Mozart 6 Fin of Req

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THE REQUIEMCONTROVERSY:

An Examination of

Six Completions of Mozarts Final Work

A thesis submitted to the

Division of Research and Advanced Studies

of the University of Cincinnati

in partial fulfillment of the

requirements for the degree of

DOCTOR OF MUSICAL ARTS (DMA)

in the Department of Choral Conducting

of the College-Conservatory o f Music

2002

by

David A. McConnell

B.M., Westminster Choir College, 1994

M.M., Temple University, 1996

Committee Chair: Dr. Stephen Coker

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UMI Number: 3069949

Copyright 2002 by

McConnell, David Allen

All rights reserved.

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David Allen McConnell 2002

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UNIVERSITY OF CINCINNATI

November 15 ,2 0 0 2

C D av id-A llen McCon n e ll ____ _ 7

hcrcbv submit this as part o f the requirements for the degree of:

Doctor of M usical Arts _ ___ ____

Itl __ Choral Conducting______________________________

It is entitled th e requiem controversy : an exam inat ion of s ix

_ _ _ COMPLETIONS OF MOZART'S FINAL WORK____

Approved bv:


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ABSTRACT

MozartsRequiem (K. 626) has been a staple of the choral repertoire since its first

publication in July 1800. Yet the work, left incomplete at his death, has been a source o f

frustration for performers and scholars alike, in large part because o f the numerous errors

in counterpoint and orchestration found in the first and best known comple tion o f

Mozarts unfinished torso, done by Franz X aver Sussmayr. In fact, the very first review

o f the work, published in the Allgemeine musikalische Zeitung in early 1801, suggested

that corrections be made to make the poorly written passages sound more idiomatically

Mozartian.1 Within the last forty years these unsatisfactory passages have led some

scholars and composers to prepare their own completions.

This thesis provides conductors with a resource for comparing and selecting from

the various published completions. Versions of Franz Beyer, Richard Maunder, H.C.

Robbins Landon, Duncan Druce and Robert Levin are examined and compared to

Sussmayrs completion, yielding a detailed description o f similarities and differences.

The goal o f this research is to create a single document that allows for immediate

comparison o f these various completions with Sussmayrs version as well as with each

other.

The first chapter describes the commissioning o f the work, the amount o f time

Mozart most likely worked on the score, and how the incomplete manuscript came to be

finished. Chapter II investigates problems in the traditional Sussmayr completion and his

claim to have written the Sanctus, BenedictusandAgnus Deientire ly on his own. This

chapter also considers the discovery of a fragment of Mozart autograph, found by

1Thomas Bauman, Requiem, but No Piece, I ? h-Century Mu sic 15 (1991): 154.



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Wolfgang Plath in Berlin in 1961, containing a sketch o f an Amen fugue tha t many

scholars believe Mozart intended to use in theRequiem. Chapter IV discusses elements

o f Mozarts compositional technique found in the unfinishedRequiem,and Chapters V

through IX examine the five completions in detail. The tenth chapter provides a

summary o f the comple tions, briefly discussing their strengths and drawbacks. This is

followed by a discography including performances o f each version and a bibliography

that includes information on all the completions.

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ACKNOWLEDGEMENTS

The author gratefully acknowledges the permission of the publishers w ho have allowed

the use o f their music in this thesis:

Musica l Examples in Chapter IV are reprinted by permission.

Wolfgang Amadeus Mozart

Requiem. K.626

Edited by Franz Beyer

Albert J. Kunzelmann 1983

Use by permission. All rights reserved.

Musical Examples in Chapter V are reprinted by permission.


Requiem. K.626

Edited by Richard Maunder Oxford University Press 1988

Use by permission. All rights reserved.

Musical Examples in Chapter VI a re reprinted by permission.


Requiem. K.626

Edited by H. C. Robbins Landon

Breitkopf und Hartel, Wiesbaden, Germany

Excerpts used by permission.

Musical Examples in Chapter VIII are reprinted by permission.Wolfgang Amadeus Mozart

Requiem. K.626

Edited with a new completion by Duncan Druce

Copyright 1993 Novello & Com pan y Limited, London, England.

International Copyright Secured. AH Rights Reserved.

Reprinted with permission. Edited by Duncan Druce

Musical Examples in Chapter VIII are reprinted by permission.


Requiem, K.626

Edited by Robert Levin

Hanssler-Verlag, Holzgerlingen, Germany

www.haenssler-classic.de

Reprinted with permission of Hanssler-Verlag.

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I also v/ish to thank Jeremy Sawruk and D avid Himes, for creating most o f the musical

examples used throughout the thesis, Judith Green for her excellen t editing skills, counsel

and advice, and Dr. Stephen Coker, Dr. Earl Rivers and Dr. John Leman for their

teaching and example throughout my time at CCM.

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For Tate, Blair, and Tama

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CONTENTS

LIST OF TABLES 2

MUSICAL EXAMPLES 3

INTRODUCTION 8

CHAPTER I: GENESIS OF THE REQUIEM 11

CHAPTER II: PROBLEMS WITH SUSSMAYRS COM PLETION 19

CHAPTER III: MOZART S COMPOSITIONAL TECHNIQUE S

IN THE REQ UIEM 28

CHAPTER IV: THE BEY ER COMPLETION 36

CHAPTER V: THE MA UND ER COMPLETION 66

CHAPTER VI: THE LANDON COMPLETION 96

CHAPTER VII: THE DRUCE COMPLETION 115

CHAPTER VIII: THE LEVIN COMPLETION 157

CHAPTER IX: SUM MATION 193

SELECT DISCOGR APHY 197

BIBLIOGRAPHY 198

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LIST OF TABLES

CHAPTER I: GENESIS OF THE REQUIEM

Table 1: Contents o f Mozarts Unfinished Manuscript p. 13

CHAPTER II: PROBLEMS WITH SUSSMAYRS COMPLETION

Table 2: Errors in Sussmayrs Completion p. 20

CHAPTER III: MOZARTS COMPOSITIONAL TECHNIQUES

IN THE REQUIEM

Table 3: RequiemKey Scheme p. 31

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MUSICAL EXAMPLES

CHAPTER II: PROBLEMS WITH SUSSMAYRS COMPLETION

Example 2.1: mm. 1-5 o f the soprano line in theDies iraeand Sanctus p. 24

Example 2.2: mm. 1-2 o f the basset hom 1,

mm. 8-9 o f the choral bass in theIntroitiis, and

mm. 2-6 of the choral bass in theAgnus Dei p. 25

Example 2.3: Sketch for anAmen in D minor p. 27

CHAPTER III: MOZARTS COMPOSITIONAL TECHNIQUES

IN THE REQU IEMExample 3.1: mm. 34-35 of the Choral Parts in theIntroitus p. 30

Example 3.2: Opening 17 mm. from Handels funeral anthem.

Theways o f Zion do mourn, HMV 264 p. 33

Example 3.3: First 4 mm. of the closing chorus for Handels Dettingen

Victory Anthem, The king shall rejoice, HMV 265 p. 34

CHAPTER IV: THE BEYER COMPLETION

Example 4.1: Kyrie,mm. 48-50, woodwinds p. 37

Example 4.2: Dies irae, mm. 1-9, trumpet and timpani p. 38


Example 4.4: Dies irae, mm. 10-14, strings p. 39


Example 4.6: Tuba minim,mm. 24-34, bassoons p. 41

Example 4.7: Tuba minim,mm. 40-44, woodwinds p. 41

Example 4.8: Tuba minim,mm. 11-15, strings andbass solo p. 42

Example 4.9: Tuba minim,mm. 16-17, strings andtrombone solo p. 42

Example 4.10: Tuba minim, mm. 18-20, strings and tenor solo p. 43

Example 4.11: Tuba minim, mm. 34-39, strings p. 43

Example 4.12: Tuba minim, mm. 45-51, strings p. 44

Example 4.13:Rex tremendae, mm. 2 1-22, strings p. 45

Example 4.14: Recordare,mm. 45-52, woodwinds p. 45Example 4.15: Recordare,mm. 20-26, strings p. 46

Example 4.16: Recordare, mm. 46-52, strings p. 47

Example 4.17: Confutatis,mm. 6-7 and 16-17, woodwinds p. 48

Example 4.18: Lacrimosa, mm. 24-28, choral parts p. 49

Example 4.19: Lacrimosa, mm. 3-6, strings p. 50

Example 4.20: Domine Jesu, mm. 44-51, woodwinds p. 51

Example 4.21: Domine Jesu, mm. 3-9, strings p. 52


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Example 4.24: Hostias, mm. 3-7, strings p. 54

