Requiem K 626 Mozart Score

7/25/2019 Requiem K 626 Mozart Score

1/102

Adagio

Adagio

Adagio Copyright 2006 Philip Legge. All rights reserved.

i me W. A. Mozartmpra.*

[Requiem in D minor, K.626 Urtext] / Requiem /

Violini

Viola

2 Cornidi Bassettoin f.

2 Fagotti

2 Clarini

in D.

Timpanyin D.

Canto

Alto

Tenore

Basso

Organoe Bai

792

1

2do corno

1mo

1 Fagotto:

tasto solo

solo :

* Mozarts signature forged by Franz Xver Smayr


2/102

7

ij

con Vc

R

Tutti : qui em tr nam do naTrombone [Ialto colla parte]

R

Tutti :

qui em tr nam do na e is, Trombone [IItenor colla parte]

R

Tutti : qui

em

tr

nam do na e is,

Trombone [IIIbasso colla parte]

R

Tutti :

qui

em

tr nam,

tr nam do na

e

is,

organo


3/102

12

2

ij

ij con Vc

e is, D

mi ne R qui em tr nam do na e is, D mi ne.

et lux per p tu a,

D

mi ne, do na e

is, D mi ne, do na e is, D mi ne et lux per p tu a,

D mi ne R qui em tr nam do na

e

is,

D mi ne, e is, D mi ne

et lux per p tu a,

do na, do na e is, D mi ne R qui em

tr

nam

do

na

e

is

D mi ne.

et lux per p tu a,


4/102

16

ij con Vc

et lux per p tu a, l ce at, l

ce at e

is.

et lux per p tu a, l ce at, l

ce at e is. et lux per p tu a, l ce at, l

ce

at e is.

et lux per p tu a l

ce at, l

ce at e is.

Violoncelli

senza org : Bai:

Solo : [tasto]


5/102

21

3

Te

Solo :

de

cet hym

nus, De us in Si on;

et ti bi red d tur vo tum in

Je

r sa

Violoncelli


6/102

26

unis

con Vc

lem.

Ex

Tutti :

u di o ra ti nem me am;

ad te

ExT:

u di, ex u di, ex u di o ra ti

nem me am;

ad te,

ad te

Ex

T:

u di, ex u di, ex u di o ra ti nem me

am;

ad te,

ad te

om

Ex

Tutti :

u di, ex u di,

ex u di, ex u di o ra ti

nem me

am; ad te,

ad te,

ad te

Bai :


7/102

31

4

ij

ij

con Vc

2do

con Vc

[2do]

1mo

om nis ca

ro v

ni et.

om nis

om nis ca ro v

ni et. do

na,

do

na

e

is,

nis, om

nis

ca

ro

v ni et.

R

om nis, om nis ca ro v ni et.

R

qui

em

tr

tasto s

Solo Tutti .


8/102


9/102

42

5

ij con Vc

tr

nam, tr nam, et luxper p tu a, et lux per p tu a l ce at e is, et

lux

per p tu a l ce at

do na e is,

do na, et lux per p tu a, et lux per p tu a l ce at e is, et

lux

per p tu a l ce at

do

na, do

na,

et lux per p tu a, et lux per p tu a l ce at e is, et

lux

per p tu a l ce

at

do na

e

is, do

na,

et lux per pe tu a, et lux per p

tu a l ce at e is, et

lux

per p

tu

a l ce

at


10/102

48 Allegro

Allegro

Allegro

e is.

Ky

[ ]

ri e

e l

i son,

e l

e is.

Chri

ste e l

i son,

e is.

Chri

[ ]

ste e l

e is. Ky

ri e

e l

i son,

e le

i

son,

e l i son,

Ky ri

tasto


11/102

7

6

i

son,

e l

i son,

e

l i son, e l

i son,

Chri ste e l

Ky ri e

e l

i son,

e l

i son,

e l

i son, e l

i

i son,

e

l

i

son,

Ky ri e

e l

i son,

e l

e e l

i son,

e

l i son,

Chri ste e le

i son, e l

i


12/102

14

i son, Ky ri e

e l i son,

e l

son, e l i son,

e l

i son, Ky ri e

e li son, e li

son, e l

i son,

e

l

i son,

son,e l

i son,

e l

i son,

e l

i son,

Chri

ste

e

le


13/102

20

7

i son,

Chri ste e li

son,

i son,

Chri ste e l

i son,

Chri ste e l

Ky ri e

e l

i son,

e l

i son,

e

l

i son,

Ky ri e

e l

i son,

e le


14/102

27

Ky ri e

e l i son,

e l

i son,

e

l i son, e l i

i

son, e

l i son,

e

l

i son,

Ky ri

i son,

Chri

ste

e

l

i

son,

Chri ste e l

i

i

son,

Ky ri

e e l i son,

e le

i son,


15/102

33

8

son,

e

l

i

son,

Chri ste e l

i son,

e l

i

e e l

i son,

Chri ste e l

i son,

e l

i son,

Ky ri e e li

son, e

l i son,

Chri

ste

e

l

i son,

e

l

i

son,

e

l

i

son, Ky

ri

e, Ky ri

Chri

ste

e

le

i son,

e

l

i

son,

Chri ste e le

i


16/102

39

son,

Chri ste e l

i son,

e l i son,

e l i son,

Chri ste e

son, e l

i son,

e l i son, Ky ri e e l i son, Ky

ri e

e l

i son,

e l

i

e e l

i son,

Ky ri

e e

l i son, e l

i

son,

e l i son,

e l i son,

e

l

i son,

e

son,Ky

ri e

e l

i son,

e l

i

son,

e l i son,

Chri

ste

e

l

i


17/102

46 Adagio

Adagio

Adagio

9

[l]

i son,

Chri ste e l

i son,

e l i son, Ky ri e e l i son.

