Mozart Requiem

The Mass of Requiem in D minor (KV 626) of Wolfgang Amadeus Mozart, composed in 1791 , is a work of the last year of Mozart's life, but not exactly the last work of the composer. It is from the hand of Mozart for about two-thirds, death having interrupted the composition. Nevertheless, it remains one of his iconic works.His widow, Constance, in order to fulfill the order and still not have to repay the advance granted in the order, on the one hand, and to rehabilitate the memory of her husband to obtain an imperial pension on the other hand, asked Joseph Eybler and then Franz Xaver Süssmayr complete the partition . Requiem has attracted many legends, both because of the unusual circumstances of his command of the difficulty in distinguishing exactly what was in the hand of Mozart and what was not.

Summary
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 * 1 Birth of the work
 * 2 The work
 * 2.1 Conduct
 * Introit and Kyrie 2.2
 * 2.3 Sequence (Dies irae)
 * Dies irae 2.4
 * 2.5 Tuba mirum
 * 2.6 Rex
 * 2.7 Recordare
 * 2.8 Confutatis
 * 2.9 Lacrimosa
 * 2.10 Offertory
 * 2.11 additions Süssmayr
 * 2.11.1 Sanctus
 * 2.11.2 Benedictus
 * 2.11.3 Agnus Dei
 * 3 Renaissance of the work: first, scores, manuscripts
 * 3.1 First
 * 3.2 Manuscripts
 * 3.3 The quarrel of Requiem
 * 4 Reception of the work
 * 4.1 The contribution of myths
 * 4.2 Towards a "state composition"
 * 4.3 Romantic Critique: innovative product ETA Hoffmann
 * 4.4 Between commemorative music and heavenly inspiration
 * 5 Impacts
 * 5.1 The order of the work
 * 5.2 The Requiem Rio
 * 6 versions supplemented
 * 7 Discography
 * 8 The text of the Requiem
 * 9 References
 * 10 Bibliography
 * 11 External links

Birth of the work [ edit | edit the code ]
The first five steps of Lacrimosa in the "working partition". Top left, the string parts of the introduction, in the bottom right the beginning of the vocal phrase and continuo, both from the hand of Mozart. Top right, the donation of Eybler note for "the last manuscript of Mozart" on k. [Aiserliche] [und] k. [Önigliche] Hofbibliothek (Library of the imperial and royal court). On the back of this sheet, after three other measures, the Mozart manuscript stops.

In the years before his death, Mozart returned to the sacred music largely abandoned after its separation from the Prince-Archbishop Colloredo . And there are a whole series of fragments Kyrie dated from 1787 to 1791. In order to consolidate its experience in this field, he ran successfully Assistant position Leopold Hofmann, the Kapellmeister ofSt. Stephen's Cathedral in Vienna . The assistant position was certainly not paid but Mozart could hope to obtain and place of Kapellmeister, which reported 2000 florins a lucrative status. In June 1791 Mozart finished his (famous) motet for Corpus Christi, " Ave Verum Corpus ". The control of a larger sacred music work could therefore reach him.

In 1791, Mozart was commissioned a Requiem from several anonymous intermediaries acting for the eccentric Count Franz von Walsegg . Half the reward was attached to the command. Mozart conformed to the traditional form of the text of the Requiem, and simply gave up music to the Graduale the tract (the Gradual and Trait ) and the Libera me,which is generally . One model was the Requiem in C minor of Michael Haydn . At the first of this work, Wolfgang Amadeus Mozart, then aged 15, had played in the orchestra.

Gradually, as the composition progressed, Mozart health was deteriorating. At his death on 5 December 1791, he had written only the first steps of the Introit (Requiem Æternam) for all instruments and choir. In the next room, the Kyrie, and most of the twenty stanzas of the sequence Dies irae (first, Dies Iræ at the sixteenth verse Confutatis), only the voices of the choir and continuo were completed. In addition, only a few important passages of the orchestra were outlined (eg solo trombone of Tuba Mirum or more often among the first violins). The Lacrimosa, eighteenth verse (but here the sixth episode of the sequence), ended in the eighth measure, he remained unfinished. In the 1960s it was discovered a draft fugue on the amen, which was clearly conclude that Iræ Dies. The following prayer (the "numbers" following), the Domine Jesu Christe andHostias were only developed (s) for the choir and for part of the basso continuo. Missing the entire Sanctus, the Benedictus , the Agnus Dei , and Communion (Korten 1999, 104). Constanze Mozart Understandably, Mozart's widow, Constanze Mozart, was anxious that the unfinished work is completed, one reason being to not have to pay the first half of the payment paid in advance, and be able to get the second half. It therefore entrusted the task of completing the Requiem from other composers, primarily Mozart students. Constanze Mozart first addressed to Joseph Eybler . He worked in the orchestration of the stanzas of the Dies Iræ, of the first stanza to Lacrimosa, but then gave up the task for unknown reasons. It rajouta his compositions directly on the autograph score of Mozart.

Another young composer and pupil of Mozart then received the request: Franz Xaver Süssmayr who could build on the work of Eybler for orchestration. Süssmayr wrote parts of trumpets and timpani in the Kyrie (and some of the missing information from the continuo ) and completed the orchestration of the sequence and the Offertory, completed the Lacrimosa and composed other parts Mass: the Sanctus , the Benedictus and Agnus Dei . He then completed the Communion (Lux Æterna), in which he repeated the two measures of openness, Mozart had composed himself, and gave them the words of the Lux Æterna.

First page of the "partition to deliver" with the writing of Mozart. Not visible in this picture but on the sheet, the signature "di me mppr WA Mozart. 1792"(RR = me" me "mppr. = Manu propria,"my own hand ") falsified by Süssmayr according to paperwork analyzes.

While additions to Kyrie and orchestration of Eybler were directly placed on the partition of Mozart, Süssmayr rewrote a new original score sheet and additions (sometimes modifying them according to his ideas). There were then two partitions: one the "working partition" which contained the writing of Mozart and additions to Eybler, which was the basis for working Süssmayr, and also the "partition to deliver, "with the completed version by Süssmayr. The latter included a forged signature of Mozart (for Süssmayr) and was dated 1792. It was given that year to middle of Count Walsegg (unnamed). Manuscripts capital, especially the "partition to deliver" and "working partition" took between 1830 and 1840 gradually the path of Hofbibliothek Vienna (now National Library of Austria , Österreichische Nationalbibliothek, ÖNB).