Example 4.25: Sanctus, second ending to fugue, full score p. 55

Example 4.26: Sanctus. mm. 1-5, choral parts p. 56

Example 4.27: Sanctus. mm. 4-10, trumpet and timpani p. 57

Example 4.28: Sanctus, mm. 1-7, strings p. 58

Example 4.29: Sanctus. mm. 33-38, strings p. 59

Example 4.30: Benedictus,mm. 1-3, woodwinds p. 59



Example 4.33: Benedictus,mm. 1-3 and 9, strings p. 61

Example 4.34: Benedictus,mm. 10-13, strings p. 61

Example 4.35: Benedictus,mm. 33-34, strings and vocal soloists p. 62

Example 4.36:Agnus Dei. mm. 1-6, woodwinds p. 63

Example 4.37:Agnus Dei, mm. 5-8, 17-20, and 34-38, strings p. 64

CHAPTER V: THE MAUNDER COMPLETIONExample 5.1: Kyrie,mm. 40-41 and 48-49, woodw inds p. 67

Example 5.2: Kyrie, mm. 50-52, strings p. 68

Example 5.3: Dies irae, mm. 1-8, woodwinds p. 68






Example 5.9: Tuba mirum. mm. 3-5, woodwinds and bass solo p. 72

Example 5.10: Tuba mirum, mm. 12-18, woodwinds and basssolo p. 72

Example 5.11: Tuba mirum, mm. 39-44, woodwinds and sopranosolo p. 73Example 5.12: Tuba mirum, mm. 5-7, strings p. 74

Example 5.13: Tuba mirum, mm. 22-23, strings p. 75



Example 5.16: Rex tremendae, mm. 7-11, woodwinds p. 77

Example 5.17: Rex tremendae. mm. 15-17, trum pet and timpani p. 77

Example 5.18: Rex tremendae, mm. 5-6, strings p. 78

Example 5.19: Recordare, mm. 45-52, woodwinds p. 79




Example 5.23: Confutatis, mm. 6-10, woodwinds p. 82

Example 5.24: Confutatis, mm. 6 and 16, strings p. 83

Example 5.25: Confutatis, mm. 26, 30, and 34, strings p. 83

Example 5.26: Lacrimosa, mm. 9-13, choral parts and piano reduction p. 84

Example 5.27: Lacrimosa, mm. 21-24, choral parts and piano reduction p. 85

Example 5.28: Amen, mm. 44-50, choral parts p. 87

Example 5.29: Amen, mm. 52-61, choral parts p. 88

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Example 5.30:Domine Jesu,mm. 25-30, woodwinds p. 89

Example 5.31:Domine Jesu,mm. 71 -75, woodwinds p. 89

Example 5.32: Domine Jesu. mm. 8-11, strings p. 90

Example 5.33:Domine Jesu,mm. 33-40, strings p. 90

Example 5.34: Hostias,mm. 6-11, strings p. 92

Example 5.35:Hostias, mm. 53-54, strings p. 92

Example 5.36:Agnus Dei, mm. 9-10, orchestral bass line p. 93Example 5.37:Agnus Dei, mm. 15-22, choral parts p. 93

Example 5.38: Agnus Dei, mm. 1-4, 14-17, and 29-32, violins p. 94

Example 5.39: Lux aeterna,mm. 11-12, choral bass line p. 95

CHAPTER VI: THE LANDON COMPLETION

Example 6.1: Dies irae, mm. 1-6, woodwinds

Example 6.2: Dies irae, mm. 22-27, woodwinds

Example 6.3: Dies irae,mm. 1-6, trumpet and timpani

Example 6.4:Dies irae,mm. 52-56, trumpet and timpani

Example 6.5: Dies irae, mm. 10-14, strings

Example 6.6: Dies irae, mm. 52-56, strings

Example 6.7: Dies irae,mm. 65-68, strings

Example 6.8: Tuba mirum, mm. 11-14, strings

Example 6.9: Tuba mirum, mm. 17-20, strings

Example 6.10: Tuba mirum,mm. 57-62, strings

Example 6.11: Rex tremendae,mm. 16-22, strings

Example 6.12: Recordare,mm. 14-20, strings



Example 6.15: Recordare. mm. 118-122, strings

Example 6.16: Confutatis. mm. 1-6, woodwindsExample 6.17: Confutatis,mm. 11-15, trumpet and timpani

Example 6.18: Confutatis,mm. 6-7, strings

CHAPTER VII: THE DRUCE COMPLETION

Example 7.1: Kyrie,mm. 96-98, woodwinds

Example 7.2:Kyrie,mm. 96-100, trumpet and timpani

Example 7.3: Dies irae,mm. 1-8, woodwinds

Example 7.4:Dies irae. mm. 21-29, woodwinds

Example 7.5:Dies irae,mm. 65-68, woodwinds

Example 7.6:Dies irae,mm. 1-8, trumpet and timpani

Example 7.7: Dies irae,mm. 65-68, trumpet and timpaniExample 7.8: Dies irae,mm. 25-29, strings

Example 7.9:Dies irae,mm. 31-36, strings

Example 7.10:Dies irae, mm. 49-53, strings

Example 7.11: Tuba mirum,mm. 11-15, woodwinds

Example 7.12: Tuba mirum.mm. 29-34, woodwinds



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Example 7.15: Rex tremendae, mm. 7-15, woodwinds p. 125

Example 7.16: Rex tremendae, m. 16, woodwinds p. 125

Example 7.17:Rex tremendae,mm. 7-11, strings p. 126



Example 7.20:Recordare, mm. 20-26, strings p. 127

Example 7.21:Recordare, mm. 46-50, strings p. 128


Example 7.23: Confutatis, mm. 1-9, woodwinds p. 129

Example 7.24: Confutatis, mm. 37-40, strings p. 130

Example 7.25:Lacrimosa, mm. 6-8, strings p. 131

Example 7.26:Lacrimosa,mm. 14-26, choral parts and piano reduction p. 132

Example 7.27:Amen, mm. 86-127, choral parts and piano reduction p. 134

Example 7.28:Amen, mm. 51-61, strings p. 136

Example 7.29:Amen, mm. 126-128, trumpet, timpani and trombone p. 136

Example 7.30: Domine Jesu, mm. 32-40, woodwinds p. 137

Example 7.31:Domine Jesu, mm. 67-72, woodwinds p. 138Example 7.32:Domine Jesu, mm. 1-3, strings p. 139

Example 7.33:Domine Jesu, mm. 32-36, strings p. 139

Example 7.34:Domine Jesu, mm. 44-48, strings p. 140

Example 7.35: Hostias. mm. 10-21, woodwinds p. 140

Example 7.36: Hostias, mm. 39-44, woodwinds p. 141

Example 7.37: Hostias, mm. 3-10, strings p. 141

Example 7.38: Hostias. mm. 52-54, strings p. 142

Example 7.39: Sanctus, mm. 4-12, choral parts and piano reduction p. 143

Example 7.40: Sanctus. mm. 24-31, choral parts and piano reductionp. 144

Example 7.41: Sanctus, mm. 55-61, choral parts and piano reductionp. 145

Example 7.42: Sanctus, mm. 71-80, choral parts and piano reductionp. 145

Example 7.43: Sanctus, mm. 1-5, trumpet and timpani p. 146

Example 7.44: Sanctus. mm. 1-5, strings p. 146

Example 7.45: Sanctus, mm. 72-80, strings p. 147

Example 7.46: Benedictus, mm. 1-11, full score p. 148

Example 7.47: Benedictus, mm. 71-76, full score p. 151

Example 7.48:Agnus Dei, mm. 41-60 choral parts and piano reduction p. 152

Example 7.49:Agnus Dei, mm. 1-5, woodwinds p. 154

Example 7.50:Agnus Dei, mm. 6-10, trumpet and timpani p. 154

Example 7.51:Agnus Dei. mm. 1-10, violins p. 155

Example 7.52: Lux aetem a, mm. 1-8, full score p. 155

CHAPTER VIII: THE LEVIN COMPLETION

Example 8.1: Kyrie , mm. 88-90 and 96-98, woodwinds p. 158

Example 8.2: Kyrie, mm. 96-100, trumpet and timpani p. 159



Example 8.5:Dies irae, mm. 52-57, trumpet and timpani p. 160

Example 8.6: Dies irae, mm. 5-8 and 12-14, strings p. 161

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Example 8.7: Dies irae,mm. 31-36, strings P- 62

Example 8.8: Tuba mirum,mm. 40-44, woodwinds P- 63

Example 8.9: Tuba mirum,mm. 55-62, woodwinds P- 63

Example 8.10: Tuba mirum,mm. 8-15, strings P- 64

Example 8.11: Tuba mirum, mm. 34-37, strings P- 64

Example 8.12: Tuba mirum, mm. 57-62, strings P- 65

Example 8.13:Rex tremendae, mm. 7-11, woodwinds P- 65

Example 8.14: Rex tremendae, mm. 5-6, strings P- 66

Example 8.15: Recordare,mm. 35-50, woodwinds and strings P- 67

Example 8.16: Recordare,mm. 82-93, strings P- 69

Example 8.17: Confutatis,mm. 5-7, woodwinds P- 70

Example 8.18: Lacrimosa, mm. 9-19, choral parts P- 71

Example 8.19: Lacrimosa,mm. 19-27, choral parts and piano reduction p. 73

Example 8.20: Lacrimosa,mm. 3-4 and 10-14, strings P- 74

Example 8.21:Amen,mm. 52-67, choral parts and piano reduction P- 75

Example 8.22: Domine Jesu,mm. 21-30, woodwinds P- 76

Example 8.23: Domine Jesu, mm. 1-3, strings P- 77Example 8.24: Domine Jesu, mm. 32-37, strings P- 77