son,

Chri ste e l

i son,

Ky ri e, Ky

ri e e

l

i son,

Ky

ri e e l i son.

l i son,

e l i son,

e l i son,

Ky ri e, Ky ri e e l

i son,

Ky ri e e l i son.

son, e l i son,

e l i son,

e l i son,

e

l

i son,

e l i son,

Ky

ri e e l

i son.


18/102


19/102

10


20/102

Di i


21/102

Alle: assai .

Alle: assai .

Alle: assai .

Dies ir .

Violini

Viola

Canto

Alto

Tenore

Basso

Organoe Bai

[ ]

11

[ ]

[ ]

Di

[ ]Tutti :

es i r, di es il la, sol vet s clum, in fa vl la, Te ste Da

vid cum Sy

Di

[ ]T :

es i r, di es il la, sol vet s clum, in fa vl la, Te ste Da vid cum Sy

Di

[ ]T :

es i r, di es il la, sol vet s clum, in

fa

vl la, Te ste Da vid cum Sy

Di

[ ] Tutti :

es i r, di es il la, sol

vet

s clum, in fa vl la, Te ste Da vid cum Sy

Tutti


22/102

8

bl la.

Quan tus tre mor est fu t rus, quan do Ju dex est ven t rus, cun cta

bl la.


bl la.

Quan tus, quan tus tre mor est fu t rus, quan do Ju dex est ven t tus, cun

cta

bl la.


tasto :


23/102

17

12

stri cte dis cus s rus.

Di es i r,

stric

te dis

cus s rus.

Di es i r,

stric te stric te dis cus s rus.

Di es i r, Di es i r,

Solo


24/102

24

di es il la, sol vet s clum, in fa vl la, te ste Da

vid cum Sy bl la.

di es il la, sol vet s clum, in fa vl la, te ste Da vid cum Sy bl la.




25/102

30

13

Quan tus tre mor est fu t rus, quan

do ju dex est ven t

rus, cun cta

Quan tus tre mor est fu t rus, quan do ju dex est ven t rus, cun cta

Quan

tus tre mor est fu t rus, quan do ju dex est ven t rus, cun cta

Quan tus tre mor est fu t rus, quan do ju dex est ven t rus, cun cta


26/102

38

stri cte dis cus s rus,

Di es i

r, di es il

la,


Di es i

r, di es il

la,


Di

es i

r, di es il

la,

stri cte dis cus s rus, quan tus tre mor

est

fu

t

rus,

quan tus

tasto .

Violoncelli Bai.tasto


27/102

45

14

Di es i

r, di es il

la,

quan tus

Di es i

r, di es il

la,

quan tus

Di

es i

r, di es il

la,

quan tus

tre mor

est

fu

t

rus,

quan tus tre mor

est

fu

t

rus, quan tus

Violoncelli Baitasto .


28/102

51

tre mor

est

fu

t

rus, quan do Ju dex est ven t rus, cun cta stri cte dis cus s rus,

cun cta

tre mor

est

fu

t


cun cta

tre mor

est

fu

t


tre mor

est

fu

t


tasto


29/102

58

15

stri cte,

stri cte dis

cus s rus. cun cta stri cte,

stri cte dis

cus s

stri cte,

stri cte dis

cus s rus. cun cta stri cte,

stri cte dis

cus s

cun cta stri cte, stri cte dis

cus s rus.

cun cta stri cte, stri cte dis

cus s

cun cta stri cte, stri cte dis cus s rus.

cun cta stri cte, stri cte dis cus s


30/102

65

rus.

rus.

rus.

rus.

Solo.

/ Tuba mirum / 16


31/102

Andante .

Andante .

Andante .

Violini

Viola

TromboneSolo

Bao Solo

Organoe Bai

16

Tu ba mi rum spar gens so

num,

tu ba


32/102

10

mi rum spar gens so num, per Se

pul chra re gi o num co get om nes an te Thro

num, co get om nes an te

17


33/102

17

17

Thro num. Mors stu p

bit et na t ra, cumre sr

get cre

a t ra

Ju

di cn

ti re

spon s

ra.


34/102

24

li ber scrip tus

pro fe r tur

in quo to

tum con

ti n

tur un de mun dus,

mun

dus

18


35/102

32

ju

di c

tur.

Ju dex er

go cum

se d

bit,

quid quid la

tet ap

pa

Violoncelli


36/102

39

r

bit nil in l

tum re ma n bit. Quid sum mi

ser tunc

dic t rus,

quemPa tr

num ro

ga t rus?