Besides Eybler, other composers have certainly contributed to the completion of the work, and Süssmayr would probably also benefited from the contributions. And Maximilian Stadler would obviously made ​​at least drafts of orchestration Domine Jesu Christe. Accompaniment parts in the Kyrie, identical to the voices of the choir (parts in colla parte"with [voice] part"), also come from another hand; Leopold Nowak, editor of the Requiem in the Neue Mozart-Ausgabe, considered Franz Jakob Freystädtler as a possible author, which can not be verified evident with the writings of the analysis.

The musical motifs of the elements due to Süssmayr visibly relate to notes left by Mozart. In addition, references to other works of Mozart have been discovered. This is why it is often assumed that Süssmayr or other participants in the development of the book could use a written or oral directions Mozart himself (Mozart's widow mentioned "small debris" - Trümmer - or rather "pieces of paper").

The work [ edit | edit the code ]
The work is scored for four soloists ( soprano , alto , tenor and bass ), a choir for four voices and orchestra reduced, consisting of two basset horns (tenor clarinets), twobassoons, two trumpets , three trombones , the timbales , a string ensemble and continuo ( organ ). The absence of sharp wood ( flute , oboe ) and the horn does not go unnoticed. And the sound of the orchestra owes much to the flexible and low tones of the basset horns and strings. The orchestration, sober, reinforces the seriousness and transparency of the work, and creates a dark and austere atmosphere . We find no effects such as tremolos, of trills , or orchestral elements distributed in space, which can be heard in the Requiem François-Joseph Gossec , made ​​30 years earlier and has some similarities to Mozart's Requiem on the issue of melodic patterns.

In Mozart's Requiem (as is customary, if not the rule, in a very large part of religious music), chorus (by four votes) occupies all along the front of the stage, there only short purely instrumental passages. With few exceptions, the orchestra only serves the choir. This is also the case for soloists, they appear to be less important than the choir, and are mainly used in vocal ensembles (except in the Tuba mirum). Aria (s) and other similar forms of virtuoso soloist are totally absent, unlike other works of sacred music and, a fortiori, the opera , so many of his contemporaries as Mozart. The choir, meanwhile, considerable freedom, if only in the Kyrie, allowing it to deploy its magnificence.

The tone of the main Requiem is D minor, often associated with severe atmospheres tone or relating to the afterlife - as in the scenes of the Commander in Don Giovanni or the string quartet Death and the Maidenof Franz Schubert . If we disregard the Sanctus in D major (not written by Mozart), tones which succeed - or D minor, either neighboring tones of the latter - have in common though constituting downside : F major ,minor and B flat major (with the exception, however, the tone of the minor ). The links between the different tonal sections often go through the mediant - for example, tonic, D, is the mediant of the key of B flat when moving from the tone of the minor key of B flat major (which is simply the subdominant the relative key , so a tone closely related to the first).

The duration of a representation is about an hour (depending on the degree of completion of the version and tempo chosen by the conductor).

Procedure [ edit | edit the code ]
I. Introitus ( Introit ): Requiem æternam, Adagio, re m (choir, soprano solo, chorus)

II. Kyrie , Allegro, D m (double fugue ) (Chorus)

III. Sequentia ( Sequence ) IV. Offertorium ( Offertory ) V. Sanctus, Adagio and Fugue D M Osanna (Chorus)
 * 1) Dies irae, Allegro assai, re m (Chorus)
 * 2) Tuba mirum, Andante, Bb M (solo quartet)
 * 3) Rex tremendae, floor m (Chorus)
 * 4) Recordare fa M (solo quartet)
 * 5) Confutatis, Andante, the m (Chorus)
 * 6) Lacrimosa, re m (Chorus)
 * 7) (Amen), D m (Chorus)
 * 1) Domine Jesu Christe, Andante con moto, floor m (choir, solo quartet), fugue Quam olim Abrahæ (chorus)
 * 2) Hostias, E flat M (Choir) and repeat the fugue Quam olim Abrahæ

VI. Benedictus, Andante, if M (solo quartet) and Osanna fugue (Chorus)

VII. Agnus Dei, re m (Chorus)

VIII. Communio ( communion ): Lux æterna, Adagio, re m (solo soprano, chorus) + Allegro, D m (double fugue, chorus) (= Introit and Kyrie from Mozart)

Introit and Kyrie [ edit | edit the code ]
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Introitus, Bruno Walter, 1956.

First measures of the Requiem and introduction of the main theme - above the basset horns, bassoons down ( audio clip )

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Kyrie, Bruno Walter, 1956.

Requiem begins with an instrumental introduction of seven measures, in which the timber (first bassoons and basset horns) are the main theme of the work in a sequence contrapuntal imitation. The model is the anthem composed by George Frideric Handel (chorus The ways of Zion do mourn extracted from the dirge for Queen Caroline, HWV 264), easy to remember, mainly because it is a succession of black in joint movement. In several parts of the work there are references to this passage, especially in coloraturaof the fugue of the Kyrie and the conclusion of Lacrimosa. All references network is of great importance in the work.

Paperclips then announce the entrance of the choir, which sings the theme, the only low first during a measurement, then imitated by other panels.The strings play the accompanying figures, syncopated and shifted by a sixteenth note, highlighting the solemn and regular nature of the music. A soprano solo is sung on the text of Te decet hymnus (in the "tone Peregrine", also called the  Gregorian mode). The choir then moves on the same grounds. Then the main theme is treated by the choir and orchestra in sixteenths of chains sliding down. Prices of melodies, "maintained" up or sliding down, change and intertwine, more passages in counterpoint and declaimed passages agree (Et lux perpetua) alternate; All this makes the charm of this stanza, which ends with a half cadence on the dominant (the major).