Example 8.25: Hostias,mm. 21-28, strings P- 79

Example 8.26:Hostias,mm. 35-38, strings P- 79

Example 8.27: Sanctus,mm. 6-12, choral parts P- 80

Example 8.28: Sanctus,mm. 7-11, trumpet and timpani P- 81

Example 8.29: Sanctus,mm. l-l 1, strings P- 81

Example 8.30: Benedictus,mm. 50-56, full score P- 83

Example 8.31: Benedictus,mm. 21-32, vocal parts and piano reduction P- 84

Example 8.32: Benedictus,mm. 38-42, woodwinds P- 86

Example 8.33: Benedictus, mm. 1-3, strings P- 87

Example 8.34: Benedictus,mm. 6-11, strings P- 87Example 8.35: Benedictus.mm. 38-42, strings P- 88

Example 8.36: Agnus Dei,mm. 34-41, choral parts P- 89

Example 8.37: Agnus Dei,mm. 45-53, choral parts P- 90

Example 8.38:Agnus Dei. mm. 1-6, woodwinds P- 90

Example 8.39:Agnus Dei. mm. 1-9, 17-24, and 34-41, violins P- 91


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INTRODUCTION

Mozarts unfinishedRequiem is one o f the monuments o f Western music. Yet the

work, left incomplete at his death, has been the subject o f controversy and criticism for

more than two hundred years. This is largely because o f the numerous errors in

counterpoint and orchestration found in the first and best known completion o f Mozarts

unfinished torso, done by one of his students, Franz Xaver Sussmayr.

Sussmayrs work on the Requiem is replete with poor counterpoint and

problematic orchestration. These issues have been the subject o f cri tic ism since its first

publication in 1800. The schola r Duncan Druce describes Sussmayrs contribution as:

lacking the perfection of detail, the smooth c raftsmanship, the imaginative

relationship of subsidiary material to the whole that is so characteristic of

Mozarts other mature masterpieces. Sussmayrs orchestra tion, often

perfectly workmanlike, occasionally inept, rarely imaginative, may not

often get in the way of Mozarts vision, but rarely enhances it.1

In the last century, scholars and performers have struggled to repair the many

shortcomings o f Sussmayrs work. Conductors such as Felix Weingartner and Bruno

Walter and composers such as Richard Strauss and Benjamin Britten made changes to the

orchestration for performance. In recent times, the desire to improve the work and make

it sound more idiomatically Mozartean has led several musicians to publish new

completions o f theRequiem.

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This thesis is intended to provide conductors with a resource for comparing and

selecting from the various published completions. Versions of Franz Beyer, Richard

Maunder, H. C. Robbins Landon, Duncan Druce, and Robert Levin are examined and

compared to Sussmayrs completion, yielding a detailed description o f similarities and

differences. The five chapters devoted to the various versions are, o f necessity,

somewhat pedantic; but the goal o f this research is to create a single docum ent that

allows for immediate comparison o f these various completions with Sussm ayrs version,

as well as with each other.

In the course of these chapters, each movement of theRequiem is examined in

turn. The ensuing discussion describes any compositional alterations and orchestration

changes the newer completions make to the Sussmayr version. Orchestral matters are

discussed in score order: woodwinds, trumpets and timpani, trombones and strings.2 For

a thorough appreciation of the discussion, the reader should have a full score o f the

Mozart/Sussmayr score at hand.

The first chapter describes the com missioning of the work, the amount o f time

Mozart most likely worked on the score, and how the incomplete manuscript came to be

finished. Chapter II investigates problems in the traditional Sussmayr completion and his

claim to have written the Sanctus, BenedictusandAgnus Deientirely on his own. This

chapter also considers the discovery o f a fragment of Mozart autograph, found by

Wolfgang Plath in Berlin in 1961, containing a sketch of an Amen fugue that many

scholars believe Mozart intended to use in the Requiem. Maunder, Druce and Levin

1Wolfgang Amadeus Mozart, Requiem K. 626. Comp letion by Duncan Druce. (Londo n: Novello, 1993).

viii.

Since there are no real differences in the continuo part of these completions, the organ part is not

discussed.

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incorporate and realize this sketch as part o f their completion. Chapter IV discusses

elements o f Mozarts compositional technique found in the unfinishedRequiem , and

Chapters V through IX examine the five completions in detail, as described above. The

tenth chapter provides a summary o f the completions, briefly discussing their strengths

and drawbacks. This is followed by a select discography including performances of each

version and a bibliography that includes information on all the completions.

ro duc ed with permis sion of the copyright owner. Furth er reproduction prohibited without permission .

10


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CHAPTER I

GENESIS OF THE REQUIEM

During the early morning hours of 5 December 1791, Mozart died, leaving his

setting of the Requiem Mass unfinished. Count Franz von Walsegg had commissioned

the work in secret, sometime in the sum mer of 1791. Several accounts describe the

delivery o f the commission; one o f the best is that of Mozarts first biographer, Franz

Xaver Niemetschek:

Shortly before the coronation o f Emperor Leopold, even before Mozart

had received the order to travel to Prague, an unknown messenger3brought him a

letter without signature, which with many flattering remarks contained an enquiry

as to whether he would be willing to undertake to write a Requiem Mass. What

would be the cost, and how long would it take to complete?

Mozart, who never made the least move without his wifes knowledge, told her ofthis remarkable request, and at the same time expressed a wish to try his hand at

this type of composition, the more so as the higher forms of church music had

always appealed to his genius. She advised him to accept the offe r.4 He therefore

replied to his anonymous patron that he would write a Requiem for a given sum;5

he could not state exactly how long it would take. He wished, however, to know

where the work was to be delivered when ready. In a short while, the same

messenger appeared again, bringing not only the sum stipulated but also the

promise, as Mozart had asked so modest a price, that he would receive another

payment on delivery o f the composition. He should, moreover, write according to

his own ideas and mood, but he should not trouble to find out who had given the

commission, for it would assuredly be in vain.

3Johan n Nepo muk Sortschan, a clerk from Walse ggs Viennese law office, most likely delivered the

commission.

4 This is a questionable part of the narrative, since Constanze was at a spa in Baden from June to mid-July

1791. Perhaps the commission came later in July.

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In the meantime he received a very flattering and advantageous offer to compose

the opera seriafor the coronation o f Emperor Leopold in Prague. It was too

much o f a temptation for him to refuse to go to Prague to write for his beloved

Bohemians.6

Research on the paper and ink o f the autograph indicates Mozart did not begin

work on theRequiemuntil his return from Prague in the middle of September 1791.7

Even so, he could not have dedica ted h imself to exclusive work on theRequiem ,since on

30 September he led the first performance o fDie Zauberfldte . The operas overture and

March o f the Priests were only completed on 28 September, and during the last ha lf of

the month there were likely last-minute changes and rehearsals.

Furthermore, Mozart was bedridden from 20 November until his death on 5

December, so it seems doubtful he could have accomplished much work on theRequiem.

His illness would have made him weak and shaky, and undoubtedly there would be

evidence o f this in the autograph.

Mozart, then, had a little less than two months (between 1 October and 20

November) to comple te theRequiem. Within the same two months, he completed the

Clarinet Concerto,K. 622 and the Masonic Cantata,K. 623 (the last work entered into

his thematic catalogue, dated 15 November), and he might have worked on the unfinished

Horn Concerto in D,K. 412.8

When Mozart died, his wife Constanze desperately needed to find a way to collect

the remainder o f the commission fee for theRequiem, in order to support herse lf and their

two children, and to pay off a number of significant debts left by her husband.

H. C. Robbins Landon, The Mo zart Essays(London: Thames and Hudson, 1993), 191-92.

' Alan Tyson, Mo zart: Studies o f the Autograph Scores (Cambridge: Harvard University Press, 1987), 35.

Barry Coop er Clarke, From little se eds," M us ical TimesCXXXV1I (1996): 15.

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She decided to have the work completed by another composer someone from Mozarts

close c ircle o f students and friends -- and to pass it o ff entirely as entirely by Mozart.9

Table 1 shows the state of the unfinished manuscript.

Table 1: Contents of Mozarts Unfinished Manuscript

Introitus

Tempo marking: Adagio

Com plete10

Kyrie

Tempo marking: Allegro

All choral parts and the orchestra l bass line

Dies irae

Tempo marking: Allegro assai

All choral parts and the orchestral bass line

The first four measuresof string writing

Violin 1 (mm. 5-9, 19-31, 40-57, 65-68)

Tuba mirum

All four solo parts and the orchestral bass line

The trombone solo (mm. 1-18)

Violin 1 (mm. 44-62) Violin 2 (m. 44)

Rex tremendae


Sketches for the triple canon, beginning at measure 7

Violin I (complete)

Recordare

All vocal solo parts and the orchestral bass line

Basset horn (mm. 1-7)

Violins and viola (mm. 7-14, 52-53, 126-29)

Violin 1 (mm. 34-38, 68-79, 109, 129-30)

9Christoph Wolff, M ozart 's Requiem : H istor ica l and Analytica l Studies(Berkeley: University of

California Press, 1994): 18.

10 Levin, in the preface to the full score o f his completion, suggests the use of different color inks and the

slight variations in handwriting found in the trumpet an d timpani lines indicate that someone else

com pleted these parts - for reference see Chapter IX.

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Confutatis

Tempo marking: Andante


Violin 1 (mm. 7-12, 17-40)

Violin 2 (mm. 38-40)

Viola (m. 40) Woodwinds (mm. 26-29)

Lacrimosa

Six measures o f choral parts and orchestral bass line (mm. 3-8)

Two measures o f upper string parts (mm. 1-2)

A sixteen-bar sketch for a Amen fugue11

Domine Jesu


Violin 1 (mm. 43-46 and 67-78)


Hostias


Violins and violas (mm. 1-2)



Sanctus

There are no existing sketches by Mozart.

Benedictus


Agnus Dei


Communio


Constanze first asked Franz Jacob Freystadtler to complete theRequiem , most

likely because he was the oldest and most experienced student o f Mozart and because his

handw riting was remarkably similar to that of his teacher.

11 For m ore a detailed discussion o f this sketch, see Chapter II.

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He began with the simplest task the string and woodwind colla par tewriting for the

Kyrie fugue .12 Siissmayr, however, was asked to complete the trumpet and timpani

parts.13 Both men wrote directly on Moza rts manuscript. They completed their work

quickly, so that the Kyrie (along with theIntroitus)could be performed at Mozarts own

funeral Mass, held in St. Michaels Church, Vienna, on 10 December 1791.14 After the

funeral, for unknown reasons, Freystadtler did not continue the completion.

Constanze next turned to Joseph Eybler, the next senior student after Freystadtler

and one o f Mozarts favorites. Eybler and Mozart participated in Baron van Sweitens

Handel concerts in 1790, and Mozart wrote a glowing recommendation for Eybler in May

o f the same year.15 Eyblers receipt for the unfinished manuscript is the only

documentary evidence that Constanze commissioned another composer to complete the

work:

The undersigned [Eybler] hereby acknowledges that the widow Frau

Konztanzia Mozart has consigned to him the Requiem begun by her late husband,

with a view to completing it; that I propose to complete it by the end of this

coming Lent, and at the same time I promise that I will not allow either it to becopied or to pass to any other hands other than those o f the Frau Widow.

Vienna, 21 December 1791. [Signed] Joseph Eybler16

12F reystadtler m ade more than twenty one mistakes in the basset hom parts, m ostly transposition errors;

these were repaired in the first printed edition in 1800.

l3Christoph W olff has suggested that Siissmayr did not write the trumpet and timpani parts in time for the

funeral, but only afte r Constanze asked him to finish the en tire work, inMoz ar t's Requiem : Historical an d

An alytical S tud ies . 24-25.

14T he rem inder o f the Requiem mass was most likely sung in plainsong. Pro of o f the funeral and memorial

service w'as only recently confirmed. In December 1990 the scholar Walther Brauneis discovered records

o f the liturgy. Also, several contemporary new spape r accounts reported the event: the Au szug aller

europdischer Zeitungen, 13 December 1791; Das Berlinisch e musikalische Wochenbla tt, 31 December

1791 and Salzbu rger Intelligenzblatt.7 January 1792. Landon, The Mozart Essays. 197-98.

15 Paul M oseley, M oza rts Requiem A Re-evaluation o f the Evidence,Journal o f the Ro yal Music

Asso ciation 114 (1989): 211.

16 Landon, The Moza rt Essays. 201.

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Eybler a lso wrote directly on the manuscript, orchestrating five sections o f the

Seq uence.11 After composing two new measures of soprano part in theLacrimosa,

Eybler also stopped his work on the completion, again for unknown reasons.

Constanze possibly then turned to Abbe Maximilian Stadler, a friend and

confidant o f the Mozart family.18 While there is no direct proof Stadler had a hand in the

Requiem completion, there is circumstantial evidence. Two sections of the Offertorium

(Domine Jesu andHostias)survive in Stadlers hand; they seem to be a preliminary form

of Siissmayrs work, suggesting that Siissmayr copied and rearranged what Stadler

already had finished. Christoph W olff argues, The unfinished state o f the trombone part

[of Stad ler s version] is one indication, among others, that Stadlers work is the earlier. 19

Additionally, Stadlers detailed and intimate knowledge of the score, displayed at the

height o f the Requiem controversy in 1826,20 might have come from working with the

score years earlier.21 Unquestionably, it is Stadlers version of the Offertoriumthat

appeared in the first published edition and that today is part of the traditional Siissmayr

score.

Finally, Constanze turned to Siissmayr, who had assisted Mozart in the final

months o f his life with the operas Die ZauberfloteandLa clemenza di Tito.11

*' La ndon sugge sts Eybler might have written directly on the autograph while at Mozarts bedside ; Ey ble rs

comm ents, printed in an article in theAllgemeine musikalische Zeitung, support this idea: I had the goodfortune to retain his [Mozarts] friendship undamaged up to his death, so that I could help him during his

painful last illn ess, lifting him, laying him down and waiting on him." Landon, The Mozart Essays, 202.

11First sug gested by Walter Senn in his article Mozart, Schuler und Bekannte - in einem M usikbericht

von 1808,"Mozart-Jahrbuch 1976/77(1978): 287.

19 Wolff, M oza rts Requiem: Historical and Analytical Studies, 23.

20 Critic Gottfr ied Weber published an article in 1825 suggesting the Requiem was not by Mozart at all; this

lead to a hea ted debate as Mozarts family and friends attempted to prove otherwise. For more information

see Wolff, Mozar t 's Requiem: His tor ical an d Analytical Studies, 7-13.

2 Ibid.. 26.

Siissm ayr is generally believed to have composed the secco recitative forLa clemenza d i Tito.

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Neither Mozart nor his wife appears to have held Sussmayr in high regard; in a letter

written to Stadler, Constanze quoted Mozart chastising Sussmayr: Ey, there you go

again like a dying duck in a thunderstorm; you w ont understand that for a long time.23

Yet Sussmayr accepted the task and completed his work most quickly.

Sussmayr collated and revised (where he felt it necessary) the work o f his

predecessors. It appears he used Stadlers orchestration o f the Offertoriumand a good

deal of Eyblers work in the Sequence.24 He wrote the entire work out in his own hand

(thereby making it look like the work of a single composer) and falsified the date of

completion with the strange inscription di me [by me] W. A. Mozart /1792.25

In late 1799, the publishing firm of Bre itkopf und Hartel asked Sussmayr to

explain his part in theRequiem completion. His response came in a letter, dated 8

February 1800:

How it came about that I was entrusted with the completion of the

Requiem...was as follows. Mozarts widow foresaw, no doubt, that there would

be a demand for the works o f her husband left behind him; death surprised him

while he was yet at work on the Requiem.

The task o f comple ting the work was therefore offered to several masters. Some

were unable to undertake it because of the pressure o f work; others, however, did

not wish to hazard their own talent at the side o f Mozarts. Eventually the task

came to me, because it was known that while Mozart yet lived I had often sung

and played through with him the movements that were already composed; that he

frequently talked to me about the detailed working o f this composition, and

explained to me the how and wherefore of his instrumentation. The most that I

can wish for is that I may have succeeded at least well enough for connoisseurs to

be able to find here and there in it a few signs o f his unforgettable teaching.

~3 WolfT,M ozar t's Requ iem : Historica l and Analy tical Studies. 170.

Landon suggests Siissm ayr redid much o f Eyblers work not to m ake improvements but out o f a rival

pu pils pride. Landon, The Mozart Essays. 204.

5 Wolff, Moz ar t's Requiem : Histor ica l and Analy tical Stud ies . 18.

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O f the Requiem [Introit] with Kyrie, Dies irae, and Domine Jesu Christe,

Mozart completed the 4 vocal parts and the figured bass; o f the instrumentation,

however, he indicated only the motivic idea here and there. In the Dies irae, his

last line was qua resurget ex favilla [in fact judicandus homo reus] and he had

done the same work [there] as in the earlier movements. I finished the Dies irae

from that line onward: Judicandus homo reus, etc. The Sanctus, Benedictus,

and Agnus Dei were wholly composed by me; but in orde r to give the work

greater uniformity, I took the liberty of repeating the Kyrie fugue at the line cum

sanctis etc.26

Sussmayr was the only person to admit working on the unfinished manuscript; all

the other masters remained silent, perhaps out of loyalty to Constanze and an intense

desire to ensure the work was seen to be entirely by Mozart.27

Though there is no direct evidence as to when Constanze delivered the completed

score to Count Walsegg, a receipt for scores purchased by Baron Jacobi, a member of

Mozarts Freemasons lodge, dated 4 March 1792, includes a note for a copying charge

for theRequiem (450 florins).28 Copies also were made for Breitkopf und Hartel, Count

von Walsegg, and Constanze -- all by March 1792.29

26 Ibid., 146.

27 Ibid., 27.

8 Landon, The Mozart Essays,203.

Wolfgang Amadeus Mozart, Requiem K. 626. Completion by Franz Beyer. (Zurich: Edition

Kunzelmann. 1971), 7.

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CHAPTER II

PROBLEMS WITH SUSSMAYRS COMPLETION

Since its publication in 1800, theRequiemhas been criticized for its many errors

of musical syntax and poor orchestration. The first review, published in theAllgemeine

musikalische Zeitungon 1 October 1801 makes this clear:

The reviewer is quite prepared to admit that M ozarts Requiem is a uniquecomposition and that a similar work may be beyond the reach not only of a large

number, but probably of all living composers. However, amongst other facts the

instrumental accompaniment, which, at times, is very incorrect, proves that the

work as a whole cannot have come from Mozarts pen precisely as it stands.30

The critic also directly addressed Siissmayrs contribution:

It is, incidentally, very possible that a large part of the instrumental

accompaniment may be the work of Mr. S [Siissmayr]; but the other works of art

which Mr. S has composed, and which are known, justify a highly critical attitude

towards any claim that he can have had a large share in the creation of thiswork.31

These two points have beleaguered musicologists and performers for more than

two hundred years. Felix Weingartner, Bruno Walter, Richard Strauss, and Sir Hamilton

Harty all made changes to Sussmayrs orchestration o f theRequiem ?1 Benjamin Britten

prepared a version o f the score (which remains unpublished) for a performance at the

Aldeburgh Festival in 1971.33

30 Ibid.. 5

3 Ibid.

32 Bin Ebisawa, "The Requiem: M irror o f Mozart Performance H istory , Early Music,20 (1992): 85.

33 Floyd Horton Slo tterback, Mo zarts Requiem: History and Perform ance ,America n Choral Review, 26

(1984): 13.

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In 1951 Wilhelm Fischer wrote a paper criticizing Sussmayrs work in theLacrimosa

completion,34 and eight years later Ernest Hess examined several movements and made

suggestions for improving their many infelicities.35 Table 2 attempts to gather the major

criticisms o f contrapuntal syntax and orchestration in Sussmayrs completion o f the

work:

Table 2: Errors in the Sussmayr Completion

Kvrie

Measures 40-41: Basset horn 1 doubles soprano until m. 41, where it cannot continue

because it has reached the top of its range. This results in a clash between basset hom

1 (held G) and soprano line.

Measure 42, beat 3: Trumpets and timpani (playing A) ignore altos B-flat suspension inthe alto.

Measures 48-49: There are parallel octaves between basset hom 1 and bassoon 1.

Measures 50-52: Four-part woodwind writing changes to three-part writing for no

apparent reason (basset hom 2 and bassoon 1 play in unison).

Dies irae

There are strange inconsistencies in the orchestration: mm. 1-8 and 22-29 are the same

music (the first statement is in the tonic; the second, in the dominant) but the

orchestration is different. For example, bassoon doubles the choral bass in the first

statement; in the second, it doubles the orchestral bass. Also, Hess, Beyer, Maunder all

feel that trum pets and timpani are overused and that the even eighth-note figure usedthroughout is more in the style of Haydn than of Mozart.

Measures 1-2: According to classical rules of counterpoint, mm. 1-2 have hidden octaves

between basset hom 1 and second bassoon.

Measure 6: Parallel unison between basset hom 2 and bassoon 1.

Measure 7: On beat 3, second trumpet and timpani play an A against the G in the

orchestral bass - A is not part of the harmony.

Measure 29: Parallel octaves between basset hom 2 and bassoon I.

Measures 51-52: Parallel octaves between basset hom 2 and bassoon 2.

Measure 54: On beat 3, violin 2 anticipates the D minor harmony on beat 4.

34 Wilhelm Fischer, Das Lacrimosa dies ilia in Moza rts Requiem," Mozar t Jahrbuch 1951 (1953): 9-17.

35 Ernest Hess, Zu r Ergan zung des Requiems von Mozart durch Franz Xaver Sussmayr,

Mozart-Jahrbuch 1959 (1960): 99-108.

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Tuba mirum

Measure 9: Parallel octaves between basset hom 1 and bassoon 1.

Measure 10: On beat 4, the A in viola clashes with B-flat in the trombone.

Measures 15-16: No harmony is provided for trombone solo.

Measure 17: E in violin 1 clashes with F in trombone.

Measures 18-40: Incessant use o f eighth-note accompaniment.

Measure 20: Parallel octaves between violin 1 and viola.

Measures 24-34: Most scholars argue that Sussmayrs expansion of Mozarts trombone

solo is too long and uninteresting.

Measure 51: On beat 4, violin 2 anticipates tenor note at the beginning o f the next bar.

Measure 62: Parallel octaves between basset hom 1 and bassoon 2.

Rex tremendae

Measure I: Winds chord on beat 2 anticipates the choral cry Rex in m. 3.

Measures 7-14: Violin 2 plays a third below violin 1, muddying the triple canon.

This also results in consecu tive octaves between violin 1 and viola (beat 3) and

violin 2 and bass (beat 3) o f mm. 7-9.Measure 12: Mozarts autograph has two Fs in the alto line, which Sussmayr changed to

E-F for no apparent reason.

Measures 20-1: String accompaniment thickens the texture and detracts from the

prominence of the vocal parts.

Measure 21: Violin 2 adds a seventh to the chord on the fourth beat.

Recordare

More inconsistency in the orchestration: The woodwinds play the canon in m. 7, but the

strings play the canon colla parte in mm. 14-20. Also, texture is overly thick,

especially in mm. 46-51. There is also an incessant use of the eighth-note

accompaniment: mm. 26-33, 38-45, 60-67, 116-23.

Measures 20-26: Sussmayr adds a fourth part to Mozarts three-part writing for no

apparent reason.

Measures 21-24: Four parallel octaves between violin 1 and viola.

Measure 22: Parallel unison between violin 2 and viola.

Measure 25: A in the final beat of the viola clashes with B-natural in tenor.

Measures 46-49: Basset hom 1 anticipates soprano at the beginning of each bar.

Measure 86: Sussmayr uses an incomplete minor ninth-chord, which breaks the harmonic

sequence begun by the previous phrase.

Measure 92: C in violin 1 clashes with D suspension in soprano and violin 2 and viola

resolve the chord before tenor. Also parallel octave between soprano and viola.Measures 101-2: Parallel octave between violin I and tenor, parallel unison between

first violin and tenor, parallel unison between violin 1 and soprano.

Measure 129: Viola adds the interval of a seventh, not indicated in the autograph.



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Confutatis

Measures 1-6 and 10-16: Inconsistency in the trombonesin first phrase they play colla

parte , and in the second phrase they have independent parts.

Measures 25-40: Sussmayr brings woodwinds in a measure ear ly (in Mozarts autograph

they enter with the choir at m. 26). Moza rts autograph also indicates woodwinds

should follow choral rhythms exactly, but Sussmayrs winds p lay through choral rests

and also in the final two measures o f movement.

Measure 28: Figuration on beat 4 indicates a seventh in the chord, but it does not appear

in the orchestra.

Lacrimosa

Measures 3-4: C-sharp of the sighing motive on beat 3 o f these mm. anticipates soprano

note on beat 4.

Measures 5-6: Woodwinds play longer notes in contrast to choral parts, which are sung as

short e ighth-notes.

Measure 9: Hidden octave between tenor and bass (beats 6-7).

Measure 10: Seventh chord on beat 3 is poorly spaced, with doubled major third, andresolves to a six/four chord, which then does not resolve.

Measures 10-11: Hidden octave between soprano and tenor between Final beat of m. 10

and first beat o f m. 11.

Measure 11: Neapolitan sixth chord makes no sense with next note in bass (A-flat). This

was pointed out in the original review of the work in 1801!

Measure 12: E in soprano clashes with anticipated resolution in tenor.

Measure 14: Imitation in soprano line suddenly stops, and expected soprano part fails to

materialize.

Measures 16-17: Progression from D-flat to D-natural in the bass is illogical

Measures 17-18: Awkward leap o f a seventh in bass.

Measure 18: Doubled seventh in last chord.

Measures 23-24: C-sharp o f sighing motive on beat 3 o f these mm. anticipates soprano

note on beat 4.

Measure 24: On beats 3 and 4, sighing motive clashes with soprano.

Measure 25: Hidden fifth between tenor and bass.

Measure 26: Hidden octave between tenor and bass as they move into the measure.

Measures 28-9: Parallel fifth between first trumpet and orchestral bass.

Domine Jesu

Measure 3: Awkward downward leaps in the violin 1.

Measures 7-10: Unconvincing syncopated inner string lines (there is nothing like this inMozarts string writing and nothing in the text that would indicate use o f this device).

Measure 18: Sussmayr changes Mozarts tenor line on beat 4 (the notes should be E to F).

Measures 21-30: Overly thick orchestration.

Measures 44-78: Incessant use of thirds in string accompaniment.

Measures 51-65: Bassoons begin to double orchestral bass for no apparent reason.

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Hostias

Orchestration inconsistencies: Bassoons double orchestral bass for first 38 measures, then

double choral bass in mm. 39-44 for no apparent reason.

Measure 4: Violin 1 plays D before sopranos sing it, and Sussm ayr adds a seventh in

violin 2 and viola not indicated in the harmonic figuration.

Measure 12: Viola anticipates soprano A.

Measure 20: Violin I B-flat clashes with soprano C, and violin 2 plays a seventh not

indicated in the figuration.

Measure 50: Violin 2 anticipates soprano C.

Sanctus

String writing in the first ten measures is uninspired. Fugue is too short, lacks

development, and ends abruptly.

Measure 4: Parallel 5ths between violin 1 and soprano.

Measure 5: Suspect cross-relation between the tenor (C-sharp) and bass (C-natural).

BenedictusOrchestration is thick throughout the movement and structure is unusual because o f the

disproportionately brief B section (five measures). Movement ends in B-fiat instead of D

major, destroying the traditional expected harmonic arch of ABA for

Osanna/Benedictus/Osanna.

Measures 1-2: Parallel octaves between violin 1 and viola.

Measure 9: Violin 1 ignores soprano line, clashing C against B-flat on beat 3 and B-flat

against A on beat 4.

Measure 11: Parallel octaves between violin 2 and orchestral bass.

Measures 22-25: Harmonic redundancy (dominan t seventh) unimaginable in Mozarts

late style.

Measure 53: Tonic and dominant harmonies clash in final beat.

Agnus Dei

Dynamics are overly fussy and Sussmayr uses trumpet and timpani in first petition but

not in second or third. The pattern in the sixteenth-note violin runs is inconsistent. In the

first two petitions, there are three beats between peccata mundi and dona e is, but not

in the third petition.

Many scholars also question Sussmayrs claim to have written the Sanctus,

BenedictusandAgnus Deion his own and speculate that he had access to other sketches

that no longer survive.36 Several documents suggest this, including a letter written by

Abbe Stadler in 1826.

36 David Humphreys, Requiem, The Mozart Compendium: a Guide to Mozart's Life and Music. H. C.

Robbins Landon, ed., (London: Thames and Hudson, 1990): 315.

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In it he writes: .. a few scraps o f paper with music on them were found on M ozarts

desk afte r his death, which she [Constanze] had given to Herr Sussmayr. What they

contained and what use Sussmayr made of them, she did not know.37

These scraps of paper may have contained materials for the last movements and

were more than likely used by Sussmayr. Both movements contain many truly

Mozartean touches. In fact, Wolff argues:

Both the Sanctus(with the OsannaandBenedictus)and theAgn us Dei

betray an especially high degree o f technical unevenness and a large number o f

mistakes in the voice leading as Mozart scholars recognized at an early date. But

if the vocal substance is separated from the instrumental cladding in these

movements, an astonishing congruence between the compositional conceptionhere and that in the sections composed by Mozart come to light. Not only that,

but we also discover significantly fewer musical errors.38

The thematic connections in these movements also indicate Sussmayr used

sketches left by Mozart. The first five measures of the Sanctusare a clear reference to

the m elody o f theDies Irae.

Example 2.1

I ' l---------------- 1 I I I " " I l I I

Di * cs i - ne , di es il *la, wi-vei sae-dum in (a vil la: le tie Da*vid cum Si *byi la.

i------ 1--------- i i i ' i . . i .

f t - ........................... i f 1 1 , T f ^San - ctus, San etui, San ctus, Do - mi-nui De ui Sa - ba-och.

TheAgnus Dei begins with a homophonic declamation of the text in sharp

contrast to the contrapuntal shape o f the orchestral writing a technique also used in the

Dom ine Jesu.

37 Wolff, Mozart 's Requiem: Historical and Ana lytica l Studies. 152.

38 Ibid., 38.

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Furthermore, the orchestral bass line of theAgnus Dei begins with the opening theme of

theIntroitus.

Example 2.2

Nevertheless, as Table 2 shows, both movements exhibit poor craftsmanship and

basic counterpoint mistakes that could not be the work o f Mozart. It seems likely,

therefore, that Sussmayr had basic ideas concerning M ozarts intentions but was unable

to realize them. Moreover, there is evidence to suggest that Constanze and Sussmayr

destroyed sketches to ensure that the public would believe the work to be entirely by

Mozart.39

One such sketch has survived. In 1961, scholar Wolfgang Plath discovered a

sheet o f Mozarts composition paper in Berlin containing several fragments: a section of

the overture toDie ZauberJIote,a piano piece, a sketch to the Amen fugue o f a choral

work in D minor, and a draft o f part of the Rex trem endae in theRequiem. Many

scholars are persuaded the Amen sketch was intended to end theLacrimosa. Their

reasoning is quite sound:

fragments o f these works provide the autumn of 1791 as a definite date.

39 Mozart, Requiem (Completion by Beyer), 13.


|U - qui-em ee ter non.

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the sketch is in D-minor, the overall key o f theRequiem and o f theLacrimosa

movement.

the fugue subject is the principal theme of theIn troitus, inverted and augmented.

a fugue at this point would ensure that each major section ends with a fugue:

Introitus!Kyrie fugue; Sequence!Amen fugue; Offertory/Quam olim Abrahae

fugue; Sanctus!Osanna fugue; Lux aeterna/Cum sanctis fugue.

Some scholars, however, are unconvinced. Landon suggests the sketch was

intended for an unfinished Mass in D minor, of which theKyrie(K. 341 [368a]) has been

dated to the final years of M oz arts life.40 Another noted Mozart scholar, Thomas

Bauman, believes the ske tch was most likely abandoned:

Its underlying parallel motion in imperfect intervals is monotonous and

equally so its relentless accentua tion of the downbeat. The E on the second beat

of measure 7 would be judged inexcusable if Sussmayr had written it, and so

would the constricted criss-crossing o f the voices as they slowly slide in a

huddled clump from one plodding dotted half note to the next, always in the

lowest part. This is not genuine Mozart in any meaningful sense, but mediocre

counterpoint, unworthy to stand as Mozarts conclusion to his powerful vision of

the Last Judgment.41

Despite the reservations of these two well-known musicologists, the completions

o f Maunder, Druce and Levin incorporate the sketch and rea lize the fugue as part of their

completions.

There is no evidence that Sussmayr had this sketch in his possession. However,

the Sanctus fugue indicates Sussm ayr was incapable of writing proper counterpoint, let

alone anything that could stand alongside Mozarts fugal writing. So perhaps he had the

sketch but chose to ignore it.

40 Landon, The Mozart Essays,204.

41 Thomas Bauman, Requiem , but No P iece, I -Century Music. 15 (1991): 160.

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Example 2.3

Skizze einer .Amen-Fuge( w d i d i


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CHAPTER III

MOZARTS COMPOSITIONAL TECHNIQUES IN THE REQUIEM

In the last years o f his life, Mozarts compositional structures and textures

displayed greater complexity and sophistication, [and] the harmonic language showed

intensifying differentiation. In general, the intellectual dimensions o f Mozarts musical

composition increased significantly.42 Therefore, before examin ing the contributions of

the musicians who sought to make the unfinishedRequiem sound idiomatically

Mozartean, it is appropriate to survey the compositional devices and techniques Mozart

him self used in the work.

Counterpoint

The church compositions o f the mature Mozart make use o f counterpoint to an

unprecedented degree. With the exception of the GreatMass in C minor, K. 427, little

in his earlier church music prepares us for the volume and sophistication o f the

counterpoint he employs in theRequiem. Contrapuntal writing appears in every

movement o f theRequiem and often is used as a structural device . In theDies irae,

Mozart uses imitation between soprano and tenor in measures 10-15 to drive the

harmonies forward, create overlapping phrases and postponing cadences.43

4' Christoph WoltT, Mozarts Requiem: The composers departure for a new style," Reflections on the

sa cr ed A musicological perspective. (New Haven: Yale Institute o f Sacred Music, 1994), 41.

43 Isabelle Emerson Putnam, The Role o f Counterpoint in the Formation o f Mo zart's Late Style. (Ph.D.diss.,

Columbia University, 1977): 246.

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In the Confutatis,imitation (between mens and womens voices) is a compositional

procedure that actually expands the emotional content of the text.44

The fugues in theRequiem are the pinnacle o f Mozarts contrapuntal efforts. The

Kyrie shows a full mastery o f Baroque counterpoint and is the only example o f a choral

double fugue written during Mo zarts years in Vienna.43 In the Offertorium,he

seamlessly interweaves fugal writing into homophonic passages. The contrast between

homophony and polyphony is the structural foundation on which the Offertorium is

built .46

Canon appears in two movements. InRex tremendae,there is a triple canon (mm.

7-14) between soprano and alto, tenor and bass, upper and lower strings. The sketches on

the page discovered by Wolfgang Plath (see Chapter II) suggest that this canon was a

compositional challenge for Mozart, which he needed to first work out in a sketch.47 In

the Recordarehe offers a two-part canon, introduced by basset homs (mm. 1-7), then

taken up by the strings (mm. 7-12) and finally sung (mm. 14-26). The movement is built

on canonic writing, though its counterpoint is clouded by Sussm ayrs coarse, thickened

orchestration.

Thematic Unity

The movements of theRequiem are tightly unified by the opening Requiem

aetemam motive, which is woven throughout Mozart s unfinished torso. In the first

movement, this motive is played by bassoon I in the first measure and imitated

44 Ibid., 247

45 In the final years of his life M ozart stu died the works of Bach; he even arranged a fugue from B achs

ITell-Tempered Clavier for string qua rtet [K. 405], In 1790, he took part in Baron van Sweitens Handel

concerts and orchestratedMessiahand other oratorios by Handel for a classical instrumental ensemble.

6 Emerson Putnam, The Role o f Counterpoint in the Formation o f Mozart's Late Style, 247.



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immediately by the other woodwinds (mm. 1-5). This imitation is repeated in the choral

parts (mm. 8-11). The m otive reappears in the bass (m. 34) and in the alto

countersubject, where it is manipulated through inversion and diminution.

Example 3.1

3H

i " " i ~ - m

TheIntroitustheme then appears in several other movements.

In the Kyrie, the theme appears, inverted and in diminution, as part o f the second

subject (m. 3, beats 3-4, alto).

In the Dies irae, it appears in the orchestral bass (mm. 1-5) and soprano

(mm. 4-6).

In the Tuba mirum, it appears in measure 8 of the trombone solo,inverted.

In the Lacrimosa, it appears in the soprano line (mm. 4-5).

In theAmen,the fugue subject is a melodic inversion and augmentation o f this

theme.

In the Agnus Dei, it appears in the orchestral bass (mm. 1-5).

*7In the later years of his life, Mozart hardly used sketches; he usually had the entire score in his head

before he wrote it." Erich Hertzm ann, M ozarts Creative Process, The Musical Quarterly,XLIII (1957):

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Additionally, the tritone connects three movements by appearing prominently in the

melodic material: theRecordare (mm. 1-2), the Quam olim Abrahaefugue subject (mm.

44-45), and the Osannafugue subject (mm. 11-12).

A realization of theAmen fugue (as in the Maunder, Druce, and Levin completions)

adds other important unifying factors. As stated in Chapter II, a fugalAmen to conclude

theLacrimosaensures that each major section of the Requiem ends with a fugue. In

addition, theAmen fugue crea tes an alternating pattern of duple-trip le meters in the

fugues: Kyrie(duple),Amen (triple), Quam olim Abrahae(duple), Osanna(triple), Cum

sanctis tuis(duple).

Finally, Mozart followed a closely related key scheme movement to movement. This

is shown in Table 3.

Table 3: RequiemKey Scheme

Intro itus: D minor - ending on V of D minor

Dies irae:D minor

Tuba mirum : B-flat major

Rex tremendae: G minor - D minor

Recordare: F major

Confutatis:A minor/F major (in the final two bar modulation to V of D minor)

Lacrimosa:D minor

Domine Jesu:G minor

Hostias:E-flat major/G minor

Sanctus:D major

Benedictus:B-flat major48

Agnus Dei:D minor/F major

Communio: B-flat major/D minor

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Vocal Supremacy

The autograph scores from his final years show that Mozart first wrote the most

important line or lines as well as the bass line. At times, he would indicate an important

orchestral solo and in a choral work like theRequiem,he would notate some of the

instruments that would play inte rludes between choral phrases.49 As Table 1 shows [see

Chapter I], the most complete (and therefore most important) parts are the choral and solo

vocal lines. There are no obbligato solo instrumental parts (the exception being the solo

trombone in the Tuba mirum),and theRequiemdoes not contain extended orchestral

passages. The opening thirteen measures of theRecordare constitute the longest

orchestral passage in the work. TheDies irae, C onfutatis , andDomine Jesubegin

without orchestral introduction, while the Tuba mirum, R ex tremendae, Lacrimosaand

Hostiashave short two-bar preludes. Clearly, Mozart intended to make the vocal parts

the ch ief substance o f theRequiem, with the orchestra reinforcing the score by adding a

rhythmic dimension as well as tone color.50

Furthermore, the vocal parts are laid out in whole phrases or sections, and all four

voices are equally important. This is a distinct change from his earlier church music, in

which the choral writing is largely treble dominated.

Assimilation of Older Styles

TheRequiem shows M ozarts mastery of older models and styles, which he fully

assimilates into his own style. The strict Baroque counterpoint o f theKyrie already has

been mentioned, and the use o f dotted (French overture ) rhythms in theRex tremendaeis

48 To fulfill the expected ABA s tructu re o f the Sanctus, the reprise of the fugue in the Benedictusalso

should be in D major.

49 Hertzmann, Mozarts Creative Process, 192.

50 Wolff, Mozarts Requiem: Th e com posers departure for a new style, 94.

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an obvious example of homage to Handel. Moreover, the first movement of theRequiem

stands as a supreme example o f Mozarts capacity to reuse another composers motivic

ideas and textures and make them wholly his own. TheIntroitusis clearly modeled on

the opening o f George Frideric Handels funeral anthem, written for the death o f Queen

Caroline, The ways o f Zion do mourn, HMV 264.

Example 3.2

Violiai

Viola

Oboi

B e .

Alta

Tto

do

S

7 7 6 6

4S 6 66 6

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The two subjects in theKyrie fugue come from another Handel work: the closing chorus

of the Dettingen Victory Anthem, The king shall rejoice, HMV 265.

Example 3.3

c4Uegro mo Jera to

Tromba I. m

Tromba II

Principal.

Tympani.

Oboe I

ObQe U

Bassons.

Viol ino I

Violino 11.

Vio a

C a n t o I

We, will re

9ftr jcmduen

ibrttlut drinrm

A l t o .

We i l l r r ie lb r ftl

in d t i j i f fHtrjtmdum Umt

We til l re .

W/lUllA

IO t b f u l

im drinrm

A .le - I- .

T e n o h e .

B asso

Org ano , eTutti Bassi.

34



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Mozart recasts Handels music into something new. This is

apparent from the very first bars, in the breaking up o f the strict rhythm of

Handels string chords, the modification o f the bass line, and the transposition of

the oboes contrapuntal line down to the tenor register (bassoons and basset

horns). The result far outreaches the Handelian original in contrapuntal

complexity (note, for example , the contrapuntal stretto using Hande ls motives in

bars 20-25) and in refined compositional accomplishment as a w hole .51

However unfinished, M ozarts manuscript provides a ke y to his compositional

techniques and priorities. These can be summarized as: a pervasive and h ighly skilled

use of counterpoint; a concern to connect movements through motives and melodic

figures and to create a larger overall structural unity for the entire work; the supremacy of

the choral and vocal parts in the overall texture; and, a masterful capacity to transform the

models of older masters into something new and wholly owned. These elements provide

the clues - indeed, the instructions - for completing the unfinished autograph so that it

sounds authentically more Mozartean than the commonly used Sussmayr version.

Ibid.

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CHAPTER IV

THE BEYER COMPLETION

German musicologist Franz Beyer published the first revision o f the

Mozart/Sussmayr Requiem in 1971. I term it a revision rather than a completion

because Beyers version primarily concerns itse lf with orchestral matters that create a

more transparent orchestration. His goal was to free the original picture o f Mozarts

scoreas it reveals itselfa cappella from its over painting. 52 While he repaired some

of Sussmayrs more obvious errors o f voice leading, Beyers efforts w ere by no means

exhaustive. He also made no attempt to complete the Amen sketch.

Introit

Beyer makes one editorial comment, suggesting trombones not play in mm. 34-42

in order to give a special luminosity to the words et lux perpetua.03

Kvrie

Beyer rewrites basset hom parts in mm. 40-41 and 47-49. His rewrite in measure

48 does not fix the problematic octaves between basset hom 1 and bassoon 1 found in the

traditional version,54 though he avo ids the octaves in m. 49.

s' Wolfgang Amadeus Mozart, Requiem. To lzer Knabenchor and Collegium Aureum, Deutsche Harmonia

Mundi 6347387 (1974), program notes by Franz Beyer.

53 Mozart, Requiem (Completion by Beyer ), 16.

The label traditional version here (and throughout the dissertation) refers to the first published version,

with the work of Freystadtler and Sussmayr, as discussed in Chapter I.

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Example 4.1

Basset Hom

Bassoon

i

j r u . n

Beyer also alters trumpet and timpani in measure 8, removes them in mm. 20 and

38, and simplifies their parts in mm. 39 and 42-43. They enter in measure 48 and play to

the end, including the anacrusis into the penultimate bar. In measure 51, Beyer avoids

having the tonic note in the trumpet, so as not to anticipate the arrival at D minor in the

final bar. Trombone and string parts are unaltered.

Dies irae

Throughout the movement, basse t horns double soprano and alto; on rare

occasions basset hom 2 doubles tenor. Bassoons double the orchestral bass, with two

exceptions: in mm. 9-14 they reinforce the harmonies, and in mm. 31-52 they double

tenor and bass.

While trumpet and timpani play in most o f the same measures as the Sussmayr,

their writing is usually simplified. This is clearly shown in the opening nine measures:


3 7


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Example 4.2

Trumpet inD

Tunpni in D-A

j j ij f]jj w w v w w w zr

DTpL

Timp.

m 0DTpt.

Timp.

The interjection in mm. 12-13 is simplified, and trumpet 2 in m. 15 plays the seventh of

the chord, making the note more prominent and adding a new color to the orchestration.

To maintain consistency, trumpet and timpani in mm. 22-29 reuse the rhythms o f the

opening eight bars. In measure 23, second trumpet again asserts the seventh o f the chord.

Trumpet and timpani parts are rewritten in mm. 39-40, removed from mm. 44, 48, 50,

and reworked in mm. 52-68, using a dotted eighth/sixteenth rhythm that adds drive to the

line.

Example 4.3

Trumpet in D

Timpanii in D-A | ;

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D T p l

Timp.

1 1 ^ - 1 0

E3- f *

------- 3

m t j

4 J -# J JU J - L 9

m

The string writing is subt ly different from the open ing measures: in mm. 5-8,

violin 2 doubles violin 1 down an octave, strengthening the line. Throughout mm. 10-18,

Beyer makes slight changes, more noticeable in violin 2 and viola.

Example 4.4

Violin I

Violin U

Viola

p * L m - F ' - f r r r rA n - f ~ - - j - - - = 4

J = 2 = L = f =

- * ------T * 4

Ik

5 i J J =

J f j

Via I

Via U

Via.

, ______ EH

L J r a s J m t

k m = m

f

Violas play sixteenth notes w ith violins in mm. 19-21, and at the restatement of Dies

irae (mm. 22-29) strings play a transposed and slightly modified version of the pattern

set in the first eight measures. Beyer reworks the strings in mm. 31-40 to include figures

in the violins that outline triads (mm. 33 and 36), creating a rhythmic agitation that

counters the static harmony.

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Example 4.5

34

Violin I

*=3Violin II

Viola

AVln. I

Vln. n

Via.

Throughout mm. 41-52, he varies the string texture: in mm. 42-44, violins are in unison

while viola doubles orchestral bass; in mm. 46-48, violins split into two parts, with viola

playing a third above the orchestra l bass; and in mm. 51-52, violins play in octaves as

viola continues playing a third above the bass. Violas join violins in playing sixteenth

notes in mm. 41, 45, 49 and forward. In measures 53-55, violin 2 and viola are rewritten;

in mm. 56-65, Beyer adopts a two-part texture (violins in octaves and viola doubling

orchestral bass) with viola playing in sixteenth notes. The viola continues playing in

sixteenth notes (with the violins) in the four-bar coda.

Tuba mirum

Woodwinds first appear in m. 18, bassoons accompanying the tenor solo (mm.

18-34). In measures 24-34, the bassoon 1 line is closely modeled on Sussmayrs

trombone line, though Beyer omits the trombone in these bars.

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Example 4.6

Bassoon*8=

d3 dH

/ M T j jBsn. - J y

Woodwinds then join the strings to accompany the first part of the soprano solo.

Example 4.7

Basset Horn

Bassoon

IIE [fZl

s

ik

m

I

At measure 51, woodwinds (revoiced and beginning in lower register) join the solo

quartet, playing to the downbeat of m. 61. The movement ends with strings alone. Beyer

does not add to Mozarts trombone solo,55 and there are no parts for trumpet or timpani.

In the strings, Beyers desire to create a more interesting accompaniment is

apparent in the first seventeen measures, where the writing is less static and more athletic.

In measure 11, Beyer introduces an imitative passage for the upper strings based on the

vocal bass line.

55 In Moza rts manuscript, the trombone solo does not extend beyond the first eighteen m easures.

41



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Example 4.8

Violin I

Violin n

Viola

Bass

m

so - num

on

m

m pper se - pul - chra re - g) -

W = f ^ J J

r ~ = \ r = = = :

FF-f= = |

y r j J r =a=j1 ' W W=\

-J J "t1 1 -- t ' _ - - - - -

,r^ r 1

r f r ----------------- -------------------------------L, ^

o num co - get om - nes an te thro num

Via I

Via n

Via.

B.

In measures 16-17, strings accompany the solo trombone.

Example 4.9

UB

Tenor Trombone

Violin I

Violin n

Viola

iPfrJ/f-if. |

f^.. tr i l l l r t i J

C" J tw - l]J J i * i=^

^ be---k

j ipj "JJ * t.

f ^ *



54/213

With the tenor entrance in m. 18, Beyer alters Sussmayrs version to add interest to the

orchestral texture and to allow the violin 1 to reinforce the quarter-note ornament of the

tenor in m. 20.

Example 4.10

Violin I

Violin n

Viola

Tenor

l i ...........Jp

H iJ p

J p

P

a j j j j j j

t o ;

w

mM ors stu - p e bit et na - tu ra cum re - sur - get e re a -

Beginning with the alto solo (m. 34), Beyer uses Sussm ayrs rhythmic pattern but

revoices the parts, attempting to add interest to the more static lines o f Siissmayr. He also

removes Sussmayrssforzandomarking in measure 36.

Example 4.11

Violin I

Violin n

Viola

Vln. I

Vln. n

Via.

p M ^

[m- I . >L

^----- -s

p)

S i v J v i i J' 7 ' '

- P P ^ t

j " ^ W

p) L

r----- 4a

k * p) l 7 ^ 7 ^ 7l t r J

[ f a r n , ^

J ' ' J= U = -_

f a. + y K f - -

v r r r

J - J J ^ i -

y~ 0 i 0 y 0 y - j I

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In measures 45-61, subtle changes are made throughout the viola line, and violin 2 is

rewritten in m. 51 to avoid anticipating the tenor solo.

Example 4.12

Violin

Violin I

Vln. I

Via n

Via.

In measure 58, violin 2 doubles violin I an octave lower, and in mm. 59-61, second violin

consistently plays in sixths with the firsts. Violas divide in mm. 57-58 and the last bars,

enriching the inner harmonies.

Rex tremendae

Woodwinds do not play in the first measure and are subtly revoiced in mm. 2-5.

They play colla parte throughout the canon and are silent in the final bars. Trombones

also do not play in m. 1; they enter in m. 2, and like the woodwinds are revoiced. They

play colla parteto the downbeat o f m. 17 and are tacet for the rest of the movement.

Trumpet and timpani are the same in mm. 6-7, removed from m. 10 and reworked in mm.

15-17.

p - r l j -z e z

y ^ T , v

I f r > r

~j ^ l------- 1

y = * j *_ r = * =

s p - - f = j

r * m

------------ L------f -----..-.rJ

,

')

(

'

a

r r j . r

7 j j H

r

L - T J J

r

j

w---- ;-----V----- n

-i .----------? t

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The strings are slightly modified. In measure 5, violas play Sussmayrs line an

octave higher. Throughout the canon, violas double the orchestral bass line two octaves

higher, while violins play in unison. Measures 17-19 are the sam e as Sussmayr, except in

m. 17, viola plays even eighth-notes. The strings drop out in m. 20, allowing the choir

and continuo to sound alone until m. 21, where strings re-enter in the second ha lf of the

bar with newly written parts.

Example 4.13

J 1- J jL J L ^

, h , J

7" 1 7 , a I

, J> , -h---, - i* 7 V K___J ---------

Violin I

Violin II

Viola

Recordare

Beyers woodwinds first enter in m. 26 with bassoons doubling the choral bass.36

In measure 31 basset horns enter, creating three-part writing that ends on the downbeat of

m. 34. Woodwinds link the two vocal phrases in mm. 41-42. In measure s 45-52,

Sussmayrs dense texture is substantially thinned.

Example 4.14

Basset Horn

Bassoon

&

56 Mozar t wrote the first seven m easures o f woodwind .

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Following the accompaniment pattern used in mm. 26-34, bassoons ente r at m. 60, joined

by basset horns in m. 65, ending on the downbeat o f m. 68. Woodwinds play colla parte

in mm. 72-81, as well as interjecting emphaticfortepianosthat link the solo quartets

phrases in mm. 75-76 and 79-80. They re-enter in mm. 91-92, reinforcing the cadence.

In measures 93-97 , bassoon 1 plays a solo resembling the vocal lines; in mm. 99-103

basset horn 1 does the same. Woodwinds join strings in m. 104 (again reinforcing the

cadence) and from m. 106-9, they play colla parte. In measure 112 bassoons once again

double the bass li

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