Bai

4519


37/102

45

CantoSolo

cum vix Jus tus, Jus tus sit se c rus? CumSotto voce

vix Jus tus, Jus tus

AltoSolo

TenorSolo

Sotto voce

BaoSolo

Cum

Sotto voce

vix Jus tus, Jus tus

Bai Violoncelli

Bai

54


38/102

54

crescendo

sit se c rus, cum

vix

Jus tus, vix Jus tus

cresc:

sit se c

rus.

cresc:

[cresc.] [ ]

sit se c

rus,

cum

vix

Jus tus, vix Jus tus

[cresc.]

sit se

[ ]

c rus.

cresc:

/ Rex tremend / 20


39/102

Violini

Viola

Canto

Alto

Tenore

Basso

Organoe Bai

[ ]

Tutti. [ ]

Rex,

Rex,

Rex,

T:[ ]

T:

[ ]

Tutti. [ ]

Rex,

Rex,

Rex,

[ ]

Solo .

Tutti


40/102

1021


41/102

mn

d ma jes t tis,

Rex tre mn

d ma jes t

tis,

qui

sal vn

dos,

sal vas

d ma jes t

tis,

Rex tre mn d ma jes t tis,

qui

sal vn

dos,

vn dos

sal vas gra

tis, Rex tre mn d ma

jes t tis, Rex tre mn d ma jes t

sal vas gra tis,

Rex tre mn d ma

jes t tis,

Rex tre mn d ma jes

14


42/102

gra tis,

Rex

tre

mn d, Rex

tre mn

d ma jes t tis, quisal vn dos sal

vas gra tis;

sal vas gra tis,

Rex tre mn

d ma jes t tis, quisal vn dos sal vas gra tis;

tis, Rex tre mn d, Rex tre mn

d ma jes t tis, quisal vn dos sal

vas gra tis;

t

tis, Rex tre mn d, Rex tre mn

d ma jes t tis,

quisal vn dos sal vas gra tis;

Solo:

tasto

18 22


43/102

sal

va me,

sal

va me

fons pi e t

tis.

sal

va me,

sal

va me

fons pi e t tis.

sal

va me,

sal

va me

fons pi e t

tis.

sal

va me,

sal

va me

fons pi e t

tis.


44/102


45/102

21


46/102

sum cau

sa tu vi

ne me per das

il la Di e

ne me per das,

quod

[ ] sum cau sa tu

vi

ne me per das

il

la di e,

ne me per das il la di e, ne me

Bai :


47/102

41


48/102

la us

cru cem pa

us

tan tus la bor non sit

ca us tan tus la bor

la us

cru cem pa

us tan tus la bor non sit


re de m sti



re de m sti



5125


49/102

nonsit cas

sus.

Jus te Ju

dex ul ti nis do num fac re mis si

nonsit cas

sus.

nonsit cas

sus.

Jus te Ju

dex ul ti

nis do

num fac

re mis si

nonsit cas

sus.

Violoncelli

60


50/102

nis

an te di em

ra ti nis,

an te di em ra

ti

nis.

an te di em, an

te di em ra ti nis.

nis

an te di em

ra ti nis, an

te di em ra ti nis.

an te di em ra ti nis, an te di

em, di em ra ti nis.

Bai:

Violoncelli

70 26


51/102

in ge ms co tam quam re us

cul pa ru bet vul tus me us







Bai

80


52/102

Sup pli cn ti par ce De us quiMa r

am ab sol v

sti

mi hi quo

que spemde d sti,

mi hi

Sup pli cn ti par ce De us

mi hi quo

que, mi hi quo

que spemde


et la tr

nem ex au d

sti

mi hi quo

que, mi hi


mi hi

9027


53/102

quo

que spem de d sti.

sed

ds ti, spem

de d sti. Pre

ces me

non sunt

dig n

quo

que spem

de d sti.

quo

que spem de d sti.

Pre

ces me non sunt dig n

Violoncelli

100


54/102

tu bo

nus fac

be ng

ne

ne per n

ni

cre

mer

ne

per n

ni

cre

mer

sed

tu bo

nus fac

be ng

ne

ne per n

ni

cre mer

ne

per n

ni

cre

mer

Bai

109 28


55/102

ig ne

in ter o ves

lo cum prs ta

et ab h dis me

se qus

tra st

ig ne

in ter o ves

lo cum prs ta et

ab h dis me se qus tra

ig ne

in ter o ves lo cum prs ta et ab

h dis me se qus tra

ig ne

in ter o ves lo cum prs ta et ab h dis, ab h dis me se qus tra


56/102

Andante

/ Confutatis /

29


57/102

Andante

Andante

Violini

Viola

Canto

Alto

Tenore

Basso

Organoe Bai

Con

fu t

tis ma le dc

tis

am mis a cri bus ad dic

tis,

am mis a

cri bus ad dic

tis.

Con

fu t

tis ma le dc tis am mis cri bus ad dc

tis, ma le dic tis am

mis a cri bus ad dic

tis.

7


58/102

Vo

sotto voce ca, vo

ca me,

vo ca me

cumbe ne dc

tis.

Vo

sotto voce ca, vo

ca me,

vo ca me

cumbe ne dc

tis.

Con

[ ]

fu ta

tis ma le dic

tis

Con

[ ]

fu ta

tis ma le dic

tis am mis

13

30


59/102

Vo

sotto voce ca,

Vo

sotto voce ca,

am

mis a

cri bus ad dic tis, con fu ta tis ma

le dic tis am mis a

cri bus ad dic

tis.

a cri bus ad dic tis, con

fu ta tis ma le dic tis, ma

le dic tis am mis a

cri bus ad dic

tis.

18


60/102

vo ca me

cumbe ne dc

tis, cum be

ne dc tis, vo

ca me,

vo ca me,

vo ca me

cumbe ne dc

vo

ca me,

vo ca me

cumbe ne d

ctis,

vo

ca me,

vo ca me

cum be ne dc

25

31


61/102

[ ]

[ ]

tis.

O ro sup plex et ac cl

nis,

tis.

O ro sup plex et ac cl nis,

O ro sup plex et ac cl nis,

O

ro sup plex et ac cl nis,

30


62/102

cor con tr tum qua si ci

nis,

ge re

cor con tr tum qua si ci nis,

ge re

cor con tr tum qua si ci

nis,

ge re

cor

con tr tum qua si ci nis,

ge

re

35

32


63/102

cu ram,

ge re cu ram me i

nis.

cu ram,

ge re cu ram me i nis.

cu ram,

ge re cu

ram me i nis.

Segue

cu

ram, ge re cu ram me i nis.


64/102


65/102

6


66/102

ex

fa

vl

la

ju

di

cn

crescendo

dus

ho

mo

re us

crescendo

ex

fa

vl

la

ju di

cn

crescendo

dus ho

mo

re us

cresc.

34


67/102


68/102

/ Domine /

Violini

35


69/102

Viola

Canto

Alto

Tenore

Basso

Organoe Bai

D

Tutti

mi ne Je su Chris te, Rex

gl

ri , Rex gl ri , l

be ra ni mas m ni um d li um de func t

D


gl

ri , Rex gl ri , l

be ra ni mas m ni um d li um

de func t

D


gl

ri , Rex gl ri , l

be ra ni mas m ni um d li um de

func

t

D

Tutti


gl

ri , Rex gl ri , l

be ra

ni mas m ni um d

li um

de func t Tutti

7


70/102

rum

de

p

nis in

fr ni, de

p

nis in

fr ni et de

pro

fn

do

rum

de

p

nis in fr ni,

de

p

nis in fr ni

et de

pro

fn do

rum

de

p

nis in fr ni,

de

p

nis in fr ni et de

pro

fn do

rum

de

p

nis

in

fr ni,

de

p

nis

in

fr ni et de

pro

fn do

1336


71/102

la

cu

l

be ra, l be ra e as de

o re le nis,

l

be ra, l be ra

la

cu

l

be ra e

as de

o

re le nis,

l

be ra

la

cu

l

be

ra

e as de

o

re le nis,

l

be ra

la cu

l

be ra e as de

o

re le nis,

l

be ra

19


72/102

e as de

o re le nis

e

as de

o

re le nis

ne ab sr be at e as

e

as de

o

re

le

nis

ne ab sr be at e as Tr

ta

rus ne ca

dant in obs

c

rum,

ne ca dant,

e as de

o

re le nis

2437


73/102

ne ab sr be at e as Tr ta rus ne ca dant in obs

c

rum,

ne ca dant, ne ca

dant in ob scu

Tr ta rus ne

ca

dant in obs

c

rum,

ne ca dant, ne ca dant in obs c rum,

ne ca dant,

ne ca dant, ne ca dant in

obs

ne ca dant in

obs c rum,

ne ca dant,

ne ca dant, ne ca dant in obs c rum,

ne ca dant,

ne ca dant, ne ca dant in obs

ne ab sr be at e as Tr ta rus ne ca

dant in obs


74/102

3538


75/102

pr sn tet e

as

in lu cem san ctam,

re pr sn

tet,

re

pr sn tet e

as

sg ni fer san ctus M

cha el

re

pr sn tet e

as

in lu cem san ctam,

re pr

sn

tet, re

pr sn tet

sed

Solo

sg ni fer san ctus M

cha el

re

pr sn tet e

as,

re

pr sen

tet e as

sed

Solo

sg ni fer san ctus M cha el

re pr

sn tet e as, re pr

42


76/102

in lu cem san ctam

e as in lu cem san ctam

in lu cem san ctam quam

Tutti

o lim

bra h pro mi s sti, quam o lim

sn tet e as in lu cem san ctam quam

Tutti

o lim

bra h pro mi s sti, et s mi ni e ius, quam o lim

bra h

Tutti

48 39


77/102

quam

Tutti

o lim bra h pro mi s

sti, quam o lim bra h pro mi s

sti,

quam

Tutti

o lim bra h pro mi s

sti et s

mi ni e ius, quam o lim bra h pro mi s

sti,

et s

mi ni

bra h, et s mi ni e ius, pro mi s

sti, pro mi s sti,

quam o lim bra h

pro mi s

sti, pro mi s sti,

Vcl.

Bai

54


78/102

pro mi s

sti

et s mi ni e jus, quam o lim bra h pro mi

e ius, quam o lim bra h,

et s mi ni e ius, pro mi s

sti,

quam o lim bra h pro mi

pro mi s

sti,

quam o lim bra h pro mi s

sti, quam o lim bra h, quam o lim bra h pro mi

et s mi ni e ius,

et s mi ni e ius, quam o lim

bra h pro mi ss

ti,

6040


79/102

ss ti,

pro

mi ss ti, quam o lim bra h pro mi ss

ti, quam o lim bra h pro mi ss ti

et

s

mi

ni

e

ss ti, pro mi ss ti,

quam o lim bra h pro mi ss ti,

quam o lim

bra h pro mi ss ti

et

s mi ni e

ss ti, pro mi ss ti,

quam o lim bra h pro mi ss ti,

quam

o lim

bra

h pro mi ss

ti

et

s mi

ni

e

pro mi ss

ti,

quam o lim bra h pro mi ss

ti, quam o lim bra h pro mi ss

ti et

s mi

ni

e

Violoncelli


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81/102


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42


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/ Hostias /

Violini

43


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Viola

Canto

Alto

Tenore

Basso

Organoe Bai

H

Tutti

sti as

et pre ces ti bi, D mi ne,

ti bi, D mi ne

lau dis of f ri mus;

H

T:

sti as


ti bi, D mi ne


H

T:

sti as

et pre ces ti bi, D

mi ne,

ti bi, D mi ne


H

Tutti

sti as


ti bi, D mi ne


Solo

Tutti

11


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tu ss ci pe

pro a ni m bus il lis, qua rum h di e

me m ri am

f

ci mus.

tu ss ci pe

pro a ni m bus il lis, qua rum h

di e,

h di e

me m ri am

f ci mus.

tu ss ci pe

pro a ni m bus il lis, qua rum h di e,

h

di e

me m ri am

f

ci mus.

tu ss ci pe

pro a ni m bus il lis, qua rum h di e,

h di e

me m ri am f ci mus.

2244


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H

sti as et

pre ces

ti

bi,

D

mi ne,

lau

dis of

H

sti as et

pre

ces

ti

bi,

D

mi ne,

lau

dis of

H

sti as et

pre

ces

ti

bi,

D

mi

ne,

lau

dis of

H

sti as et

pre ces

ti

bi,

D

mi

ne,

lau

dis of

33


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f

ri mus;

tu

ss

ci pe

pro

a ni m bus il lis, qua

rum h di e,

h di e

me m ri am

f

ci

f

ri

mus; tu

ss ci pe

pro


rum h

di e

me m

ri am

f

ci

f

ri mus;

tu

ss

ci pe

pro


rum h

di e

me m ri am

f

ci

f

ri mus; tu

ss ci pe

pro


rum h di e,

h

di e

me m ri am f ci

44

45

quam olim da capo


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mus;

fac

e as, D mi ne,

de mor

te trans re ad vi tam.

mus;

fac

e as, D mi ne,

de mor te trans

re ad vi tam.

quam olimda capo

mus;

fac

e as, D mi ne,

de

mor

te trans re ad vi

tam.

mus;

fac

e as, D mi ne,

de

mor

te trans re ad vi

tam.

quam olim d: C:


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46


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The previous 92 pages purport to show the state of Mozarts final composition,the incomplete Requiemmass in D minor, more or less as it was left at the timeof his death on 5 December 1791. Various facsimiles of the actual manuscripthave been published up to now, but since these are sufficiently rare anddifficult to obtain unless one has access to an excellently stocked library, I feltit was fitting to offer an alternative edition to the musical public, and onemoreover that attempted to retain the flavour of Mozarts notation, which tolarge extent is modernised in the published volume of the Neue Mozart Ausgabe.

So this edition uses the original clefs Mozart used, particularly the C clefs forthe upper three voice parts, as well as replicating his practice of omitting

After the double barl ine on folio 5v (page 10), there is evidenc e of multi pledifferent styles of handwriting, but Mozart appears to have been completelyresponsible for the vocal parts and orchestral bass of the Kyrie fugue. As there

was a part ial performanc e of the Requiem on 10 December 1791 albeit we donot know which sections of the work were attempted, or with what forces it

would appear plausibl e that the completi on of the par ts for the strings, bassethorns, and bassoons may have been undertaken at short notice after Mozartsdecease to allow the opening 100 bars of the work, the entire Requiem et Kyrie,to be performed.

It is also interesting to find, on folio 7v (= p. 14) that Mozart, often supposed to


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almost all clefs and key signatures on subsequent pages of score after the firstsystem of music. Occasionally the beaming or vertical orientation of notes areflipped contrary to the normal rules of musical typesetting, since themanuscript does not always reflect them. The pagination of this document down to the blank pages between some movements is also indicative of theoriginal manuscript. [I have not yet included the organs figured bass.]

Despite these efforts to reproduce the look of the manuscript, it is of courseimpossible to represent Mozarts last work with complete accuracy. Whilst weare fortunate that all of the pages of the manuscript were eventually recovered,many of the pages were written on by other hands in the process oforchestration, or composing new work. As I am trying to return to the state

before these additions were made, in order to show the Mozartean original, Iam relying on the opinions of many scholars who have subsequently attemptedto establish the authenticity of the music; but any errors remain my own.

Introtus: Requiem ternam Kyrie eleison

The first half of the opening movement is the only completely scored section ofthe mass, but even here the composition was laid down in at least two stages:the orchestral accompaniment to the fugal sections with full choir are written

with a noticeably lig hter coloured in k, indicating that Mozart h ad first writtenout the essential details, and then returned to complete the accompaniment.

On the first page, I have added one of the posthumous accretions to the score:

the first 10 folios of the manuscript were bound together with the completionof the remainder written in the hand of Franz Xver Sumayr, in order to bepresented to the anonymous patron who commissioned the mass. So on thefront page Sumayr forged Mozarts signature: ! i me W. A. Mozart manu propria,1792.

be divinely inspired when composing, was indeed humanly fallible: a falsecontinuation in the upper three voice parts at bar 30 of the fugue is quicklystruck out and the normal progress of the movement resumes.

Sequentia:Dies ir Tuba mirum Rex tremend Recordare Confutatis Lacrymosa

Mozart divided the Sequence, consisting of 19 stanzas and an Amen, into sixmovements, the last of which is incomplete. Moreover, from the evidence of asketch (see Appendix 2) it is probable the Lacrymosa was broken off in order tofully work out the contrapuntal references for the crucial text, dona eis requiem,prior to leading into a seventh movement, which would have simply set the

final word, Amen.

For the first two stanzas of the text, Mozart gives the Dies ir an appropriatelydramatic setting, but the only substantial indications of the orchestration arealmost always found in the 1st violins; only on the first page do we find anyslightly thicker scoring for the full quartet of strings.

The Tuba mirum begins with a solo by tenor trombone, that persists only to bar18 and the entry of the tenor solo, unlike the longer continuation in Smayrscompletion. The entry of each solo, usually enunciating a new stanza, overlapsthe previous singers final bar. The cadential figure for violins at bar 44 washighlighted (presumably by Abb Stadler, as early as 1800) as belonging toMozart, and the first violin part appears to be in his handwriting from that

point to the end of the movement.

Notably, there is no trombone chord in the first bar of the Rex tremend. Thefirst violin part is almost completely realised from beginning to end, aside fromthe final utterance of salva me fons pietatis; as Mozart left a detailed contrapuntal

sketch for some of the choral writing on the same page as the sketch of the Amen fugue, it is evident Mozart has recorded all of the predominant details ofthe orchestration.

The Recordare was Mozarts favourite movement, and it sets no less than sevenstanzas of the Sequence. The 14 bar introduction for basset horns and strings isthe longest stretch of music in the entire mass without any singers voices to beheard. Thereafter the orchestral accompaniment is usually confined to one ortwo parts of the upper strings in bars where the solo quartet is momentarilysilent, and the final five bars returns to full quartet scoring for strings.

Th Confutatisi t ti l i l d i f b t h d

of the departed may pass from death into life, and Mozarts possible fore-knowledge of his own approaching decease, a personal element is suggested byhis choice of the Masonic key of E flat. A skilful modulation at the end leads tothe dominant of G minor, followed by Mozarts instruction to repeat the quamolim fugue from the Domine, da capo. In 1958 the corner of this page was tornout by a vandal when the manuscript was on display at the Brussels Exhibition;

when this author was privileged to view t he very same page at th e NationalLibrary of Australia in 2003, the manuscript was protected by glass.

Appendices

Th t diti l l ti f th Requiemi tt ib t d l l t F X


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The Confutatis interestingly includes some scoring for basset horns andbassoons on folio 31r (= p. 61) despite Mozart having left the correspondingstaves unmarked at the head of the movement. Abb Stadler appears to have

written the crayon marking M oz ascribi ng these 4 bars of accompaniment toMozart, which I believe is fairly convincing. The characteristic notation Mozartused for semiquaver groupings is evident in the first violin part through theentire passage from bar 25 to the end of the movement; as far as I can discern,the final bar and crotchet of the previous bar in the second violin are also inMozarts hand, as is the final crotchet note in the viola part.

The Lacrymosa is an incomplete 8 bar fragment. The composer first engaged byConstanze Mozart to finish the entire work, Joseph von Eybler, left a two bar

continuation of the soprano part after Mozarts hiatus, which is not includedhere. The remaining text left unset by Mozart runs: huic ergo parce Deus, pie JesuDomine, dona eis requiem. Amen. As the final word was to be set as a separatemovement, Smayrs completion of the Lacrymosa should have finished withthe words dona eis requiem, however he lacked the contrapuntal technique tomatch Mozarts vision.

Offertorium: Domine Hostias

The final two movements extant in Mozarts manuscript have no extraneousmusical additions whatsoever, unlike the Kyrie and Sequence, so it is a moreroutine task to faithfully represent Mozarts composition. In the Domine there is

very littl e detail to establ ish the na ture of the o rchestral acco mpaniment, except

the orchestral bass, until the fugue on the words quam olim Abrah, with itsspiky violin figuration.

The Hostias is very possibly the last music Mozart composed (aside from anysketches for the remainder of the mass, now lost). With its hope that the souls

The traditional completion of the Requiem is attributed solely to Franz XverSmayr, but it is known the genesis of the completion, from December 1791to February 1792, was substantially more complicated. As above, it is speculative,but fairly convincing, that the Kyrie was partially or completely orchestratedbetween 5 and 10 December 1791, and Leopold Nowak identified the principalhandwriting was probably that of Franz Jakob Freystdtler, the eldest of Mozartspupils.

On 21 December 1791 Constanze Mozart handed the incomplete manuscriptover to Joseph Leopold von Eybler, who made a partial completion of theSequence by adding orchestration to all five movements from the Dies ir up toConfutatis, before making a false start attempting to continue the Lacrymosa. Hethen returned the manuscript to Constanze, who then engaged Smayr tocomplete the Requiem; however it is also obvious that she arranged for AbbMaximilian Stadler to oversee Smayrs work. It appears entirely possible thatStadler helped relieve the burden by orchestrating the Offertorium for Smayr.

Smayr also had access to sketches for the Agnus Dei, and possibly also for theSanctus, Benedictus, and the Osanna fugue; though as a composer of limitedtechnique he was unable to utilise them in the same way Mozart would havebeen able to had he lived. Unfortunately, no sketches for these movements inMozarts hand are extant, and Smayrs composing score once in thepossession of Constanze Mozart is no longer known to exist. As the majorityof the work in these movements is therefore likely to be Smayrs rather thanMozarts, the Appendices show an admittedly selective fraction of the available

musical materials, which the author judges are most likely to derive fromMozart, rather than Smayr.

Lacrymosa

It seems unlikely Mozart left a sketch for the remaining few bars of theLacrymosa, so it would appear the remainder of the traditional setting must beSmayrs work; Mozart may have suggested to Smayr the possibility ofquoting the requiem ternam motif for the return of the words dona eis requiem (soprano, bars 2628); coincidentally, the same motif simultaneously appears intransposition and retrograde in the tenor.

Sketch for Amen fugue

This 16 bar sketch appears amongst sketches for Die Zauberflte, and precedes asketch for bars 710 of the Rex tremend, indicating that Mozart had alreadyplanned ahead for the end of the Sequencebeforehe had fully realised its inner

Benedictus

The opening orchestral ritornello is plausibly based on a Mozartean sketch.However, Smayrs working of the music for the singers is so laughably banaland pedestrian that it is hardly recognisable: often the orchestra preempts the

vocal solo, rather th an being its echo; or the singer s have n othing in teresting todo (bars 23 and 24); or the orchestra has to play a truly miserable attempt atfilling space between vocal entries (bar 27!).

Finally Smayr lacks the wit to modulate his way out of B flat major (bars5053), so the repetition of Osanna is forced into a different key unlike therepetition of the fugue on quam olim AbrahIf this cadential passage in


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planned ahead for the end of the Sequence, before he had fully realised its innermovements. The requiem ternam motif is clearly recognisable in inversion. Theclefs and key signature of a B flat are not written out in the sketch, and theinterpretation of certain musical figures were the result of guesswork.

Sanctus

The first five bars of the vocal parts of the Sanctus are almost indisputably byMozart; unlike the accompanying orchestration, there are no lapses of musicalgrammar to be found. At bar 6 Smayr probably confused matters by bringingin the bass alone on C natural; I have partially rectified this by leaving the bassunderlay as written, but keeping the C sharpened for the first two beats of the

bar. The remaining five bars are rather too short to be wholly as Mozartenvisaged, but the kernel of a Mozartean idea is manifest. The veracity of thetimpani part in bars 13 is suggested by a reminiscence of Mozarts sister-in-law.

The Sanctus also contains an extended quote of the Dies ir in the soprano part,now clothed in D major rather than minor: the first four bars of the Sanctus correspond to bars 1, 3, 4, and 7 of the Dies ir, the latter bar being thedescending phrase on teste David cum Sybilla or Dominus Deus.

Osanna fugue

If we put aside the working of the fugue as being a demonstration of thepedestrian abilities of Smayr, then the fugue subject that remains is plausibly

Mozartean: its outline bears more than a passing similarity to the subject forquam olim brah promisisti et semini eius; in terms of melodic intervals, the firstfour (non-unison) intervals of each are almost exactly the same, before the tailsof the subjects diverge. Smayrs conclusion to the fugue comes to a completehalt, much too suddenly, and in the following movement it is curtailed further.

repetition of the fugue on quam olim Abrah. If this cadential passage inparticular is compared with the truly inspired Mozartean cadences we findelsewhere Requiem bars 4648, Domine bars 7578, or Hostias bars 4654 then the work clearly stands out as amateur and slipshod.

Agnus De i

As pointed out for the first time by Richard Maunder, the entirety of the AgnusDei would appear to stem from a sketch by Mozart, and once again there areample paraphrases of musical material known to be composed by Mozarthimself. This is not to suggest that Smayr made a flawless job of transcribingthe sketch into a full score: he inserts two bars of cadential repetition between

each strophe of the text, and arrives on a faulty chord at bar 45 (= bar 39 in thereduction provided in the appendix), where the bass G should clearly be G flat.

The most fascinating example of the paraphrasing of other music by Mozart isrepresented by the opening bars, which appear to quote the initial subject ofrequiem ternam from the Introit in the bass, counterpointed with a possiblyunintentional reference to the sopranos initial phrase of dies ir from theSequence in the tenor; the bulk of the movement appears to be an adaptationfrom bar 39 to bar 81 of the Gloria from Mozarts Missa brevis in G major, K 220(196b) from 1774 or 1775, down to the level of structure and paraphrase:especially compare the bass part in the Gloria, where the predominant key is therelative minor eventually moving to the tonic, and so transposed up a tone wefind more or less the same melodic line present in the Agnus De i.

The violin accompaniment in the first bar is conjectually also by Mozart: it washis usual practice afterall to write an indication of the string or otheraccompaniment when no voices were singing, so a sketch for the Agnus Dei may

well h ave shown this moti f in the first bar before t he voices en tered in bar 2.

24 (about . = 42)

Appendices

[1] Lacrymosa

Canto

do na

e is, do na e is r

qui em.


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Alto

Tenor

Basso

do

na e

is, do na

e is r

qui em.

do na

e is, do na e is r

qui em.

do na

e is, do na e

is r

qui em.

(about . = 69)

[2] Amen

Canto

Alto

Tenor

Basso

a

men

a

men

9

(about = 42)

[3] Sanctus

Timpani in D

Canto

Sanc

tus, Sanc tus, Sanc tus D mi nus De

us


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Alto

Tenor

Basso

Organoe Bai

Sanc


us

Sanc

tus,

Sanc tus,

Sanc tus

D mi nus De

us

Sanc


us

5

S

ba oth.

Ple ni sunt c

li et ter

ra gl ri a, gl

ri a, gl

ri a tu

S

ba oth.

Ple ni sunt c

li et ter

ra gl ri a, gl

ri a, gl

ri a tu

S ba oth.

Ple ni sunt c

li et ter

ra gl ri a, gl

ri a, gl

ri a tu

S ba oth.

Ple ni sunt c

li et ter

ra gl ri a, gl

ri a, gl

ri a tu

(about = 63)

[4] Osanna11

a.

et cetera

a.


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a.

a. O sn na in

ex cl

sis,

(about = 64)

[5] Benedictus

Violini

Violas

Organoe Bai

et cetera

(about = 72)

[6] Agnus Dei

Violini

Canto

Ag nus De i, qui tol

lis pec c ta mun di,

do na e is

r

qui

em. Ag nus


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Alto

Tenor

Basso

Organoe Bai

Ag nus De i, qui tol lis pec c ta mun

di,

do na e is

r

qui em. Ag nus

Ag nus De i, qui tol lis pec c ta mun di,

do na e is

r

qui em. Ag nus

Ag nus De

i, qui tol lis pec c ta mun

di,

do na, do na e is r

qui em. Ag nus

15

De i, qui tol lis pec c ta mun di,

do na, do na e is r

qui em. Ag nus De

De i, qui tol lis pec c ta mun

di,

do na e is,

do na e is r qui

em. Ag nus De

De i, qui tol lis pec c ta mun di,

do na e is,

do na e

is r qui em. Ag nus De

De i, qui tol

lis pec c ta mun

di,

do na, do na e

is r qui em. Ag nus De

30

i,

qui tol lis pec c ta mun

di,

do na e is

r

qui

em sem pi tr

nam.

i,

qui tol

lis pec c ta mun

di,

do na e is

r

qui em

sem pi tr

nam.


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i,

qui tol lis pec c ta mun di,

do na e is

r

qui em

sem pi tr

nam.

i, qui tol

lis pec c ta mun

di, do na, do na e is r

qui em

sem pi tr

nam.

39

[7] K 220 (196b) Missa brevis in C, Gloria , bars 3981

Violini

Canto

Alto

Tenor

Basso

Organoe Bai

Qui tol lis pec c

ta,

pec c ta mun di,

mi se r re,

mi se

Qui tol lis pec c ta,

pec c ta mun di,

mi se r re,

mi se

Qui tol lis pec c ta,

pec c ta mun di,

mi se r re,

mi se

Qui tol

lis pec c ta,

pec c ta mun di,

mi se r re,

mi se


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70

et cetera


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dx te ram, ad dx te ram Pa tris, mi se r re, mi se r re, mi se r re no bis.

dx te ram,

ad dx te ram

Pa tris,

mi se r re,

mi se r re, mi se r re no

bis.

dx te ram,

ad dx te ram

Pa tris,

mi se r re,

mi se r re, mi se r re no

bis.

dx te ram, ad dx te ram Pa tris, mi se r re, mi se r re, mi se r re no bis.

Requiem K 626 Mozart Score

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Transcript of Requiem K 626 Mozart Score