First measurements of the Kyrie. At low, the main theme (the text of the Kyrie eleison) in the viola, the cons-topic Christe eleison ( audio clip )

Lower the choir, 33f extent Kyrie. Chromatic variation against-subject ("gargle" according to Weber) ( audio clip )

Without pause ( attacca ) follows the driving of the Kyrie fugue, which also contains a theme by Handel . Mozart knew the subject, after setting theMessiah Handel (see verse chorus And with His stripes we are Healed after the Messiah) and the final chorus of Handel's Dettingen Anthem, HWV 265, which contains at the same time against-about the theme of the fugue. Contrapuntal motifs of the theme of this fugue repeat the two themes of the Introit and make changes. First diatonic, the consequences of rising sixteenth notes are relayed by chromatic sequences, which has the effect of increasing intensity. This passage proves somewhat demanding on high, especially for soprano voice (if that rise up above the range). A final formula in a slow tempo (Adagio) ends on a straight "empty" (without a third agreement), which in the classical era sounds archaic, wanted a return to an ancient past.

Sequence ( Dies irae ) [ edit | edit the code ]
The beginning of the Dies irae in the manuscript with orchestrating Eybler. Top right, the note Nissen: "Everything that is not fenced in pen out of the hand of Mozart to page 32." Parties "closed" (eingezäunt) as can be seen the image, the winds (lines 4-7) and from the measurement 5 second violins and violas (lines 2 and 3). The parts of first violins (line 1), the choir (lines 8-11) and the figured bass (bottom row) are fully Mozart.

Dies irae [ edit | edit the code ]
The Dies irae begins without introduction and power, the orchestra and the choir was full. The terrible calls the choir are reinforced with a tremoloof the orchestra and syncope introduced in choirs breaks. Immediately after, the first violins play many chromatic sequences of sixteenth notes until the resumption of the stanzas of the choir. A passage that effect, repeated three times: the alternation "trembling" of the G-sharp and the eighth, interpreted by the continuo, violins in the lower register and bass in unison on the Text Quantus tremor is futurus ("What terror invade us,"in reference to the Dies irae , the day of Judgment) - Mozart was inspired by clear text.

Tuba mirum [ edit | edit the code ]
This is also the case in the following stanza Tuba mirum, introduced by a three-note chord arpeggio played in B flat major (your neighbor D minor) by an alto trombone solo, unaccompanied - as usual translation tuba German by Trombone (trombone). Two steps later, the bass soloist begins an imitation of this theme. To measure 7, comes a high point, the only time of the whole work, which could be considered a solo cadenza . The last black bass soloist see the arrival of the tenor soloist, followed similarly by viola soloist and soprano soloist in a tone quite dramatic. The textCum vix Justus sit securus ("When the righteous scarcely certain"), the song passes a stanza homophone sung by four solo voices that unaccompanied articulate the cum and vix on time "strong" in measurement (1st and  while the time "weak"  and  violins and continuo meet; this "interruption" (which could be interpreted as the interruption before the Last Judgment) is first heard muffled ( sotto voce ) and strong piano and immediately after, and finally lead to a crescendo at a perfect cadence .

Rex [ edit | edit the code ]
A descending melody notes made ​​prolonged and performed by the orchestra announced the "King of awful majesty" (Rex tremendae majestatis),which is called by three powerful chords of the chorus on the syllable Rex during the orchestra breaks. Surprising because the choir Rex fall on the second time measurements, short time if any. The choir then resumes rhythm pointed the orchestra surpointé in most major interpretations, which, if we take the word of Greek origin used by Wolff, is known in the Baroque music, such as " topos of tribute to the sovereign "(Wolff). In French, we say, simply, that it is a descriptive characteristic formula of homage to go to the royal person. The sequence has 22 steps, but in this short period rich in variations: homophonic choral passages and counterpoint alternate several times and in the end lead to a rate of almost unaccompanied choir, which in turn ends on a without third agreement in D minor (as already in the Kyrie).

Recordare [ edit | edit the code ]
It continues with the 130 steps of the longest sequence of the work (and the first in action odd, actually measuring 3/4), the Recordare in which no fewer than six stanzas of the Dies irae is processed. The construction of this piece is a bit like the sonata form with an exhibition on two themes (measures 1 to 37), a development of the two subjects (measures 38-92) and a recapitulation (bars 93-98).

In an introduction of 13 measures, basset horns are the first to present the first theme enriched by a beautiful counterpoint to the cello in ranges down will be reused extensively throughout the movement. This counterpoint to the first theme extends the orchestral introduction with the strings. This introduction recalls the beginning of the work, its rhythmic and melodic shifts (the first basset horn begins one measure after the second basset horn, but a higher tone, the first violins are related to second fiddle, but a black offset, etc.). There followed the solo voices with this first theme sung first viola and bass (measure 14) and the soprano and tenor (measure 20). Each time, the theme concludes with a hemiola (measures 18 and 19 and measures 24 and 25). Comes the second theme of the text Do Perdas me against which the accompaniment contrasts with that of the first theme. Instead of descending scales, support is limited to repeated notes in the strings. The exhibition concludes with four-conductor based measures against-the first theme song measures 34-37.

The development of these two subjects is 38 begins on the text Quaerens me; The second theme is recognizable only by its support structure. At bar 46, the first theme that is developed from Tantus Labor and text concludes with two measures hemiola measures 50 and 51. After two conducting measures (52 and 53), the first theme is again heard on the text Just Judex and ends with a hemiola (measures 66 and 67). Then it was the turn of the second theme is reused on the text ante diem rationis. After four measurement conductor (68-71), the first theme is only developed it. It is a dazzling constantly renewed combinations, especially with the return of melodic motifs, constantly varied, first on in gemisco then with Mariam Who absolvisti.

The recapitulation intervenes measure 93. The initial structure is reproduced with the first topic on the Preces text me then measure 99 on the text you Sed bonus. The second theme reappears a final measure 106 with the text you Sed bonuses and concludes with three hemiolas . The latest measure of movement are entrusted to the orchestra sounded a final counterpoint in descending scales.

Confutatis [ edit | edit the code ]
Measure 25 of Confutatis. At the bottom: the basso continuo (non-encrypted); above: the choir for four voices singing Oro supplex and acclinis. Modulation of minor to B flat minor ( audio clip )

The following Confutatis dazzles with a rhythmic, dynamic and strong contrast and surprising harmonic twists. Accompanying a low figure of "rolling" the male part of the choir sings the high hellish vision of a dotted rhythm "sharp" (Confutatis maledictis, Flammis acribus addictis = "Having condemned and cursed be assigned the cruel fire"). The bass continuo stops and female voices of the choir sing softly and sotto voce prayer elected (voca me cum benedictis "call me with those you have blessed"). Finally, in the next verse - that of the "penitent prostrated" (Oro supplex and acclinis "Begging and prostrate, I pray thee") - you can hear an enharmonic modulation of minors to a minor seventh chord and diminished fifth to mid  ⁷ and finally flat minor; this dramatic lowering of starting your (minor) is repeated with a powerful effect, until the key of F is reached, now major. A seventh chord on brings us to the last part of the Dies irae (from Lacrimosa), which is linked together without a break.

Lacrimosa [ edit | edit the code ]
The strings on a piano begins rocking rhythm in 12/8 interspersed with sighs, which will be repeated by the chorus after two measures (Lacrimosa dies illa = "This one [is] one day with tears"). So after two measures sopranos of the choir began to move, first diatonic way, eighth disconnected (the text resurget = "will be reborn") and legato and color into a powerful crescendo. We already get to high to measure 8 - Mozart and interrupts the manuscript there. Süssmayr continues homophony of the choir, which results in a quote from the beginning of the Requiem (the sopranos) and ends with an "Amen" cadence into two agreements. Some measures of this piece are quoted in the Requiem Franz von Suppe that he admired [unintelligible] .

Offertory [ edit | edit the code ]
The first movement of the offertory, the Domine Jesu, begins on a piano singing theme of (the sopranos of the choir) in an upward progression on a three sounds Agreement in G minor. This theme will vary on different degrees later harmonics in shades of flat major, B flat minor and the major third of B flat, D. The solo voice then process in the gun descending at the fifth, where the third constantly varies between the minor mode (uphill) and the major mode (downhill). Between these thematic passages are the sentences sung articulated strong, often in unison, and dotted rhythm (when Rex gloriae = "King of glory" or also of ore leonis = "[deliver them] of the lion's mouth "). This diversified embrace again be varied through a fugato choir with very large intervals (the text absorbeat eas Tartar, do Cadant in obscurum = "so that the horrible gulf does not swallow them and they do not fall in the place of darkness "). The movement ends with Quam olim Abrahæ ("formerly of Abraham"), which initially has the style of a fugue, and then turns into a lively homophone movement ends in G major.

Measure 46 of Hostias where the choir for four voices sing Fac eas, Domine, ad vitam dead transire of E flat major to D major solemn tone - "Lord do they pass from death to life ".

The E flat tone leads to Hostias on a 3/4 rhythm. The fluid movement vocal turns after twenty measures isolated exclamations of the choir, alternating between forte and piano. If this increased Assistant harmonic activity: a harmonic progression first from B flat major to B flat minor, then to F major, D flat major, A-flat major, F minor, minor, and leads again in E flat major. A surprising chromatic melody, the college text eas, Domine, de morte transire ad vitam ("Lord, make them pass from death to life") ultimately leads to major, that closes again fugue Quam olim Abrahæ. The set repeat this part ("Quam olim da capo") is probably the last thing that Mozart Requiem written on. The handwritten note was probably lost during the 1958 World Fair in Brussels, where the partition was presented: the lower right corner of the last page where it was written, was apparently torn and stolen by a person whose identity remained unknown. Note, however, found on facsimiles.

Sanctus [ edit | edit the code ]
The Sanctus is the first movement written entirely by Franz Xaver Süssmayr, and the only one of all the Requiem to install a tone with frame sharps "(ie D major, solemn tone, typically used when entering the trumpets to Baroque era). After a very brief glorification of the Lord follows a measurement fugal movement 3/4, the text Osanna in excelsis ("Glory [God] in the highest heaven"), remarkable for its rhythm syncopated .

Benedictus [ edit | edit the code ]
Benedictus involves the quartet of soloists. It adopts the tone of the above-dominant, B flat major (which can also be considered relative to the subdominant of the key of D - minor this time).The Sanctus had ended on a cadence in D major and entry into the high tone away from B flat major is a cleverly fa (non-harmonized) that says the tone in the third beat of the measure with the dominant-tonic tone sequence of B flat major.

This movement is built from three types of sentences, the theme (A), presented by the orchestra and taken measures 4 by alto and measures 6 by soprano. The word benedictus landed a long note which opposes the second sentence type (B), heard for the first time is 10, where the same word is pronounced on a fast pace. This sentence develops and rebounds is 15 with a broken cadence. The third type of sentence (C) is a solemn ring where the winds meet the strings on a staggered harmony with the measures; this sentence is completed very smoothly on a morzartienne cadence (steps 21 and 22) where the counterpoint basset horns mingles gently line the cello.

Following the movement takes this pattern by varying writing. Measure 23, the subject of the sentence (A) is taken on a pedal FA and introduces a recapitulation of the sentence (A) almost identical to the original, the bass and the tenor is 28 measure 30. The sentence (B ) is custom recovery 33, but without the deceptive cadence and repeated measures 38 with the broken cadence. It leads to a new rate Mozartian measures 47-49 and led to the phrase (C) that calls the fugatto the Osanna .

The Osanna in excelsis reappears, keeping the key of B flat major and with vocal variations. The expected return to the tone of the first Osanna, D major, does not occur, thereby maintaining a tonal unity thatBenedictus .

Agnus Dei [ edit | edit the code ]
Homophony dominates the Agnus Dei . The text Agnus Dei is taken three times, always with chromatic melodies and harmonic shifts, ranging from minor to E major (and then returning to B flat major). Low intone here the theme of the first movement ( Requiem Æternam ). This movement connects directly to the Lux Æterna with the mention Attacca ("attack following without interruption"), which uses the music of the first movement of Mozart (from Te decet hymnus ) and that of the Kyrie almost note for note although on a different text.

First [ edit | edit the code ]
High altar for the church of St. Michael The Frauenhuber coffee is now at the site of the old restoration Jahn There are some indications referring to a first embodiment (partial) Requiem, long before the work has been completed, ie December 10, 1791 (four days after Mozart's funeral in the chapel of the Crucifix located on the north side, outside of St. Stephen's Cathedral) at the Mass of Requiem that Emanuel Schikaneder and Joseph von Bauernfeld organized in St. Michael's Church (de) in Vienna, where you can find today a plaque describing this. However, only the first two movements, the Introit and Kyrie, were interpreted, the other is not yet completed. We do not know what instruments were used on this occasion.

The first of the complete work took place January 2, 1793 in the dining room Jahn, where Mozart gave, in 1791, his last performance as a pianist. It was organized by Gottfried van Swieten as part of a benefit concert for Constanze Mozart and his children. The show seems to have been given with copies Constanze Mozart and Süssmayr have done before delivery of the score. This was probably done without the knowledge of the Earl of Walsegg which, having commissioned the work, thus had the rights.

Only 14 December 1793 (in the Abbey Cistercian Neukloster at Wiener Neustadt ) has held the first meeting performance criteria of the order and respecting the original intention, namely celebrate the obit 9 of late Countess of Walsegg. According to the story of one of the musicians present [ref. TBC]10, the count of Walsegg himself directed the work, using a copy of the partition on which it had registered as an author - method he apparently used frequently (this which would also explain the limited order). Another execution took place February 14, 1794, on the third anniversary of the death of the Countess of Walsegg, to the church of Maria Schutz (de), at the base of the neckSemmering (de) (common Schottwien in Lower Austria ).

The reputation of the work spread beyond Vienna and Wiener Neustadt with a concert at the Gewandhaus in Leipzig, April 20, 1796, under the direction of Johann Gottfried Schicht , future cantor of St. Thomas Church . The announcement of the concert was preserved, so some details are known. Following the Requiem, which lasts about an hour, were planned other Mozart works with two interpreters: Constanze Mozart (vocals) and August Eberhard Müller (organ). Müller later became the editor of the original printing of the score.

Manuscripts [ edit | edit the code ]
There is already a detailed mention of the Requiem in the first biography of Mozart, written by Franz Xaver Niemetschek and published in 1798. The fragmentary nature of the work as well as the limited control are discussed.

The publisher Breitkopf & Härtel addressed aware of Constanze Mozart 1799 about obtaining wealth Mozart as well as the ability to edit the partition of the Requiem . While negotiations on obtaining the Heritage failed, those on partition edition were more successful - among others, by the fact that Constanze Mozart did not have the rights to the work. The publishing house already has a copy of the score, tried to obtain more detailed information about the copyright, the author of the work itself, and the existence of accurate partitions. Constanze Mozart sent to Breitkopf & Härtel his copy of the score so that they can adjust to them and advised them to contact Süssmayr about the details regarding the completion of the work. Indeed, Süssmayr explains in a letter to the publishing house dating from February 1800, essentially fair, his contribution to the Requiem. It seems he has not demanded that his name be mentioned, because shortly after Breitkopf & Härtel were printed the first edition of the score, mentioning only Mozart as author and leaving no show the fragmentary nature of the work. Mozart's obituary in the Musikalischen Korrespondenz der Gesellschaft teutschen Filarmonischen of 28 December 1791 The advertisement that the publishing house was about the work attracted the attention of Count Walsegg who came out of anonymity and imposed its requirements Constanze Mozart, requirements that seemingly could be settled by compromise. Following its pressures, but perhaps also in the interest of Constanze Mozart - who had willingly provided and sold the original score to the publisher Johann Anton André, acquired the estate of Mozart - took place at the Fall 1800 a memorable encounter the notary office of  Johann Nepomuk Sortschan, acting on behalf of Walsegg. All important manuscripts were present: partition delivered to count; the working partition that was once in the hands of Constanze Mozart; then a copy of the original print Breitkopf & Härtel. Maximilian Stadler and Georg Nikolaus Nissen (the second husband of Constanze Mozart) represented the Mozart family. Stadler had organized the succession of Mozart, so he knew the writing of Mozart. It is also likely that he participated in the instrumentation of the "Offertory"; whereby it fell to him to separate portions of Mozart those Süssmayr. This was done, among others, by excluding work partition passages are not penned by Mozart. The notary wrote down the result of this snack and confidentiality was agreed. Then returned to the original owner.

We can say that it is from this point that the "Mozart Requiem" could be considered as a work uniform: the legal aspect was clarified, an edition of the score was available on the market - soon followed a piano reduction (edited by Johann Anton André in 1801) and vocal scores (1812 in Vienna) (Mozart is always named as sole author) -, representations, the partition studies and reviews were now possible. On the other hand, the contribution of Süssmayr was also known to the public, following the publication of his letter to Breitkopf & Härtel, mentioned above, in the Allgemeine Zeitung musikalische . Until 1825, the work is hardly mentioned publicly.

The quarrel of Requiem [ edit | edit the code ]
In 1825, Jacob Gottfried Weber, editor Cäcilia - Zeitschrift für die Welt musikalische , published an article entitled "On the authenticity of the Requiem of Mozart ", which provoked considerable controversy. Not only he recalled that Mozart was not the sole author of Requiem and hitherto the public had no document proving authorship, but also questioned the idea that is published score of Mozart, and suspected that Süssmayr has masterminded everything from blanks. This, however, attracted big trouble by linking the issue of authenticity to an aesthetic evaluation. Thus he described the coloratura color of Kyrie as a "wild gurgling" and pronounced it very disrespectfully about, among others, the abrupt contrasts Confutatis - he did not assign without evidence to Mozart.

Weber's attack reached a wide audience and triggered strong reactions. Ludwig van Beethoven noted the following comments on the sidelines of the article, on its copy of Cäcilia : "O thou arch-ass" and "O you double-ass" 11, likewise, Carl Friedrich Zelter gave an unfavorable opinion of Weber in a letter to Goethe . But Weber was not the only critic. Hans Georg Nägeli and rejected the unconventional harmonic arrangement Kyrie "For such a violation of the affinity of tones ... the fugue becomes barbaric tonal rush. " 12 This leads to an intense debate on the question of authenticity and aesthetic evaluation of the work, which manifested itself in various magazines (including Cäcilia, the Allgemeine Musikalische Zeitung and Berliner Zeitung Allgemeine Musikalische ). On the question of authenticity, it is especially Maximilian Stadler response that was significant. He referred to the meeting of the fall of 1800 mentioned above, and made ​​public for the first time, and made ​​reference to Mozart's manuscript: "I recently had this original twice in hand and have reviewed closely. " 13 And he argued first that Mozart "chose the great Handel as a model for the serious things related to singing, "and noted that the Anthem for the Funeral of Queen Caroline (Motet for the funeral of Queen Carolina) could serve as a model for the first text sung in the Requiem . This was not only bring water to the mill of Weber, who by his response published in Cäcilia argued that the Requiem andKyrie were to be regarded as Mozart's sketches from Handel since refused to assign a plagiarism Mozart. It is likely that Weber would substitute for the free use of models that Mozart was a notion of original design that does not correspond to reality [citation needed] .

Still, the attack on Weber made ​​sure that in the years that followed, Mozart's manuscripts were brought to light. First, Johann Anton André could make 1827 a first authorized edition of the Requiem by Mozart's manuscripts and Süssmayr, then two years later, a special edition of the sequence Dies irae and the Offertory containing the partition Mozart. In 1829, Stadler sold the manuscript of the sequence he had toHofbibliothek Vienna (now Austrian National Library ), and in 1833 received the same library of manuscripts Eybler fragments of Lacrimosa and the Offertory . Finally, the library acquired in 1838 delivered to the partition Walsegg count, so that - apart from the outline of the fugue on the amen mentioned above - all original documents were publicly available. They underpin the continuing controversy until today of the "true" form of the Requiem .

The work of reception [ edit | edit the code ]
Despite the complex history surrounding its origin and its publication, the Requiem is the first great work of Mozart's sacred music for printing. It enjoys continued popularity hardly affected by the economic situation of its receipt. The causes are not purely musical: the myths and mysteries surrounding Mozart's death played a very big role.

The contribution of myths [ edit | edit the code ]
The last days of Mozart  Lithography Friedrich Leybold 1857 from a description of Franz Schramms From the start, the reception of the Requiem of Mozart was surrounded by the legends surrounding its creation and the death of Mozart. An early example is an article byJohann Friedrich Rochlitz published in the Allgemeine Musikalische Zeitung of 1798, ie before the first impression of the partition 14 . Rochlitz it depicts a "gray messenger" as coming from beyond. Mozart would have been absolutely convinced "the man with the noble air is an unusual being in close contact with the world, or even sent to announce his end." He then worked on the work day and night, until exhausted, since he believed "work this piece for his own funeral." Such intervention of the forces of the afterlife would not be surprising, "since was realized a work as accomplished." The story is based only on the little reliable information transmitted by Constanze Mozart and does not coincide with the observation made ​​on autographs documents, which, themselves, do not reveal any signs of haste 15 .

This story, however, increased the curiosity is attracted Mozart's last work and was later taken - more colorful, among others, by rumors that Mozart was the victim of poisoning, possibly committed by his rival Antonio Salieri (cf. . Wolff, 2001,  9 ). This legend played a central role in the reception of the work, since the beginning of xix thcentury until today, since the tragedy Mozart and Salieri of Alexander Pushkin (as Nikolai Rimsky-Korsakov used as a model for his opera the same name) to Amadeus of Miloš Forman .

It is also Rochlitz, who in an essay entitled "Mozart and Raphael" published in the Allgemeine Musikalische Zeitung 16, lays the foundation for a parallel between Mozart and the Italian painter of the Renaissance , Raphael . He became aware in the course of the XIX th century to describe Mozart's "Raphael's music," to portray him as a serene composer, favorite of the gods, which ennobled whatever it touched 17 . This is in line with this tradition that the Requiem takes the form of a sort of Passion Mozart reminiscent of Christ - another consequence of a blurring of the work and a fabulous charged biography.

To a "Status composition" [ edit | edit the code ]
The work became early a typical example of the " sublime "in music. The concert April 20, 1796 (mentioned above), it can be said that the director of the orchestra of the Gesellschaft Musikübenden at Gewandhausin Leipzig , Johann Adam Hiller, also choirmaster (" Kantor ") of the church St. Thomas , was the work in a very high regard - as Gruber, because "it was the best fit to the musical taste pathetic " 18 . J.Adam Hiller noted the words: " Opus ultimate viri summi "(" Supreme Work of the supreme man ") on its copy of the score. Above all he gave a German version of the text and thus fulfills an important condition for passing the work of the religious world (if not liturgical ) to the secular world, that is to say of the church to the concert hall. When he gave the Messiah of Handel, J.Adam Hiller led to emphasis the great choirs met in the score, increasing their original numbers. Then it helped to produce an impression of monumental. He did the same in its interpretation of Requiem by Mozart.

From the beginning of xix th century, the Requiem also became, in German-speaking regions, and soon beyond, a sort of "state composition" 19 . It was sung in Berlin in 1800 by the Singakademie for the funeral of its founder, Carl Friedrich Fasch . The German writer Jean Paul, present-this day, the ceremony and described what he had heard, in a letter to Johann Gottfried Herder He exalted to the difference between the "Mozart storm" and the "song nightingale " 20 . The Requiem rang in 1803 at solemn funeral Friedrich Gottlieb Klopstock ; in 1808-1810 during the annual festivities at Castle Ludwigslust, celebrated in memory of the late Duchess Louise Charlotte of Mecklenburg-Schwerin ; in 1812 in Vienna for the unveiling of a monument to Heinrich Joseph von Collin and Berlin at the funeral of the widow of the King of Prussia; in France and in Naples at the funeral of a French general 19 ; Later during the official funeral of Ludwig van Beethoven , Chopin and many other musicians.

Romantic criticism innovative product ETA Hoffmann [ edit | edit the code ]
The early Romantics, for the most part, very appreciative secular music of Mozart and placed to the rank of a "religion of art". It does, however, was not the same with his sacred music, which was criticized as well as the masses of Joseph Haydn, at a time where we admired the musical style polyphony and counterpoint of Palestrina , the master of the Sistine Chapel , which knew, like others in the last third of the xvi th century , reflect the recommendations of the Council of Trent . Sacred music of the classical period had the reputation of being too secular, written in an operatic style and virtuosic, thus obscuring the religious message.Ludwig Tieck supporting, through one of the characters of his Phantasus that music would be " the most religious "arts and could be" pathetic and uphold its strength and virtue, or want to flourish in despair. "Following directly refers to Mozart and the Requiem, "I would have not have any feelings ... if I had to honor and worship the rich and profound genius of this artist, though I felt dazzled me with his works. Only, one must want me to hear any Requiem of his hand, or try to convince me that he and most new can compose a truly religious music " 21 .

Critics of this type played an important role during the Romantic period and later, towards the end of the century, when creating the Cecilian movement ; in fact, the Requiem is exempt from this criticism in the most important discussion "romantic", namely in the article by Ernst Theodor Amadeus Hoffmann appeared in the Allgemeine Zeitung musikalische of 1814, entitled "Old and new sacred music" 22 . Hoffmann mercilessly criticizes "the suave and nauseous character" of the new sacred music and does not exempt masses of Joseph Haydn and Mozart, which were in any case made ​​to order. Mozart would "open his heart, however, in a single sacred work: and will be moved by the most ardent prayer, the most holy ecstasy that comes in? His Requiem is what the new age of Christian religious service brought greater. "The musical justification is worthy of attention: Mozart refrained from using" colorful figures, sometimes disheveled "and exuberant, used so often elsewhere approvals, which could appear as" the glittering tinsel "in a work religious. It also focused new instrumental possibilities of Viennese classicism to the glorification of "pure religious sentiment." In a revealing way Hoffmann criticism that mirum Tuba, the only place that allows or requires a "glow" soloist, he too "in the style of oratory . " He adds a note criticizing the practice of profane representations and monumental "The Requiem played in a concert hall is not the same music; [That is] the manifestation of a saint to the ball! ".

Article Hoffmann had a huge impact on the reception of the work and is constantly quoted directly or indirectly. We even found in Alfred Einstein remark that the trombone solo Tuba mirum gives the impression of wanting to happen, instead of announcing the end times and spreading fear of Judgement - this would be the most problematic moment in parts of the Requiem Mozart due to 23 .

Today, Nikolaus Harnoncourt judge the Requiem of Mozart as "the unique work of Mozart autobiographical" 24 .

Between Memorial music and heavenly inspiration [ edit | edit the code ]
The fact remains that the Requiem continued to be played frequently at funerals or memorials as a representative part of the funeral music: it was so, for the funeral of Napoleon Bonaparte during the "Pantheon" of his body transferred to the Hotel des Invalides and the 100 th anniversary of Mozart's death, at St. Rupert's Cathedral in Salzburg in 1891 . And even later, in the Soviet Union recently founded: the Requiem was performed on 1 st May 1918 for the "Martyrs of the Revolution" in the Winter Palace in St. Petersburg, and then shortly after for the 100 th anniversary of Karl Marx and the 1 st anniversary of the October Revolution25 . Notably, in 1834, at the Paris performance of the opera Don Giovanni ( Don Juan ), Mozart, the final sextet (sung after the descent into hell of the protagonist), which was considered too secular and therefore often omitted, was replaced by passages of the Requiem 26 . While Mozart's operas became scarce in European cinemas (in 1870, approximately), the Requiem, he continued to be played - during "appropriate opportunities" 27 . But this ritual did not escape criticism: George Bernard Shaw, a great admirer of Mozart, mocked the "spirit of devout melancholy" which was embodied in the choice of works at such ceremonies.And in 1915, Karl Kraus wrote his poem At the sight of a strange show . This, in fact, announced a representation of Requiem for charitable purposes, while the thrust expressing it (stakeholder in the patriotic fervor) saw only mortars, into the drawing of a church window on the poster. Kraus opposed the "heavenly music" of Mozart to the propaganda that accompanied it. He was contrasting the Requiem of Mozart with the "Requiem" Europe: the First World War 28 .

The disk recording of the Requiem, the Hitler era - 1941 - (by Bruno Kittel directing the Berlin Philharmonic ), for the 150 th anniversary of Mozart's death, is an extreme example of the state grabbing the work, such as Kraus had criticized 29 . Here, all the elements too clearly reveals the Jewish origins of Christianity were removed from the text, the Nazi regime. So we find "You decet hymnus, Deus in Coelis" instead of "Deus in Zion" (that is to say, "God in heaven" instead of "God of Zion " ), and "here in terra" ( "Here on Earth" ) instead of "in Jerusalem" ( "Jerusalem" ); "Quam olim Abrahae promisisti" ( "What you promised Abraham" ) becomes "Quam olim homini promisisti" ( "What you have promised once to man " ).

After World War II, German theologians confessions Lutheran and Catholic, such as Karl Barth and Hans Küng , attached themselves to develop the idea that it was possible to detect, in the works of Mozart, "traces transcendence "as well that" a unique and direct access from God to man. " They thus brought a vision that was in no way subject to various earthly powers 30 .

The order of the work [ edit | edit the code ]
Some legends hanging over this work.Recent studies have shown that the Requiem was composed at the request of Count Franz von Walsegg for the first anniversary of the death of his wife (the character used to commission works from other composers to do impersonate his). Wanting to keep this discrete control, he sent an intermediary to deal with Mozart. Immersed in the writing of The Magic Flute as well as La Clemenza di Tito among others, Mozart begins Requiem . The composer created most of it in bed Requiem for then decreased very physically. On 4 December 1791, he took advantage of a transient improvement in her condition to interpret the parties with his friends already composed the Requiem. His condition suddenly worsens in the evening of 4 despite the presence of two of the best doctors in Vienna . He died onDecember 5 around one in the morning. Constance, wife of Mozart, asks Franz Xaver Süssmayr (a pupil of Mozart would have received the latest master's instructions) to complete the masterpiece, in order to reach the promised sum to the end of the work, the Count Franz von Walsegg and, secondly, to honor the last wishes of her late husband. Constance asked the same job completion to other students, Joseph Leopold Eybler Franz Josef Freystädtler, considered by Mozart himself as more talented than Süssmayr, but these time constraints, have quickly abandoned.

Requiem Rio [ edit | edit the code ]
December 19, 1819, the Viennese musician Sigismund von Neukomm diplomatic mission (between 1816 and 1821) 31 in Rio de Janeiro was give the Requiem of Mozart concert for the feast of St. Cecilia. It was the annual commemoration in memory musicians who died in the year. But the work did not Libera me and could be suitable for a religious ceremony. He wrote in 1821 a Libera me to complete the work. "I enclose aLibera I made ​​to run after the Requiem of Mozart according to the rite of the Catholic Church, " wrote the composer at the permanent secretary of Stockholm's Royal Academy of Music, Mr. Pehr Frigel the December 1822 31 . Neukomm therefore wrote a Libera me for chorus and orchestra (without soloists). The full version of "Neukomm" was given only once to Rio de Janeiro and then forgotten.

The instrumentation is based on that of Mozart and cites verses Dies illa and Requiem 31 , 32 . The partition door metronome markings, interestingly, since the metronome was invented in 1812, some twenty years after Mozart's death. This could therefore provide such information on its partition. However, Neukomm had heard one of the first interpretations of the Requiem in Vienna by musicians who had known Mozart. Such an interpretation has been given to the tempo desired by Mozart himself and thus transmitted to Neukomm. The metronomic indications on the partition of the Libera me so could specify the desired tempo in the implementation of various sequences of Requiem .

World premiere since then, two executions of the Requiem, concluded by the Libera me Neukomm took place in November 2005 (19 for the first) to Sarrebourg , in Moselle . Under the leadership of Jean-Claude Malgoire, conducting the orchestra and La Grande Ecurie du Roy House and the vocal group called the Kantorei Saarlouis (in Saarlouis , Germany), a recording of the second concert was used to support the creation of first CD Requiem supposedly "full". The work has yet been given on 10 March 2006 in Lievin, during the commemoration of the disaster Courrieres , and in May 2006 in Lyon by the Choir of the Ecole Normale Supérieure de Lyon .

The partition of the Libera me was edited by Symmetry, a Lyons publisher, from the autograph copy kept in Stockholm Neukomm funds from the National Library of France . An original copy is kept in Paris and two in Brazil. One of the hand of a copyist of Rio de Janeiro; the other is later (1871) 31 . It seems that Neukomm has brought to Europe almost all scores he composed in Rio de Janeiro.

The score consists of six sections.
 * Libera, Allegro non troppo (black = 92), in D minor, measures 43 3/4;
 * Tremens factus sum ego, Largo (quaver = 66) in G minor, measures 8 4/4;
 * Quando sunt coeli movendi, Allegro (black = 104) in F major, measures 23 3/4;
 * Dies illa, Allegro (black = 120), in G minor, 27 measures 4/4 (quote from Dies Irae from Mozart but with text Dies illa, dies irae, calamitatis and miseriae (
 * Requiem, Adagio (quaver = 80) in D minor, measures 15 4/4 (quote from the Introit of Mozart);
 * Libera, Allegro non tropo (black = 92), D minor, 42 measures to 3/4.

Completed versions [ edit | edit the code ]
For completed version refers to the instrumental and vocal additions missing parts of the Requiem of Mozart's own hand.

Franz Xaver Süssmayr (1792) : first supplemented. Probably based on oral indications and / or written by the composer, as well as attempts to reconstruct the work of Josef Franz Josef Eybler Freystädtler. The version contains errors of musical language.

Marius Flothuis (1941) : version originally developed by the assistant artistic director of the Concertgebouw Marius Flothuis for the leader Eduard van Beinum. The version mainly refers to the version of Süssmayr but contains amendments parts of trombones and corrects mistakes encountered in the musical language.

Franz Beyer (1981) : corrects mistakes in the original version and made ​​a slight extension of the Hosanna .

Richard Maunder (1986) : The version of R. Maunder trying to erase all traces of Süssmayr (thus omitting the Sanctus and Benedictus ) by restoring the Amen which the sketch was found in 1960 in the Berlin State Library ( Berlin State Library ) by Wolfgang Plath, musicologist Mozart specialist.

Robert Levin (1995) : version presents another restoration of the Amen, corrections in the trombone parts and musical language, and an extension of the Hosanna . In addition to being extended, the transition of the Benedictus to the fugue Hosanna is rewritten to keep the tone consistent. The Lacrimosa is rewritten in his last steps to announce the Amen . The Agnus Dei has melody and tone changes in some places.

The text of the Requiem [ edit | edit the code ]


!ORIGINAL VERSION (LATIN) !FRENCH TRANSLATION
 * Introitus
 * Introitus
 * Introitus


 * Requiem:
 * (Chorus)
 * Dona eis requiem æternam, Domine,
 * lux perpetua eis and luceat.


 * (Soprano)
 * Te decet hymnus Deus, in Zion,
 * and tibi reddetur votum in Jerusalem.


 * (Chorus)
 * Exaudi orationem meam,
 * ad te omnis caro veniet.
 * Dona eis requiem æternam, Domine,
 * lux perpetua eis and luceat.


 * Kyrie:
 * Kyrie eleison.
 * Christe eleison.
 * Kyrie eleison.


 * Sequentia


 * Dies Iræ:
 * Dies irae, dies illa
 * Solvet sæclum in favilla,
 * Teste David cum Sibylla.
 * Quantus tremor is futurus
 * Quando iudex is venturus
 * Cuncta strict discussurus.


 * Tuba Mirum:
 * (Bass)
 * Tuba mirum spargens sonum
 * Per Sepulcra regionum
 * