽssmayr" completion, have attempted alternative completions of the Requiem.
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of the basset horns mixes with the line of the cello. The rest of the movement consists of variations on this writing. At m. 23, phrase (A) is reprised on a F
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3227:. After Nissen's death in 1826, Constanze released the biography of Wolfgang (1828) that Nissen had compiled, which included this interview. Nissen states:
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He told Constanze "I am only too conscious... my end will not be long in coming: for sure, someone has poisoned me! I cannot rid my mind of this thought."
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was keen to have the work completed secretly by someone else, submit it to the count as having been completed by Mozart and collect the final payment.
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vision of the infernal, on a dotted rhythm. The accompaniment then ceases alongside the tenors and basses, and the sopranos and altos enter softly and
1810:
The Confutatis ("From the accursed") begins with a rhythmic and dynamic sequence of strong contrasts and surprising harmonic turns. Accompanied by the
1499:
Mozart's textual inspiration is again apparent in the Tuba mirum ("Hark, the trumpet") movement, which is introduced with a sequence of three notes in
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on the famous theme of the cross (connecting the four notes shows the shape of the cross) used by many composers, such as Bach, Handel, and Haydn. The
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1745:; the second theme is not recognizable except by the structure of its accompaniment. At m. 46, it is the first theme that is developed beginning from
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argues that this Amen Fugue was not intended for the Requiem, rather that it "may have been for a separate unfinished mass in D minor" to which the
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during all of June to mid-July, she would not have been present for the commission or the drive they were said to have taken together. Furthermore,
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What remained to be completed for these sections were mostly accompanimental figures, inner harmonies, and orchestral doublings to the vocal parts.
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1994:
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Mozart received the commission very shortly before the Coronation of Emperor Leopold II and before he received the commission to go to Prague.
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2182:("Make them, O Lord, cross over from death to life") finally carries the movement into the dominant of G minor, followed by a reprise of the
1869:
This spectacular descent from the opening key is repeated, now modulating to the key of F major. A final dominant seventh chord leads to the
3361:
1749:
and concludes with two measures of hemiola at mm. 50–51. After two orchestral bars (mm. 52–53), the first theme is heard again on the text
1529:
occurs. The final quarter notes of the bass soloist herald the arrival of the tenor, followed by the alto and soprano in dramatic fashion.
2462:
SĂĽssmayr here reuses Mozart's first two movements, almost exactly note for note, with wording corresponding to this part of the liturgy.
1292:
and staggered structures in the accompaniment, thus underlining the solemn and steady nature of the music. A soprano solo is sung to the
3448:
There is, however, compelling evidence placing the Amen Fugue in the Requiem based on current Mozart scholarship. First, the principal
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Mozart received the commission shortly before the coronation of Emperor Leopold and before he received the commission to go to Prague.
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of Mozart's life. He published his biography in 1808, containing a number of claims about Mozart's receipt of the Requiem commission:
2963:
looked at later sections. After this work, he felt unable to complete the remainder and gave the manuscript back to Constanze Mozart.
196:. It cannot be shown to what extent SĂĽssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the
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3456:. Second, it is found on the same page as a sketch for the Rex tremendae (together with a sketch for the overture of his last opera
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The words "Quam olim da capo" are likely to have been the last Mozart wrote; this portion of the manuscript has been missing since
3335:
for string ensemble (K. 404a Nos. 1–3 and K. 405 Nos. 1–5), but the attribution of these transcriptions to Mozart is not certain.
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and concludes with three hemiolas. The final measures of the movement recede to simple orchestral descending contrapuntal scales.
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wrote his piano transcription for two players, enabling him to retain the extent of the score, if sacrificing timbral character.
154:
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The confusion surrounding the circumstances of the Requiem's composition was created in large part by Mozart's wife, Constanze.
496:
The following table shows for the eight sections in SĂĽssmayr's completion with their subdivisions: the title, vocal parts (solo
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489:
All sections from the Sanctus onwards are not present in Mozart's manuscript fragment. Mozart may have intended to include the
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Book 2 (BWV 889b) as part of the subject of Bach's fugue, and it is thought that Mozart transcribed some of the fugues of the
4378:
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many times and finish on a quasi-unaccompanied choral cadence, landing on an open D chord (as seen previously in the Kyrie).
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played in commissioning and completion of the Requiem (and in Mozart's death generally). While a retelling of this myth is
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The same messenger appeared later, paying Mozart the sum requested plus a note promising a bonus at the work's completion.
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The same messenger appeared later, paying Mozart the sum requested plus a note promising a bonus at the work's completion.
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influenced by these "scraps", if they existed at all, remains a subject of speculation amongst musicologists to this day.
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has left a note: "All which is not enclosed by the quill is of Mozart's hand up to page 32." The first violin, choir and
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The contrapuntal motifs of the theme of this fugue include variations on the two themes of the Introit. At first, upward
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If the most common authorship theory is true, then "Quam olim d: C:" were the last words Mozart wrote before he died.
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146:
87:
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1136:
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1990:
3513:, at the end of the Hostias). The perpetrator has not been identified, and the fragment has not been recovered.
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2048:. This theme will later be varied in various keys, before returning to G minor when the four soloists enter a
1989:, who was a great admirer of Mozart. Ray Robinson, the music scholar and president (from 1969 to 1987) of the
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He spoke of "very strange thoughts" regarding the unpredicted appearance and commission of this unknown man.
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made from it, it is important to note that the source of misinformation was actually a 19th-century play by
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1715:
1509:
major by a solo tenor trombone, unaccompanied, in accordance with the usual German translation of the Latin
380:
181:
158:
150:
44:
39:
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1977:
fugue in Mozart's hand has led to speculation that it may have been intended for the Requiem. Indeed, many
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3675:(2008). ""Die Ochsen am Berge": Franx Xaver SĂĽssmayr and the Orchestration of Mozart's Requiem, K. 626".
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In the first 13 measures, the basset horns are the first to present the first theme, clearly inspired by
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Constanze thought that the Requiem was overstraining him; she called the doctor and took away the score.
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is held, which stands in opposition with the (B) phrase, which is first seen at m. 10, also on the word
2346:
1210:
153:(1756–1791). Mozart composed part of the Requiem in Vienna in late 1791, but it was unfinished at
3223:
However, the most highly accepted text attributed to Constanze is the interview to her second husband,
4478:"Freystädtler's Supposed Copying in the Autograph of K. 626: A Case of Mistaken Identity", Vienna 2013
3167:
last-minute instructions. Constanze is to the side and the messenger is leaving through the main door.
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Mozart might have described specific instrumentation for the drafted sections, or the addition of a
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At 130 measures, the Recordare ("Remember") is the work's longest movement, as well as the first in
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76:
2059:, switching between minor (in ascent) and major (in descent). Between these thematic passages are
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56). This work likely influenced the composition of Mozart's Requiem; the Kyrie is based on the "
3163:("Moment from the Last Days of Mozart"). Mozart, with the score of the Requiem on his lap, gives
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1820:
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1986:
1985:) complete Mozart's fragment. Some sections of this movement are quoted in the Requiem Mass of
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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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comes from the final chorus of the Dettingen Anthem, HWV 265. The first three measures of the
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4291:. Translated by Mary Whittall (revised, annotated ed.). University of California Press.
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14), followed by the soprano and tenor (from m. 20). Each time, the theme concludes with a
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1982:
1929:, intercut with quarter rests, which will be reprised by the choir after two measures, on
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but with a quick and chopped-up rhythm. The phrase develops and rebounds at m. 15 with a
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3548:'s harmonium solo (c.1875) are liberal in their approach to achieve this. In contrast,
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3112:
He shared the thought with his wife that he was writing this piece for his own funeral.
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segment sung by the quartet at the same time, articulating, without accompaniment, the
1247:. The first five measures of this passage (without the accompaniment) are shown below.
267:
247:
17:
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3083:
Mozart was unaware of his commissioner's identity at the time he accepted the project.
2437:
melodies and harmonic reversals, going from D minor to F major, C major, and finally B
1993:, suggests that SĂĽssmayr used materials from Credo of one of Mozart's earlier Masses,
1517:(trombone). Two measures later, the bass soloist enters, imitating the same theme. At
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8, at which point Mozart's contribution to the movement is interrupted by his death.
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1222:
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287:
251:
243:
169:
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Chronologisch-thematisches Verzeichniss sämmtlicher Tonwerke Wolfgang Amade Mozart's
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2140:, with fluid vocals. After 20 measures, the movement switches to an alternation of
1967:
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1308:
1239:, in which the woodwinds (first bassoons, then basset horns) present the principal
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1206:
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684:
218:
have been developed by composers and musicologists in the 20th and 21st centuries.
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3912:"Mozart & Salieri, Cain & Abel: A Cinematic Transformation of Genesis 4."
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1277:, HWV 264. Many parts of the work make reference to this passage, notably in the
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fugue at the end of the Sequentia, but SĂĽssmayr did not do so in his completion.
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The Nissen publication lacks information following Mozart's return from Prague.
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1315:) alternate; all this creates the charm of this movement, which finishes with a
1289:
1125:
537:
334:
275:
227:
3732:
4157:
3176:
3137:(except for the Overture and March of the Priests) was completed by mid-July.
2321:
2083:("What once to Abraham you promised and to his seed"). The movement concludes
2063:
phrases where the choir enters, often in unison and dotted rhythm, such as on
1278:
338:
279:
4276:
4198:
3889:
3690:
3102:
His health was poor from the outset; he fainted multiple times while working.
2349:: the (A) theme, which is first presented by the orchestra and reprised from
1764:
93. The initial structure reproduces itself with the first theme on the text
5326:
3987:
2430:
2084:
2037:
1952:
1687:
1537:
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193:
189:
185:
4091:
3252:
4492:
4464:
3737:. University of Michigan: S. Low, Marston, Searle, and Rivington. p.
5330:
4183:
Moseley, Paul (1989). "Mozart's Requiem: A Revaluation of the Evidence".
3911:
3874:
Moseley, Paul (1989). "Mozart's Requiem; A Revaluation of the Evidence".
3800:, telling SĂĽssmayr he would be obliged to compose those sections himself.
3325:(Op. 20 No. 5) and in the first measure of the A minor fugue from Bach's
2211:
2076:
1829:
1500:
283:
239:
1753:
and ends on a hemiola in mm. 66–67. Then, the second theme is reused on
1536:("When only barely may the just one be secure"), there is a switch to a
5334:
5235:
3510:
3501:
3338:
Some musicologists believe that the Introitus was inspired by Handel's
3310:
2879: in this section. Unsourced material may be challenged and removed.
2433:
dominates the Agnus Dei. The text is repeated three times, always with
2339:
2273:
1966:
SĂĽssmayr brings the choir to a reference of the Introit and ends on an
1723:
1564:
1526:
1522:
1450:
1449:("Day of Wrath") opens with a show of orchestral and choral might with
1316:
1150: in this section. Unsourced material may be challenged and removed.
930:
784:
754:
720:
589:
497:
453:
446:
351:
298:
255:
235:
231:
197:
173:
138:
66:
4206:
3897:
282:). The basset horn parts are sometimes played on conventional BB or A
5383:
5264:
4375:
Mozart's Requiem: Historical and Analytical Studies, Documents, Score
4289:
Mozart's Requiem: Historical and Analytical Studies, Documents, Score
3578:
Mozart's Requiem: Historical and Analytical Studies, Documents, Score
3106:
3093:
1943:
1933:("This tearful day"). Then, after two measures, the sopranos begin a
291:
259:
3207:
The messenger took the unfinished Requiem soon after Mozart's death.
3171:
Also in 1798, Constanze is noted to have given another interview to
3151:
4220:
Facsimile of the manuscript's last page, showing the missing corner
3814:
Choral Masterworks from Bach to Britten: Reflections of a Conductor
3433:, Maunder) believe belongs to the Requiem at the conclusion of the
2378:
fugue from the Sanctus movement, in the new key of the Benedictus.
1685:); the movement is a setting of no fewer than seven stanzas of the
5198:
3610:
Mozarts Requiem. Geschichte, Musik, Dokumente. Mit Studienpartitur
3426:
3412:
3302:
3251:
3002:
2255:
1613:), who is called by powerful cries from the choir on the syllable
1282:
533:
513:
373:
328:
318:
306:
271:
263:
177:
3067:
cite Constanze as their primary source of interview information.
2954:
only half of the payment in advance, so upon his death his widow
2916:
The beginning of the Dies irae in the autograph manuscript, with
1302:. The choir continues, repeating the psalmtone while singing the
4468:
3099:
He began the project immediately after receiving the commission.
1370:
529:
505:
314:
4911:
4496:
3360:". The melody is used by many composers e.g. in Bach's cantata
3089:
He stated that it would take him around four weeks to complete.
345:
SĂĽssmayr's completion divides the Requiem into eight sections:
157:
on 5 December the same year. A completed version dated 1792 by
5529:
Compositions by Wolfgang Amadeus Mozart published posthumously
4050:
Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn
2848:
2071:(" from the mouth of the lion"). Two choral fugues follow, on
1610:
1119:
3204:
On the day of his death, he had the score brought to his bed.
2450:, SĂĽssmayr likely referenced one of Mozart's earlier Masses,
2714:
libera animas omnium fidelium defunctorum de poenis inferni
1617:
during the orchestra's pauses. For a surprising effect, the
3612:(in German) (4th ed.). Kassel: Bärenreiter. p. .
2207:
3500:
The autograph of the Requiem was placed on display at the
3240:
He started composing the work upon his return from Prague.
3192:
He started composing the work upon his return from Prague.
2338:
of the key of D minor). The Sanctus's ending on a D major
2044:
theme consisting of an ascending progression on a G minor
27:
Mass composed by Wolfgang Amadeus Mozart in Vienna in 1791
3645:
Robinson, Ray (1 August 1985). "A New Mozart 'Requiem'".
2195:
Audio playback is not supported in your browser. You can
1858:
Audio playback is not supported in your browser. You can
1772:. The second theme reappears one final time on m. 106 on
1386:
Audio playback is not supported in your browser. You can
1256:
Audio playback is not supported in your browser. You can
3836:
Mentioned in the CD booklet of the Requiem recording by
3972:. Cambridge: Cambridge University Press. pp. 3–4.
3761:. Berkeley: University of California Press. p. 3.
3086:
He was not bound to any date of completion of the work.
2374:
49 and concludes on phrase (C), which reintroduces the
2079:
not absorb them, nor may they fall into darkness") and
1457:" ("what trembling there will be" in reference to the
2980:, K. 220) by Mozart, as was first pointed out by
2620:
redemisti crucem passus; tantus labor non sit cassus.
1563:
to bring the movement finally into a crescendo into a
5461:
2569:
Liber scriptus proferetur, in quo totum continetur,
2353:
4 by the alto and from m. 6 by the soprano. The word
1235:
The Requiem begins with a seven-measure instrumental
3054:
and subsequently used as the framework for the play
2575:Judex ergo cum sedebit, quidquid latet, apparebit,
1937:
progression, in disjointed eighth-notes on the text
5419:
5373:
5325:
5282:
5263:
5234:
5197:
5167:
5145:
5106:
4957:
4851:
4815:
4718:
4684:
4611:
4530:
4315:
Mozart's Death – Mozart's Requiem: An Investigation
4024:"Wolfgang Amadeus Mozart's 'Kyrie Eleison, K. 626'"
3105:He took a break from writing the work to visit the
2148:
exclamations of the choir, while progressing from B
1726:(mm. 18–19 and 24–25). The second theme arrives on
111:
101:
93:
83:
72:
62:
32:
3305:is the same with only slight variations by adding
2744:Hostias et preces tibi, Domine, laudis offerimus.
2632:culpa rubet vultus meus; supplicanti parce, Deus.
3373:' poem "Mozart's Requiem" was first published in
2563:Mors stupebit et natura, cum resurget creatura,
2557:Tuba mirum spargens sonum per sepulcra regionum,
2320:The Benedictus, a quartet, adopts the key of the
1525:, the only point in all the work at which a solo
4113:"Wolfgang Amadeus Mozart's 'Requiem in D Minor'"
3536:character while also being physically playable.
3210:Constanze never learned the commissioner's name.
2750:quarum hodie memoriam facimus. Fac eas, Domine,
2611:Recordare, Jesu pie, quod sum causa tuae viae;
2345:The Benedictus is constructed on three types of
2073:ne absorbeat eas tartarus, ne cadant in obscurum
1691:. The form of this piece is somewhat similar to
168:The autograph manuscript shows the finished and
5451:List of compositions by Wolfgang Amadeus Mozart
3096:at the time of the first commissioning message.
2689:qua resurget ex favilla judicandus homo reus.
2635:Qui Mariam absolvisti, et latronem exaudisti,
4485:, new completion of the score by musicologist
2313:1956 Salzburg Festival performance (see above)
2282:rhythm, and for its motivic similarity to the
1737:The development of these two themes begins in
4923:
4508:
4259:Mozart's Requiem: Reception, Work, Completion
3784:Opus Ultimum: The Story of the Mozart Requiem
3678:Journal of the American Musicological Society
3122:to Prague for the coronation was approaching.
2966:The task was then given to another composer,
2756:Quam olim Abrahae promisisti et semini ejus.
2735:Quam olim Abrahae promisisti et semini ejus.
2342:necessitates a mediant jump to this new key.
176:in Mozart's hand, and detailed drafts of the
8:
4353:Mozart's Requiem: On Preparing a New Edition
4317:. Belfast, Northern Ireland: Amadeus Press.
3353:
2841:cum sanctis tuis in aeternum, quia pius es.
2832:cum sanctis tuis in aeternum, quia pius es.
2644:bonus, fac benigne, ne perenni cremer igne.
2214:by a person whose identity remains unknown.
341:during Mozart's visit to Dresden, April 1789
2184:Quam olim Abrahae promisisti et semini eius
2180:Fac eas, Domine, de morte transire ad vitam
2081:Quam olim Abrahae promisisti et semini eius
1605:is played by the orchestra to announce the
4930:
4916:
4908:
4681:
4515:
4501:
4493:
4052:. Cambridge University Press. p. 58.
3999:
3997:
3429:was discovered, which some musicologists (
3175:, another biographer looking to publish a
2626:bonum fac remissionis ante diem rationis.
1828:("Call upon me with the blessed") with an
1401:series of sixteenth-notes are replaced by
548:
57:The first page of Mozart's autograph score
51:
29:
5446:List of masses by Wolfgang Amadeus Mozart
4460:International Music Score Library Project
3938:
3936:
3934:
3932:
3930:
3928:
3926:
3275:and in 1789 he was commissioned by Baron
2895:Learn how and when to remove this message
2278:("Glory in the highest"), noted for its
2178:major. An overtaking chromatic melody on
1166:Learn how and when to remove this message
5524:Musical compositions completed by others
4998:Missa in honorem Sanctissimae Trinitatis
4377:. Translated by Mary Whittal. Berkeley:
4186:Journal of the Royal Musical Association
3877:Journal of the Royal Musical Association
3580:. Translated by Mary Whittal. Berkeley:
3161:Ein Moment aus den letzten Tagen Mozarts
3150:
2911:
2692:Huic ergo parce, Deus, pie Jesu Domine,
2330:major (which can also be considered the
1285:and in the conclusion of the Lacrymosa.
1084:
996:
5468:
3565:
3481:Mozart's manuscript with missing corner
2791:Benedictus qui venit in nomine Domini.
3401:Modern completions of Mozart's Requiem
2920:'s orchestration. In the upper right,
2641:Preces meae non sunt dignae, sed tu,
188:as far as the first eight bars of the
4237:
4170:
3920:: vol. 1, no. 1, April 1997
3861:
3849:
3632:
3367:but also in Michael Haydn's Requiem.
2945:Completion by Mozart's contemporaries
2775:Pleni sunt coeli et terra gloria tua
2489:et tibi reddetur votum in Jerusalem.
1814:, the tenors and basses burst into a
1609:("King of tremendous majesty", i.e.,
214:In addition to the SĂĽssmayr version,
7:
4008:. The Mozart Project. Archived from
3050:, which was turned into an opera by
2877:adding citations to reliable sources
2813:Agnus Dei qui tollis peccata mundi,
2807:Agnus Dei qui tollis peccata mundi,
1148:adding citations to reliable sources
4336:. Portland, Oregon: Amadeus Press.
4334:Constanze Mozart: after the Requiem
4004:Steve Boerner (December 16, 2000).
3425:In the 1960s, a sketch for an Amen
2835:Requiem aeternam dona eis, Domine,
2732:repraesentet eas in lucem sanctam.
2711:Domine Jesu Christe, Rex gloriae,
2498:Requiem aeternam dona eis, Domine,
2480:Requiem aeternam dona eis, Domine,
216:a number of alternative completions
107:(SĂĽssmayr completion finished 1792)
5345:Die Schuldigkeit des ersten Gebots
4431:Eybler's and SĂĽssmayr's amendments
3466:Autograph at the 1958 World's Fair
3291:And with His stripes we are healed
3195:He fell ill while writing the work
2423:1956 Salzburg Festival (see above)
2246:1956 Salzburg Festival (see above)
2208:it was stolen at 1958 World's Fair
2114:1956 Salzburg Festival (see above)
2029:1956 Salzburg Festival (see above)
1903:1956 Salzburg Festival (see above)
1835:Finally, in the following stanza (
1803:1956 Salzburg Festival (see above)
1661:1956 Salzburg Festival (see above)
1594:1956 Salzburg Festival (see above)
1492:1956 Salzburg Festival (see above)
1438:1956 Salzburg Festival (see above)
1406:lending the piece an ancient air.
1350:1956 Salzburg Festival (see above)
25:
5499:Masses by Wolfgang Amadeus Mozart
4006:"K. 626: Requiem in D Minor"
3493:"quam olim d: c" in Mozart's hand
3344:, HWV 264. Another influence was
3341:Funeral Anthem for Queen Caroline
2829:Lux aeterna luceat eis, Domine,
2486:Te decet hymnus, Deus, in Sion,
2452:Mass in C major, K. 220 "Sparrow"
1995:Mass in C major, K. 220 "Sparrow"
1760:The recapitulation intervenes in
1357:The Kyrie follows without pause (
5471:
5275:: K. 109, K. 125, K. 195, K. 243
4892:
4891:
4752:Maria Anna Thekla Mozart (Bäsle)
3786:. New York: Algora. p. 79.
3486:
3474:
3092:He requested, and received, 100
2853:
2747:Tu suscipe pro animabus illis,
2413:
2395:
2303:
2236:
2104:
2019:
1892:
1793:
1734:of the first theme (mm. 34–37).
1707:of two themes (mm. 38–92) and a
1700:
1651:
1601:A descending melody composed of
1584:
1482:
1428:
1340:
1192:
1124:
5519:Unfinished musical compositions
5253:Vesperae solennes de confessore
5159:G major, K. 140/235d/Anh. C1.12
5118:Kyrie in F major, K. 33 "Paris"
4869:Beethoven–Haydn–Mozart Memorial
4048:Dirst, Charles Matthew (2012).
3816:. Scarecrow Press. p. 28.
3387:For a chronological guide, see
3317:is also found in the finale of
3118:He noted that the departure of
3007:Constanze in 1802, portrait by
2864:needs additional citations for
2729:Sed signifer Sanctus Michael,
2581:Quid sum miser tunc dicturus?
2350:
2040:, the Domine Jesu, begins on a
1960:
1761:
1738:
1719:
1518:
1135:needs additional citations for
290:, even though this changes the
4446:Free scores of Requiem, K. 626
4379:University of California Press
4261:. Cambridge University Press.
3731:Gehring, Franz Eduard (1883).
3707:A Dictionary of Hallucinations
3582:University of California Press
3313:. However, the same four-note
2944:
2816:dona eis requiem sempiternam.
2617:Quaerens me, sedisti lassus,
2599:qui salvandos salvas gratis,
1:
5245:Vesperae solennes de Dominica
5132:Kyrie in D minor, K. 341/368a
3356:Meine Seele erhebt den Herren
2996:Promotion by Constanze Mozart
2838:et Lux perpetua luceat eis,
2753:de morte transire ad vitam,
2542:Quantus tremor est futurus,
2454:in completing this movement.
2172:major, F minor, C minor and E
1997:in completing this movement.
1973:. Discovery of a fragmentary
4778:(paternal great-grandfather)
4621:Concert arias, songs, canons
4450:Choral Public Domain Library
4119:. Discover the Sample Source
4030:. Discover the Sample Source
3917:Journal of Religion and Film
3734:Mozart (The Great Musicians)
3389:Timeline of Mozart's Requiem
3363:Meine Seel erhebt den Herren
2723:ne absorbeat eas Tartarus,
2674:cor contritum quasi cinis,
2650:Et ab haedis me sequestra,
2587:cum vix justus sit securus?
2548:cuncta stricte discussurus!
2545:quando judex est venturus,
2536:Solvet saeclum in favilla,
2501:et lux perpetua luceat eis.
2483:et lux perpetua luceat eis.
2192:
1855:
1383:
1267:This theme is modeled after
1253:
1044:
956:
934:
888:
851:
817:
789:
758:
725:
694:
655:
624:
593:
297:The vocal forces consist of
226:The Requiem is scored for 2
4758:Franz Xaver Wolfgang Mozart
4740:Maria Anna Mozart (Nannerl)
4355:. Oxford: Clarendon Press.
2720:Libera eas de ore leonis,
2665:flammis acribus addictis,
2647:Inter oves locum praesta,
2596:Rex tremendae majestatis,
1205:performance, 26 July 1956.
5545:
4456:Requiem in D minor, K. 626
3782:Leeson, Daniel N. (2004).
3526:Mozart Requiem discography
3523:
3398:
3386:
2933:bars. The vocal parts and
2769:Sanctus, sanctus, sanctus
2671:Oro supplex et acclinis,
2653:Statuens in parte dextra.
2638:mihi quoque spem dedisti.
2629:Ingemisco, tamquam reus:
2584:quem patronum rogaturus,
2560:coget omnes ante thronum.
2495:ad te omnis caro veniet.
2036:The first movement of the
1832:accompaniment in strings.
1534:Cum vix justus sit securus
1455:Quantus tremor est futurus
1213:; Wiener Staatsopernchor;
286:and sometimes the related
5441:
5189:pasticcio Coronation Mass
5181:(attributed to W. MĂĽller)
5062:B-flat major, K. 275/272b
4887:
4864:Mozart in popular culture
4676:Relationship with G minor
4351:C. R. F. Maunder (1988).
4313:Brendan Cormican (1991).
4074:Köchel, Ludwig Ritter von
3710:. Springer. p. 342.
3354:
3323:String Quartet in F minor
3225:Georg Nikolaus von Nissen
3219:Georg Nikolaus von Nissen
3159:by Franz Schramm, titled
2602:salve me, fons pietatis.
2539:teste David cum Sibylla.
2217:
1991:Westminster Choir College
1941:("will be reborn"), then
1274:The ways of Zion do mourn
1075:
1060:
987:
972:
929:
923:
917:
833:
640:
50:
37:
4593:Appearance and character
4149:The New Monthly Magazine
4143:"Mozart's Requiem"
3948:1791: Mozart's Last Year
3691:10.1525/jams.2008.61.1.1
3540:'s piano solo (c.1900),
3376:The New Monthly Magazine
2668:voca me cum benedictis.
2443:major. According to the
1607:Rex tremendae majestatis
5514:Compositions in D minor
5431:Maurerische Trauermusik
5125:Sancta Maria, mater Dei
4949:Wolfgang Amadeus Mozart
4879:Mozart Monument, Vienna
4524:Wolfgang Amadeus Mozart
3910:Gregory Allen Robbins.
3704:Blom, Jan Dirk (2009).
3293:" chorus from Handel's
3173:Franz Xaver Niemetschek
3147:Franz Xaver Niemetschek
2726:ne cadant in obscurum.
2662:Confutatis maledictis,
2623:Juste judex ultionis,
2614:ne me perdas illa die.
2578:nil inultum remanebit.
2572:unde mundus judicetur.
2492:Exaudi orationem meam,
2197:download the audio file
1916:on a rocking rhythm in
1860:download the audio file
1839:), there is a striking
1837:Oro supplex et acclinis
1716:Wilhelm Friedemann Bach
1388:download the audio file
1258:download the audio file
528:) and four-part choir
443:
418:
370:
161:was delivered to Count
151:Wolfgang Amadeus Mozart
40:Wolfgang Amadeus Mozart
18:Requiem Mass in D minor
5343:geistliches Singspiel
4772:(paternal grandfather)
4465:Article on the Requiem
4332:Heinz Gärtner (1991).
4199:10.1093/jrma/114.2.203
4156:: 325–326 – via
4084:Breitkopf & Härtel
4082:(in German). Leipzig:
3890:10.1093/jrma/114.2.203
3812:Summer, R. J. (2007).
3422:
3268:
3168:
3011:
2929:
2928:are entirely Mozart's.
2772:Dominus Deus Sabaoth!
2677:gere curam mei finis.
2566:judicanti responsura.
2160:minor, then F major, D
2121:The Hostias opens in E
1826:Voca me cum benedictis
1245:imitative counterpoint
342:
198:Sanctus and Benedictus
3944:Landon, H. C. Robbins
3437:after the Lacrymosa.
3416:
3333:Well-Tempered Clavier
3328:Well-Tempered Clavier
3277:Gottfried van Swieten
3255:
3154:
3006:
2915:
2794:Hosanna in excelsis!
2778:Hosanna in excelsis!
2717:et de profundo lacu.
2686:Lacrimosa dies illa,
2533:Dies irae, dies illa
2067:("King of glory") or
1768:and then in m. 99 on
1311:and in unison (e.g.,
1304:Exaudi orationem meam
1211:Wiener Philharmoniker
1070:solo + Chorus (SATB)
843:soli + Chorus (SATB)
583:solo + Chorus (SATB)
333:Drawing of Mozart in
332:
5409:Ode auf St. Caecilia
5291:Veni Sancte Spiritus
5086:C minor, K. 427/417a
5029:C major, K. 262/246a
5021:C major, K. 220/196b
5013:D major, K. 194/186h
5008:F major, K. 192/186f
4671:Compositional method
4651:Works for solo piano
4101:No. 405, pp. 328–329
3838:Nikolaus Harnoncourt
3502:World's Fair in 1958
3465:
3439:H. C. Robbins Landon
3259:(younger brother of
3062:Conflicting accounts
2968:Franz Xaver SĂĽssmayr
2949:The eccentric count
2873:improve this article
2218:SĂĽssmayr's additions
1144:improve this article
874:Larghetto – Andante
159:Franz Xaver SĂĽssmayr
45:Franz Xaver SĂĽssmayr
5216:Exsultate, jubilate
4979:C minor, K. 139/47a
4770:Johann Georg Mozart
4705:Neue Mozart-Ausgabe
4698:Alte Mozart-Ausgabe
4440:Neue Mozart-Ausgabe
4422:Neue Mozart-Ausgabe
3544:'s organ solo, and
3509:was to be repeated
3140:La clemenza di Tito
2695:dona eis requiem.
2517:Christe, eleison.
1931:Lacrimosa dies illa
1699:around two themes (
550:
5401:Das Alexander-Fest
5006:Kleine Credo Messe
4984:D minor, K. 65/61a
4971:G major, K. 49/47d
4764:Karl Thomas Mozart
4225:2012-01-13 at the
3423:
3395:Modern completions
3350:Requiem in C minor
3269:
3169:
3077:Friedrich Rochlitz
3071:Friedrich Rochlitz
3047:Mozart and Salieri
3012:
2930:
2810:dona eis requiem.
1979:modern completions
1755:ante diem rationis
549:
343:
5509:1791 compositions
5459:
5458:
5273:Litanies (Mozart)
5208:God is our refuge
4905:
4904:
4734:Anna Maria Mozart
4714:
4713:
4268:978-0-521-19837-0
3852:, pp. 10–11.
3823:978-0-8108-5903-6
3635:, pp. 80–82.
3443:Kyrie K. 341
3267:influenced Mozart
3042:Alexander Pushkin
2960:Joseph von Eybler
2951:Franz von Walsegg
2905:
2904:
2897:
2514:Kyrie, eleison.
2476:Requiem aeternam:
2466:Liturgical lyrics
2418:
2400:
2308:
2284:Quam olim Abrahae
2241:
2201:
2109:
2024:
1912:The chords begin
1898:
1864:
1843:from A minor to A
1798:
1656:
1589:
1487:
1433:
1392:
1377:are shown below.
1345:
1262:
1203:Salzburg Festival
1197:
1176:
1175:
1168:
1111:
1110:
1101:Cum sanctis tuis
577:Requiem aeternam
163:Franz von Walsegg
131:
130:
16:(Redirected from
5536:
5476:
5475:
5474:
5467:
5423:ceremonial music
5385:Acis und Galatea
5363:Davide penitente
5354:Betulia liberata
5224:Ave verum corpus
5043:Piccolomini Mass
4952:
4951:
4932:
4925:
4918:
4909:
4895:
4894:
4784:(brother-in-law)
4746:Constanze Mozart
4692:Köchel catalogue
4682:
4666:Violin concertos
4517:
4510:
4503:
4494:
4483:Mozart's Requiem
4458:: Scores at the
4418:
4392:
4366:
4347:
4328:
4302:
4285:Wolff, Christoph
4280:
4241:
4235:
4229:
4217:
4211:
4210:
4180:
4174:
4168:
4162:
4161:
4145:
4134:
4128:
4127:
4125:
4124:
4109:
4103:
4095:
4070:
4064:
4063:
4045:
4039:
4038:
4036:
4035:
4020:
4014:
4013:
4012:on June 8, 2007.
4001:
3992:
3991:
3962:
3956:
3955:
3940:
3921:
3908:
3902:
3901:
3871:
3865:
3859:
3853:
3847:
3841:
3834:
3828:
3827:
3809:
3803:
3802:
3779:
3773:
3772:
3758:Mozart's Requiem
3753:Wolff, Christoph
3749:
3743:
3742:
3728:
3722:
3721:
3701:
3695:
3694:
3669:
3663:
3662:
3642:
3636:
3630:
3624:
3623:
3606:Wolff, Christoph
3602:
3596:
3595:
3574:Wolff, Christoph
3570:
3546:Renaud de Vilbac
3490:
3478:
3409:The "Amen" fugue
3359:
3358:
3271:Mozart esteemed
2900:
2893:
2889:
2886:
2880:
2857:
2849:
2520:Kyrie, eleison.
2442:
2441:
2420:
2419:
2402:
2401:
2352:
2329:
2328:
2310:
2309:
2270:
2269:
2268:
2243:
2242:
2177:
2176:
2171:
2170:
2165:
2164:
2159:
2158:
2153:
2152:
2139:
2138:
2137:
2126:
2125:
2111:
2110:
2026:
2025:
1962:
1928:
1927:
1926:
1900:
1899:
1848:
1847:
1800:
1799:
1763:
1740:
1721:
1702:
1684:
1683:
1682:
1658:
1657:
1591:
1590:
1571:c. Rex tremendae
1520:
1508:
1507:
1489:
1488:
1435:
1434:
1347:
1346:
1299:tonus peregrinus
1199:
1198:
1171:
1164:
1160:
1157:
1151:
1128:
1120:
1096:
1095:
1094:
1082:major – D minor
1081:
1080:
1056:
1055:
1054:
1041:
1040:
1008:
1007:
1006:
993:
992:
968:
967:
966:
946:
945:
944:
913:
912:
911:
900:
899:
898:
883:
882:
863:
862:
861:
834:IV. Offertorium
829:
828:
827:
801:
800:
799:
770:
769:
768:
737:
736:
735:
706:
705:
704:
690:
689:
667:
666:
665:
636:
635:
634:
605:
604:
603:
551:
482:Cum sanctis tuis
363:Requiem aeternam
313:soloists and an
55:
30:
21:
5544:
5543:
5539:
5538:
5537:
5535:
5534:
5533:
5484:
5483:
5482:
5478:Classical music
5472:
5470:
5462:
5460:
5455:
5437:
5415:
5369:
5321:
5278:
5259:
5230:
5193:
5163:
5141:
5137:Epistle sonatas
5102:
5091:Requiem, K. 626
5078:C major, K. 337
5070:C major, K. 317
5068:Coronation Mass
5057:C major, K. 259
5049:C major, K. 258
5037:C major, K. 257
5000:C major, K. 167
4977:Waisenhausmesse
4953:
4947:
4946:
4936:
4906:
4901:
4883:
4847:
4828:Catholic Church
4811:
4808:(sister-in-law)
4802:(sister-in-law)
4796:(sister-in-law)
4790:(mother-in-law)
4710:
4680:
4646:Piano concertos
4607:
4526:
4521:
4487:Robert D. Levin
4416:
4414:critical report
4399:
4389:
4371:Christoph Wolff
4369:
4363:
4350:
4344:
4331:
4325:
4312:
4309:
4307:Further reading
4299:
4283:
4269:
4255:Keefe, Simon P.
4253:
4250:
4245:
4244:
4236:
4232:
4227:Wayback Machine
4218:
4214:
4182:
4181:
4177:
4169:
4165:
4138:Hemans, Felicia
4136:
4135:
4131:
4122:
4120:
4111:
4110:
4106:
4072:
4071:
4067:
4060:
4047:
4046:
4042:
4033:
4031:
4022:
4021:
4017:
4003:
4002:
3995:
3980:
3966:Keefe, Simon P.
3964:
3963:
3959:
3942:
3941:
3924:
3909:
3905:
3873:
3872:
3868:
3860:
3856:
3848:
3844:
3835:
3831:
3824:
3811:
3810:
3806:
3781:
3780:
3776:
3769:
3751:
3750:
3746:
3730:
3729:
3725:
3718:
3703:
3702:
3698:
3673:Keefe, Simon P.
3671:
3670:
3666:
3644:
3643:
3639:
3631:
3627:
3620:
3604:
3603:
3599:
3592:
3584:. p. 105.
3572:
3571:
3567:
3562:
3538:Karl Klindworth
3533:
3528:
3522:
3498:
3497:
3496:
3495:
3494:
3491:
3483:
3482:
3479:
3468:
3459:The Magic Flute
3445:also belonged.
3411:
3403:
3397:
3392:
3385:
3250:
3221:
3149:
3134:The Magic Flute
3073:
3064:
3052:Rimsky-Korsakov
3024:Antonio Salieri
2998:
2982:Richard Maunder
2947:
2910:
2901:
2890:
2884:
2881:
2870:
2858:
2847:
2822:
2800:
2784:
2762:
2738:
2704:
2702:IV. Offertorium
2680:
2656:
2605:
2590:
2551:
2526:
2507:
2473:
2468:
2460:
2439:
2438:
2428:
2427:
2426:
2425:
2424:
2421:
2414:
2411:
2405:
2404:
2403:
2396:
2393:
2384:
2326:
2325:
2318:
2317:
2316:
2315:
2314:
2311:
2304:
2301:
2292:
2267:
2262:
2261:
2260:
2259:
2251:
2250:
2249:
2248:
2247:
2244:
2237:
2234:
2225:
2220:
2204:
2203:
2202:
2200:
2174:
2173:
2168:
2167:
2162:
2161:
2156:
2155:
2154:major towards B
2150:
2149:
2136:
2131:
2130:
2129:
2128:
2123:
2122:
2119:
2118:
2117:
2116:
2115:
2112:
2105:
2102:
2093:
2056:sanctus Michael
2034:
2033:
2032:
2031:
2030:
2027:
2020:
2017:
2008:
2003:
2001:IV. Offertorium
1987:Franz von Suppé
1955:. The choir is
1925:
1920:
1919:
1918:
1917:
1910:
1909:
1908:
1907:
1906:
1905:
1904:
1901:
1893:
1890:
1879:
1867:
1866:
1865:
1863:
1845:
1844:
1808:
1807:
1806:
1805:
1804:
1801:
1794:
1791:
1782:
1681:
1676:
1675:
1674:
1673:
1666:
1665:
1664:
1663:
1662:
1659:
1652:
1649:
1640:
1599:
1598:
1597:
1596:
1595:
1592:
1585:
1582:
1573:
1565:perfect cadence
1505:
1504:
1497:
1496:
1495:
1494:
1493:
1490:
1483:
1480:
1471:
1443:
1442:
1441:
1440:
1439:
1436:
1429:
1426:
1417:
1412:
1395:
1394:
1393:
1391:
1367:counter-subject
1355:
1354:
1353:
1352:
1351:
1348:
1341:
1338:
1329:
1313:Et lux perpetua
1294:Te decet hymnus
1265:
1264:
1263:
1261:
1243:of the work in
1233:
1232:
1231:
1230:
1229:
1215:Lisa Della Casa
1200:
1193:
1190:
1181:
1172:
1161:
1155:
1152:
1141:
1129:
1118:
1093:
1088:
1087:
1086:
1085:
1078:
1077:
1061:VIII. Communio
1053:
1048:
1047:
1046:
1045:
1038:
1037:
1024:VII. Agnus Dei
1005:
1000:
999:
998:
997:
990:
989:
973:VI. Benedictus
965:
960:
959:
958:
957:
943:
938:
937:
936:
935:
910:
905:
904:
903:
902:
897:
892:
891:
890:
889:
880:
879:
860:
855:
854:
853:
852:
826:
821:
820:
819:
818:
798:
793:
792:
791:
790:
767:
762:
761:
760:
759:
734:
729:
728:
727:
726:
703:
698:
697:
696:
695:
687:
686:
664:
659:
658:
657:
656:
641:III. Sequentia
633:
628:
627:
626:
625:
602:
597:
596:
595:
594:
485:
473:
439:
427:
414:
386:
366:
357:
327:
224:
222:Instrumentation
127:
106:
58:
42:
28:
23:
22:
15:
12:
11:
5:
5542:
5540:
5532:
5531:
5526:
5521:
5516:
5511:
5506:
5504:Requiem Masses
5501:
5496:
5494:Mozart Requiem
5486:
5485:
5481:
5480:
5457:
5456:
5454:
5453:
5448:
5442:
5439:
5438:
5436:
5435:
5426:
5424:
5417:
5416:
5414:
5413:
5405:
5397:
5389:
5380:
5378:
5371:
5370:
5368:
5367:
5358:
5349:
5339:
5337:
5323:
5322:
5320:
5319:
5311:
5303:
5295:
5286:
5284:
5280:
5279:
5277:
5276:
5269:
5267:
5261:
5260:
5258:
5257:
5249:
5240:
5238:
5232:
5231:
5229:
5228:
5220:
5212:
5203:
5201:
5195:
5194:
5192:
5191:
5187:Così fan tutte
5183:
5174:
5172:
5165:
5164:
5162:
5161:
5152:
5150:
5143:
5142:
5140:
5139:
5134:
5129:
5120:
5114:
5112:
5104:
5103:
5101:
5100:
5099:
5098:
5088:
5080:
5076:Missa Solemnis
5072:
5064:
5059:
5055:Orgelsolomesse
5051:
5039:
5031:
5023:
5015:
5010:
5002:
4994:
4992:C major, K. 66
4990:Dominicusmesse
4986:
4981:
4973:
4967:
4965:
4955:
4954:
4937:
4935:
4934:
4927:
4920:
4912:
4903:
4902:
4900:
4899:
4888:
4885:
4884:
4882:
4881:
4876:
4871:
4866:
4861:
4855:
4853:
4849:
4848:
4846:
4845:
4840:
4835:
4830:
4825:
4819:
4817:
4813:
4812:
4810:
4809:
4803:
4797:
4791:
4785:
4779:
4773:
4767:
4761:
4755:
4754:(first cousin)
4749:
4743:
4737:
4731:
4728:Leopold Mozart
4724:
4722:
4716:
4715:
4712:
4711:
4709:
4708:
4701:
4694:
4688:
4686:
4679:
4678:
4673:
4668:
4663:
4658:
4653:
4648:
4643:
4638:
4633:
4631:Horn concertos
4628:
4623:
4617:
4615:
4609:
4608:
4606:
4605:
4600:
4595:
4590:
4585:
4580:
4575:
4570:
4565:
4560:
4555:
4550:
4545:
4540:
4534:
4532:
4528:
4527:
4522:
4520:
4519:
4512:
4505:
4497:
4491:
4490:
4489:, live concert
4480:
4474:Michael Lorenz
4471:
4462:
4453:
4443:
4427:
4425:
4402:
4398:
4397:External links
4395:
4394:
4393:
4387:
4367:
4361:
4348:
4342:
4329:
4323:
4308:
4305:
4304:
4303:
4298:978-0520213890
4297:
4281:
4267:
4249:
4246:
4243:
4242:
4230:
4212:
4193:(2): 203–237.
4175:
4163:
4129:
4117:WhoSampled.com
4104:
4065:
4059:978-1107376281
4058:
4040:
4028:WhoSampled.com
4015:
3993:
3978:
3970:Mozart studies
3968:, ed. (2006).
3957:
3952:Schirmer Books
3922:
3903:
3866:
3854:
3842:
3829:
3822:
3804:
3774:
3767:
3744:
3723:
3716:
3696:
3664:
3647:Choral Journal
3637:
3625:
3618:
3597:
3590:
3564:
3563:
3561:
3558:
3542:Muzio Clementi
3532:
3529:
3524:Main article:
3521:
3518:
3492:
3485:
3484:
3480:
3473:
3472:
3471:
3470:
3469:
3467:
3464:
3410:
3407:
3399:Main article:
3396:
3393:
3384:
3381:
3371:Felicia Hemans
3249:
3246:
3242:
3241:
3238:
3235:
3232:
3220:
3217:
3212:
3211:
3208:
3205:
3202:
3199:
3196:
3193:
3190:
3187:
3184:
3148:
3145:
3124:
3123:
3116:
3113:
3110:
3109:with his wife.
3103:
3100:
3097:
3090:
3087:
3084:
3072:
3069:
3063:
3060:
2997:
2994:
2946:
2943:
2909:
2906:
2903:
2902:
2861:
2859:
2852:
2846:
2843:
2821:
2820:VIII. Communio
2818:
2799:
2798:VII. Agnus Dei
2796:
2783:
2782:VI. Benedictus
2780:
2761:
2758:
2703:
2700:
2592:Rex tremendae:
2525:
2524:III. Sequentia
2522:
2510:Kyrie eleison:
2506:
2503:
2472:
2469:
2467:
2464:
2459:
2458:VIII. Communio
2456:
2448:Simon P. Keefe
2422:
2412:
2407:
2406:
2394:
2389:
2388:
2387:
2386:
2385:
2383:
2382:VII. Agnus Dei
2380:
2363:broken cadence
2312:
2302:
2297:
2296:
2295:
2294:
2293:
2291:
2290:VI. Benedictus
2288:
2263:
2245:
2235:
2230:
2229:
2228:
2227:
2226:
2224:
2221:
2219:
2216:
2194:
2191:
2189:
2188:
2132:
2113:
2103:
2098:
2097:
2096:
2095:
2094:
2092:
2089:
2085:homophonically
2028:
2018:
2013:
2012:
2011:
2010:
2009:
2007:
2006:a. Domine Jesu
2004:
2002:
1999:
1951:on a powerful
1921:
1902:
1891:
1886:
1885:
1884:
1883:
1882:
1881:
1880:
1878:
1875:
1857:
1854:
1852:
1851:
1812:basso continuo
1802:
1792:
1787:
1786:
1785:
1784:
1783:
1781:
1778:
1732:counter-melody
1709:recapitulation
1677:
1660:
1650:
1645:
1644:
1643:
1642:
1641:
1639:
1636:
1593:
1583:
1578:
1577:
1576:
1575:
1574:
1572:
1569:
1521:7, there is a
1491:
1481:
1476:
1475:
1474:
1473:
1472:
1470:
1467:
1463:Quantus tremor
1437:
1427:
1422:
1421:
1420:
1419:
1418:
1416:
1413:
1411:
1410:III. Sequentia
1408:
1385:
1382:
1380:
1379:
1349:
1339:
1334:
1333:
1332:
1331:
1330:
1328:
1325:
1255:
1252:
1250:
1249:
1201:
1191:
1186:
1185:
1184:
1183:
1182:
1180:
1177:
1174:
1173:
1132:
1130:
1123:
1117:
1114:
1113:
1112:
1109:
1108:
1105:
1104:Chorus (SATB)
1102:
1098:
1097:
1089:
1083:
1074:
1071:
1065:
1062:
1058:
1057:
1049:
1043:
1034:
1031:
1030:Chorus (SATB)
1028:
1025:
1021:
1020:
1017:
1016:Chorus (SATB)
1014:
1010:
1009:
1001:
995:
986:
983:
977:
974:
970:
969:
961:
955:
952:
948:
947:
939:
933:
928:
925:
924:Chorus (SATB)
922:
919:
915:
914:
906:
893:
887:
875:
872:
871:Chorus (SATB)
869:
865:
864:
856:
850:
847:
844:
838:
835:
831:
830:
822:
816:
813:
810:
809:Chorus (SATB)
807:
803:
802:
794:
788:
782:
779:
778:Chorus (SATB)
776:
772:
771:
763:
757:
752:
749:
743:
739:
738:
730:
724:
718:
715:
714:Chorus (SATB)
712:
711:Rex tremendae
708:
707:
699:
693:
682:
679:
673:
669:
668:
660:
654:
651:
650:Allegro assai
648:
647:Chorus (SATB)
645:
642:
638:
637:
629:
623:
620:
617:
616:Chorus (SATB)
614:
613:Kyrie eleison
611:
607:
606:
598:
592:
587:
584:
578:
575:
571:
570:
567:
564:
561:
558:
555:
487:
486:
484:
483:
480:
476:
472:
471:
464:
457:
450:
442:
441:
440:
438:
437:
434:
430:
426:
425:
417:
416:
415:
413:
412:
407:
404:
401:
398:
395:
389:
385:
384:
377:
369:
368:
367:
365:
364:
360:
356:
355:
347:
326:
323:
268:basso continuo
223:
220:
129:
128:
126:
125:
122:
119:
115:
113:
109:
108:
103:
99:
98:
95:
91:
90:
85:
81:
80:
74:
70:
69:
64:
60:
59:
56:
48:
47:
35:
34:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
5541:
5530:
5527:
5525:
5522:
5520:
5517:
5515:
5512:
5510:
5507:
5505:
5502:
5500:
5497:
5495:
5492:
5491:
5489:
5479:
5469:
5465:
5452:
5449:
5447:
5444:
5443:
5440:
5434:
5433:, K. 477/479a
5432:
5428:
5427:
5425:
5422:
5418:
5412:
5410:
5406:
5404:
5402:
5398:
5396:
5394:
5390:
5388:
5386:
5382:
5381:
5379:
5376:
5372:
5366:
5364:
5359:
5357:
5355:
5350:
5348:
5346:
5341:
5340:
5338:
5336:
5332:
5328:
5324:
5317:
5316:
5312:
5309:
5308:
5304:
5301:
5300:
5296:
5293:
5292:
5288:
5287:
5285:
5281:
5274:
5271:
5270:
5268:
5266:
5262:
5256:
5254:
5250:
5248:
5246:
5242:
5241:
5239:
5237:
5233:
5227:
5225:
5221:
5219:
5217:
5213:
5211:
5209:
5205:
5204:
5202:
5200:
5196:
5190:
5188:
5184:
5182:
5180:
5176:
5175:
5173:
5171:
5166:
5160:
5158:
5157:Pastoral Mass
5154:
5153:
5151:
5149:
5144:
5138:
5135:
5133:
5130:
5128:
5126:
5121:
5119:
5116:
5115:
5113:
5110:
5105:
5097:
5094:
5093:
5092:
5089:
5087:
5085:
5081:
5079:
5077:
5073:
5071:
5069:
5065:
5063:
5060:
5058:
5056:
5052:
5050:
5048:
5044:
5040:
5038:
5036:
5032:
5030:
5028:
5024:
5022:
5020:
5016:
5014:
5011:
5009:
5007:
5003:
5001:
4999:
4995:
4993:
4991:
4987:
4985:
4982:
4980:
4978:
4974:
4972:
4969:
4968:
4966:
4964:
4960:
4956:
4950:
4944:
4940:
4933:
4928:
4926:
4921:
4919:
4914:
4913:
4910:
4898:
4890:
4889:
4886:
4880:
4877:
4875:
4874:Mozart effect
4872:
4870:
4867:
4865:
4862:
4860:
4857:
4856:
4854:
4850:
4844:
4841:
4839:
4836:
4834:
4831:
4829:
4826:
4824:
4821:
4820:
4818:
4814:
4807:
4804:
4801:
4800:Aloysia Weber
4798:
4795:
4794:Josepha Weber
4792:
4789:
4788:Cäcilia Weber
4786:
4783:
4780:
4777:
4774:
4771:
4768:
4765:
4762:
4759:
4756:
4753:
4750:
4747:
4744:
4741:
4738:
4735:
4732:
4729:
4726:
4725:
4723:
4721:
4717:
4707:
4706:
4702:
4700:
4699:
4695:
4693:
4690:
4689:
4687:
4683:
4677:
4674:
4672:
4669:
4667:
4664:
4662:
4659:
4657:
4654:
4652:
4649:
4647:
4644:
4642:
4639:
4637:
4634:
4632:
4629:
4627:
4624:
4622:
4619:
4618:
4616:
4614:
4610:
4604:
4601:
4599:
4596:
4594:
4591:
4589:
4586:
4584:
4581:
4579:
4576:
4574:
4571:
4569:
4566:
4564:
4561:
4559:
4556:
4554:
4551:
4549:
4546:
4544:
4541:
4539:
4536:
4535:
4533:
4529:
4525:
4518:
4513:
4511:
4506:
4504:
4499:
4498:
4495:
4488:
4484:
4481:
4479:
4475:
4472:
4470:
4466:
4463:
4461:
4457:
4454:
4451:
4447:
4444:
4442:
4441:
4436:
4432:
4428:
4426:
4424:
4423:
4415:
4411:
4407:
4403:
4401:
4400:
4396:
4390:
4388:0-520-07709-1
4384:
4380:
4376:
4372:
4368:
4364:
4362:0-19-316413-2
4358:
4354:
4349:
4345:
4343:0-931340-39-X
4339:
4335:
4330:
4326:
4324:0-9510357-0-3
4320:
4316:
4311:
4310:
4306:
4300:
4294:
4290:
4286:
4282:
4278:
4274:
4270:
4264:
4260:
4256:
4252:
4251:
4248:Cited sources
4247:
4240:, p. 85.
4239:
4234:
4231:
4228:
4224:
4221:
4216:
4213:
4208:
4204:
4200:
4196:
4192:
4188:
4187:
4179:
4176:
4173:, p. 30.
4172:
4167:
4164:
4159:
4155:
4151:
4150:
4144:
4139:
4133:
4130:
4118:
4114:
4108:
4105:
4102:
4098:
4093:
4089:
4085:
4081:
4080:
4075:
4069:
4066:
4061:
4055:
4051:
4044:
4041:
4029:
4025:
4019:
4016:
4011:
4007:
4000:
3998:
3994:
3989:
3985:
3981:
3975:
3971:
3967:
3961:
3958:
3953:
3949:
3945:
3939:
3937:
3935:
3933:
3931:
3929:
3927:
3923:
3919:
3918:
3913:
3907:
3904:
3899:
3895:
3891:
3887:
3883:
3879:
3878:
3870:
3867:
3864:, p. 74.
3863:
3858:
3855:
3851:
3846:
3843:
3839:
3833:
3830:
3825:
3819:
3815:
3808:
3805:
3801:
3799:
3795:
3791:
3785:
3778:
3775:
3770:
3768:9780520077096
3764:
3760:
3759:
3754:
3748:
3745:
3740:
3736:
3735:
3727:
3724:
3719:
3717:9781441912237
3713:
3709:
3708:
3700:
3697:
3692:
3688:
3684:
3680:
3679:
3674:
3668:
3665:
3660:
3656:
3652:
3648:
3641:
3638:
3634:
3629:
3626:
3621:
3619:3-7618-1242-6
3615:
3611:
3607:
3601:
3598:
3593:
3591:0-520-07709-1
3587:
3583:
3579:
3575:
3569:
3566:
3559:
3557:
3555:
3551:
3547:
3543:
3539:
3530:
3527:
3519:
3517:
3514:
3512:
3508:
3503:
3489:
3477:
3463:
3461:
3460:
3455:
3451:
3446:
3444:
3440:
3436:
3432:
3428:
3420:
3415:
3408:
3406:
3402:
3394:
3390:
3382:
3380:
3378:
3377:
3372:
3368:
3366:
3364:
3357:
3351:
3347:
3346:Michael Haydn
3343:
3342:
3336:
3334:
3330:
3329:
3324:
3320:
3316:
3312:
3308:
3304:
3300:
3296:
3292:
3288:
3284:
3283:
3279:to rearrange
3278:
3274:
3266:
3263:), whose own
3262:
3258:
3257:Michael Haydn
3254:
3247:
3245:
3239:
3236:
3233:
3230:
3229:
3228:
3226:
3218:
3216:
3209:
3206:
3203:
3200:
3197:
3194:
3191:
3188:
3185:
3182:
3181:
3180:
3178:
3174:
3166:
3162:
3158:
3153:
3146:
3144:
3142:
3141:
3136:
3135:
3130:
3121:
3117:
3114:
3111:
3108:
3104:
3101:
3098:
3095:
3091:
3088:
3085:
3082:
3081:
3080:
3078:
3070:
3068:
3061:
3059:
3057:
3053:
3049:
3048:
3043:
3039:
3035:
3034:
3029:
3028:Peter Shaffer
3025:
3020:
3016:
3010:
3005:
3001:
2995:
2993:
2989:
2985:
2983:
2979:
2978:
2971:
2969:
2964:
2961:
2957:
2952:
2942:
2939:
2936:
2927:
2923:
2919:
2914:
2907:
2899:
2896:
2888:
2885:February 2018
2878:
2874:
2868:
2867:
2862:This section
2860:
2856:
2851:
2850:
2844:
2842:
2839:
2836:
2833:
2830:
2827:
2826:
2819:
2817:
2814:
2811:
2808:
2805:
2804:
2797:
2795:
2792:
2789:
2788:
2781:
2779:
2776:
2773:
2770:
2767:
2766:
2759:
2757:
2754:
2751:
2748:
2745:
2742:
2741:
2736:
2733:
2730:
2727:
2724:
2721:
2718:
2715:
2712:
2709:
2708:
2701:
2699:
2696:
2693:
2690:
2687:
2684:
2683:
2678:
2675:
2672:
2669:
2666:
2663:
2660:
2659:
2654:
2651:
2648:
2645:
2642:
2639:
2636:
2633:
2630:
2627:
2624:
2621:
2618:
2615:
2612:
2609:
2608:
2603:
2600:
2597:
2594:
2593:
2588:
2585:
2582:
2579:
2576:
2573:
2570:
2567:
2564:
2561:
2558:
2555:
2554:
2549:
2546:
2543:
2540:
2537:
2534:
2531:
2530:
2523:
2521:
2518:
2515:
2512:
2511:
2504:
2502:
2499:
2496:
2493:
2490:
2487:
2484:
2481:
2478:
2477:
2470:
2465:
2463:
2457:
2455:
2453:
2449:
2446:
2436:
2432:
2410:
2392:
2381:
2379:
2377:
2372:
2368:
2364:
2360:
2356:
2348:
2343:
2341:
2337:
2333:
2323:
2300:
2289:
2287:
2285:
2281:
2277:
2275:
2266:
2257:
2233:
2222:
2215:
2213:
2209:
2198:
2187:
2185:
2181:
2147:
2143:
2135:
2101:
2090:
2088:
2086:
2082:
2078:
2074:
2070:
2069:de ore leonis
2066:
2062:
2058:
2057:
2054:Sed signifer
2051:
2047:
2043:
2039:
2016:
2005:
2000:
1998:
1996:
1992:
1988:
1984:
1980:
1976:
1972:
1970:
1964:
1958:
1954:
1950:
1946:
1945:
1940:
1936:
1932:
1924:
1915:
1889:
1876:
1874:
1872:
1861:
1850:
1842:
1838:
1833:
1831:
1827:
1823:
1822:
1817:
1813:
1790:
1780:e. Confutatis
1779:
1777:
1775:
1771:
1767:
1758:
1756:
1752:
1748:
1744:
1735:
1733:
1729:
1725:
1717:
1712:
1711:(mm. 93–98).
1710:
1706:
1698:
1694:
1690:
1689:
1680:
1671:
1648:
1637:
1635:
1632:
1628:
1627:baroque music
1624:
1620:
1616:
1612:
1608:
1604:
1581:
1580:Rex tremendae
1570:
1568:
1566:
1562:
1558:
1554:
1553:
1547:
1543:
1539:
1535:
1530:
1528:
1524:
1516:
1512:
1503:, played in B
1502:
1479:
1469:b. Tuba mirum
1468:
1466:
1464:
1460:
1459:Last Judgment
1456:
1452:
1448:
1425:
1414:
1409:
1407:
1404:
1400:
1389:
1378:
1376:
1372:
1368:
1364:
1360:
1337:
1326:
1324:
1322:
1318:
1314:
1310:
1305:
1301:
1300:
1295:
1291:
1286:
1284:
1281:in the Kyrie
1280:
1276:
1275:
1270:
1259:
1248:
1246:
1242:
1238:
1228:
1224:
1223:Anton Dermota
1220:
1216:
1212:
1208:
1204:
1189:
1178:
1170:
1167:
1159:
1149:
1145:
1139:
1138:
1133:This section
1131:
1127:
1122:
1121:
1115:
1106:
1103:
1100:
1099:
1092:
1072:
1069:
1066:
1063:
1059:
1052:
1035:
1032:
1029:
1026:
1023:
1022:
1018:
1015:
1012:
1011:
1004:
984:
981:
978:
975:
971:
964:
953:
950:
949:
942:
932:
926:
920:
916:
909:
896:
885:
876:
873:
870:
867:
866:
859:
848:
845:
842:
839:
836:
832:
825:
814:
811:
808:
805:
804:
797:
786:
783:
780:
777:
774:
773:
766:
756:
753:
750:
747:
744:
741:
740:
733:
722:
719:
716:
713:
710:
709:
702:
692:
683:
680:
677:
674:
671:
670:
663:
652:
649:
646:
643:
639:
632:
621:
618:
615:
612:
609:
608:
601:
591:
588:
585:
582:
579:
576:
574:I. Introitus
573:
572:
568:
565:
562:
560:Vocal Forces
559:
556:
553:
552:
547:
546:
545:
543:
539:
535:
531:
527:
523:
519:
515:
511:
507:
503:
499:
494:
492:
481:
478:
477:
475:
474:
470:
469:
465:
463:
462:
458:
456:
455:
451:
449:
448:
444:
435:
432:
431:
429:
428:
424:
423:
419:
411:
408:
405:
402:
400:Rex tremendae
399:
396:
394:
391:
390:
388:
387:
383:
382:
378:
376:
375:
371:
362:
361:
359:
358:
354:
353:
349:
348:
346:
340:
336:
331:
324:
322:
320:
316:
312:
308:
304:
300:
295:
293:
289:
288:alto clarinet
285:
281:
277:
273:
269:
265:
261:
257:
253:
249:
245:
241:
237:
233:
229:
221:
219:
217:
212:
210:
205:
203:
199:
195:
191:
187:
183:
179:
175:
171:
166:
164:
160:
156:
152:
148:
144:
140:
136:
123:
120:
118:four soloists
117:
116:
114:
110:
104:
100:
96:
92:
89:
86:
82:
78:
75:
71:
68:
65:
61:
54:
49:
46:
43:completed by
41:
36:
31:
19:
5430:
5408:
5400:
5392:
5384:
5362:
5356:, K. 118/74c
5353:
5344:
5315:Regina coeli
5313:
5307:Regina coeli
5305:
5299:Regina coeli
5297:
5289:
5283:Choral works
5252:
5244:
5223:
5215:
5207:
5186:
5179:Twelfth Mass
5178:
5156:
5124:
5090:
5083:
5075:
5067:
5054:
5046:
5042:
5034:
5026:
5019:Sparrow Mass
5018:
5005:
4997:
4989:
4976:
4943:sacred music
4859:Georg Nissen
4806:Sophie Weber
4782:Joseph Lange
4776:Franz Mozart
4703:
4696:
4598:Pet starling
4452:(ChoralWiki)
4438:
4430:
4420:
4405:
4374:
4352:
4333:
4314:
4288:
4258:
4233:
4215:
4190:
4184:
4178:
4166:
4153:
4147:
4132:
4121:. Retrieved
4116:
4107:
4078:
4068:
4049:
4043:
4032:. Retrieved
4027:
4018:
4010:the original
3969:
3960:
3950:. New York:
3947:
3915:
3906:
3881:
3875:
3869:
3857:
3845:
3832:
3813:
3807:
3797:
3793:
3789:
3787:
3783:
3777:
3757:
3747:
3733:
3726:
3706:
3699:
3682:
3676:
3667:
3650:
3646:
3640:
3628:
3609:
3600:
3577:
3568:
3534:
3531:Arrangements
3515:
3506:
3499:
3457:
3447:
3424:
3418:
3404:
3374:
3369:
3362:
3339:
3337:
3332:
3326:
3319:Joseph Haydn
3297:, since the
3294:
3280:
3270:
3261:Joseph Haydn
3243:
3222:
3213:
3170:
3160:
3138:
3132:
3125:
3074:
3065:
3055:
3045:
3031:
3021:
3017:
3013:
2999:
2990:
2986:
2977:Sparrow Mass
2975:
2972:
2965:
2948:
2940:
2931:
2926:figured bass
2891:
2882:
2871:Please help
2866:verification
2863:
2840:
2837:
2834:
2831:
2828:
2825:Lux aeterna:
2824:
2823:
2815:
2812:
2809:
2806:
2802:
2801:
2793:
2790:
2786:
2785:
2777:
2774:
2771:
2768:
2764:
2763:
2755:
2752:
2749:
2746:
2743:
2739:
2737:
2734:
2731:
2728:
2725:
2722:
2719:
2716:
2713:
2710:
2707:Domine Jesu:
2706:
2705:
2697:
2694:
2691:
2688:
2685:
2681:
2679:
2676:
2673:
2670:
2667:
2664:
2661:
2657:
2655:
2652:
2649:
2646:
2643:
2640:
2637:
2634:
2631:
2628:
2625:
2622:
2619:
2616:
2613:
2610:
2606:
2604:
2601:
2598:
2595:
2591:
2589:
2586:
2583:
2580:
2577:
2574:
2571:
2568:
2565:
2562:
2559:
2556:
2552:
2550:
2547:
2544:
2541:
2538:
2535:
2532:
2528:
2527:
2519:
2516:
2513:
2509:
2508:
2500:
2497:
2494:
2491:
2488:
2485:
2482:
2479:
2475:
2474:
2471:I. Introitus
2461:
2445:musicologist
2429:
2375:
2367:counterpoint
2358:
2354:
2344:
2319:
2283:
2272:
2264:
2252:
2205:
2183:
2179:
2145:
2141:
2133:
2120:
2087:in G major.
2080:
2072:
2068:
2064:
2060:
2053:
2041:
2035:
1974:
1968:
1965:
1956:
1942:
1938:
1930:
1922:
1913:
1911:
1877:f. Lacrymosa
1868:
1836:
1834:
1825:
1819:
1815:
1809:
1774:Sed tu bonus
1773:
1770:Sed tu bonus
1769:
1765:
1759:
1754:
1750:
1747:Tantus labor
1746:
1742:
1736:
1728:Ne me perdas
1727:
1713:
1686:
1678:
1670:triple meter
1667:
1638:d. Recordare
1629:'s form of "
1618:
1614:
1606:
1603:dotted notes
1600:
1560:
1556:
1550:
1545:
1541:
1533:
1532:On the text
1531:
1514:
1510:
1498:
1462:
1454:
1444:
1415:a. Dies irae
1396:
1363:double fugue
1358:
1356:
1317:half cadence
1312:
1309:counterpoint
1303:
1297:
1296:text in the
1293:
1287:
1272:
1266:
1237:introduction
1234:
1227:Cesare Siepi
1219:Ira Malaniuk
1207:Bruno Walter
1179:I. Introitus
1162:
1153:
1142:Please help
1137:verification
1134:
1090:
1067:
1064:Lux aeterna
1050:
1002:
979:
962:
940:
907:
894:
857:
840:
837:Domine Jesu
823:
795:
764:
745:
731:
700:
675:
661:
630:
599:
580:
525:
517:
509:
501:
495:
490:
488:
466:
459:
452:
445:
420:
379:
372:
350:
344:
296:
228:basset horns
225:
213:
206:
204:as his own.
172:movement of
170:orchestrated
167:
147:Requiem Mass
134:
132:
5393:Der Messias
5377:adaptations
5027:Missa longa
4833:Freemasonry
4558:Nationality
4538:Biographies
4417:(in German)
3554:Franz Liszt
3550:Carl Czerny
3507:Domine Jesu
3009:Hans Hansen
2908:Composition
2787:Benedictus:
2658:Confutatis:
2553:Tuba mirum:
2336:subdominant
2276:in excelsis
2065:Rex gloriae
2038:Offertorium
2015:Domine Jesu
1830:arpeggiated
1766:Preces meae
1751:Juste Judex
1743:Quaerens me
1705:development
1693:sonata form
1361:). It is a
1036:D minor – B
976:Benedictus
918:V. Sanctus
775:Confutatis
672:Tuba mirum
479:Lux aeterna
433:Domine Jesu
422:Offertorium
335:silverpoint
276:double bass
258:(2 drums),
5488:Categories
5146:Uncertain
5084:Great Mass
5047:Spaur Mass
5035:Credo Mass
4941:and other
4816:Influences
4661:Symphonies
4548:Grand tour
4543:Birthplace
4238:Keefe 2012
4171:Wolff 1998
4158:Wikisource
4123:2017-06-23
4034:2017-06-17
3979:0521851025
3884:(2): 211.
3862:Keefe 2012
3850:Wolff 1998
3794:Benedictus
3659:1306216012
3653:(1): 5–6.
3633:Wolff 1998
3560:References
3520:Recordings
3248:Influences
3177:compendium
3157:lithograph
3120:Leopold II
2803:Agnus Dei:
2760:V. Sanctus
2682:Lacrimosa:
2607:Recordare:
2529:Dies irae:
2359:benedictus
2355:benedictus
2322:submediant
2299:Benedictus
2280:syncopated
2223:V. Sanctus
2091:b. Hostias
1841:modulation
1824:, singing
1821:sotto voce
1789:Confutatis
1697:exposition
1695:, with an
1552:sotto voce
1538:homophonic
1478:Tuba mirum
1290:syncopated
1279:coloratura
1033:Larghetto
1027:Agnus Dei
886:– G minor
812:Larghetto
806:Lacrymosa
787:– F major
742:Recordare
723:– D minor
644:Dies irae
610:II. Kyrie
454:Benedictus
406:Confutatis
397:Tuba mirum
339:Dora Stock
337:, made by
192:, and the
145:626, is a
5352:oratorio
5327:Singspiel
5168:Spurious
4823:Beethoven
4568:Scatology
4563:Residence
4531:Biography
4277:804845569
3798:Agnus Dei
3796:, and an
3608:(2003) .
3454:inversion
3417:Mozart's
3379:in 1828.
3311:melismata
3307:ornaments
3075:In 1798,
2956:Constanze
2505:II. Kyrie
2435:chromatic
2431:Homophony
2391:Agnus Dei
2127:major in
1981:(such as
1953:crescendo
1949:chromatic
1888:Lacrymosa
1871:Lacrymosa
1703:1–37), a
1688:Dies irae
1647:Recordare
1559:and then
1447:Dies irae
1424:Dies irae
1403:chromatic
1327:II. Kyrie
1188:Introitus
461:Agnus Dei
410:Lacrymosa
403:Recordare
393:Dies irae
381:Sequentia
352:Introitus
325:Structure
303:contralto
284:clarinets
240:trombones
209:Constanze
202:Agnus Dei
194:Offertory
190:Lacrimosa
186:Dies irae
155:his death
124:orchestra
73:Catalogue
5411:, K. 592
5403:, K. 591
5395:, K. 572
5387:, K. 566
5365:, K. 469
5361:cantata
5331:Oratorio
5318:, K. 276
5310:, K. 127
5302:, K. 74d
5265:Litanies
5255:, K. 339
5247:, K. 321
5226:, K. 618
5218:, K. 165
5127:, K. 273
5123:Gradual
5111:-related
5096:Timeline
4897:Category
4742:(sister)
4736:(mother)
4730:(father)
4685:Editions
4573:Smallpox
4373:(1994).
4287:(1998).
4257:(2012).
4223:Archived
4140:(1828).
4076:(1862).
3988:76850387
3946:(1988).
3755:(1994).
3655:ProQuest
3576:(1994).
3435:sequence
3421:fragment
3383:Timeline
3365:, BWV 10
3165:SĂĽssmayr
3036:and the
3030:'s play
2935:continuo
2765:Sanctus:
2740:Hostias:
2440:♭
2409:Communio
2332:relative
2327:♭
2212:Brussels
2175:♭
2169:♭
2166:major, A
2163:♭
2157:♭
2151:♭
2124:♭
2077:Tartarus
1939:resurget
1935:diatonic
1846:♭
1506:♭
1501:arpeggio
1465:" text.
1399:diatonic
1321:dominant
1156:May 2018
1107:Allegro
1079:♭
1039:♭
1019:Allegro
1013:Hosanna
991:♭
985:Andante
954:Allegro
951:Hosanna
921:Sanctus
881:♭
868:Hostias
849:G minor
846:Andante
815:D minor
781:Andante
751:Andante
688:♭
681:Andante
653:D minor
622:D minor
619:Allegro
554:Section
468:Communio
292:sonority
238:in D, 3
236:trumpets
232:bassoons
230:in F, 2
200:and the
182:sequence
180:and the
102:Composed
94:Language
5421:Masonic
5347:, K. 35
5335:Cantata
5294:, K. 47
5236:Vespers
5210:, K. 20
4963:Requiem
4852:Related
4843:Salieri
4656:Sonatas
4448:in the
4437:in the
4419:in the
4406:Requiem
4097:Alt URL
4092:3309798
3840:(2004).
3790:Sanctus
3511:da capo
3450:subject
3301:of the
3299:subject
3295:Messiah
3282:Messiah
3265:Requiem
3056:Amadeus
3033:Amadeus
2845:History
2376:Hosanna
2347:phrases
2340:cadence
2334:of the
2286:fugue.
2274:Hosanna
2232:Sanctus
2186:fugue.
2100:Hostias
1983:Levin's
1971:cadence
1849:minor.
1724:hemiola
1527:cadenza
1523:fermata
1515:Posaune
1451:tremolo
1359:attacca
1319:on the
1073:Adagio
931:D major
927:Adagio
785:A minor
755:F major
721:G minor
590:D minor
586:Adagio
498:soprano
447:Sanctus
436:Hostias
299:soprano
260:violins
256:timpani
174:Introit
139:D minor
135:Requiem
112:Scoring
88:Requiem
67:D minor
33:Requiem
5464:Portal
5375:Handel
5199:Motets
5170:Masses
5107:Other
4959:Masses
4939:Masses
4748:(wife)
4720:Family
4641:Operas
4636:Masses
4626:Dances
4588:Prague
4583:Berlin
4429:
4404:
4385:
4359:
4340:
4321:
4295:
4275:
4265:
4207:766531
4205:
4090:
4056:
3986:
3976:
3898:766531
3896:
3820:
3765:
3714:
3685:: 17.
3657:
3616:
3588:
3303:fugato
3273:Handel
3107:Prater
3094:ducats
2922:Nissen
2918:Eybler
2698:Amen.
2075:("may
1944:legato
1741:38 on
1625:calls
1375:basses
1269:Handel
1042:major
994:major
717:Grave
569:Meter
563:Tempo
557:Title
540:, and
520:) and
317:mixed
309:, and
278:, and
266:, and
250:, and
121:chorus
4838:Haydn
4766:(son)
4760:(son)
4613:Music
4603:Death
4578:Italy
4435:Score
4410:Score
4203:JSTOR
3894:JSTOR
3431:Levin
3427:Fugue
3315:theme
3155:1857
3129:Baden
3038:movie
2371:pedal
2256:fugue
2146:piano
2142:forte
2061:forte
2050:canon
2046:triad
2042:piano
1957:forte
1914:piano
1816:forte
1631:topos
1623:Wolff
1561:piano
1557:forte
1371:altos
1336:Kyrie
1283:fugue
1241:theme
1116:Music
982:soli
884:major
748:soli
691:major
678:soli
542:meter
534:tempo
514:tenor
374:Kyrie
319:choir
307:tenor
280:organ
272:cello
264:viola
248:tenor
178:Kyrie
97:Latin
5148:Mass
5109:Mass
4961:and
4553:Name
4469:h2g2
4412:and
4383:ISBN
4357:ISBN
4338:ISBN
4319:ISBN
4293:ISBN
4273:OCLC
4263:ISBN
4088:OCLC
4054:ISBN
3984:OCLC
3974:ISBN
3818:ISBN
3792:, a
3763:ISBN
3712:ISBN
3614:ISBN
3586:ISBN
3419:Amen
2144:and
1975:Amen
1969:Amen
1947:and
1544:and
1511:tuba
1445:The
1373:and
980:SATB
841:SATB
746:SATB
676:SATB
566:Key
530:SATB
522:bass
506:alto
491:Amen
315:SATB
311:bass
252:bass
244:alto
234:, 2
133:The
105:1791
84:Text
5045:or
4945:by
4467:at
4195:doi
4191:114
3886:doi
3882:114
3739:124
3687:doi
3348:'s
3321:'s
3309:on
3287:HWV
2875:by
2324:, B
2271:on
2258:in
2210:in
2052:on
1959:by
1701:mm.
1619:Rex
1615:Rex
1611:God
1546:vix
1542:cum
1271:'s
1146:by
538:key
532:),
512:),
504:),
254:),
184:of
149:by
137:in
79:626
63:Key
38:by
5490::
5333:•
5329:•
4476::
4433::
4408::
4381:.
4271:.
4201:.
4189:.
4154:22
4152:.
4146:.
4115:.
4099:,
4086:.
4026:.
3996:^
3982:.
3925:^
3914:,
3892:.
3880:.
3683:61
3681:.
3651:26
3649:.
3058:.
3044:,
2351:m.
1961:m.
1873:.
1762:m.
1739:m.
1720:m.
1567:.
1555:,
1519:m.
1513:,
1323:.
1225:,
1221:,
1217:,
1209:;
901:–
544:.
536:,
321:.
305:,
301:,
294:.
274:,
262:,
246:,
143:K.
141:,
77:K.
5466::
4931:e
4924:t
4917:v
4516:e
4509:t
4502:v
4391:.
4365:.
4346:.
4327:.
4301:.
4279:.
4209:.
4197::
4160:.
4126:.
4094:.
4062:.
4037:.
3990:.
3954:.
3900:.
3888::
3826:.
3771:.
3741:.
3720:.
3693:.
3689::
3661:.
3622:.
3594:.
3391:.
3285:(
2974:(
2898:)
2892:(
2887:)
2883:(
2869:.
2265:4
2199:.
2134:4
1923:8
1862:.
1679:4
1672:(
1390:.
1260:.
1169:)
1163:(
1158:)
1154:(
1140:.
1091:4
1076:B
1068:S
1051:4
1003:4
988:B
963:4
941:4
908:4
895:4
878:E
858:4
824:8
796:4
765:4
732:4
701:2
685:B
662:4
631:4
600:4
581:S
526:B
524:(
518:T
516:(
510:A
508:(
502:S
500:(
270:(
242:(
20:)
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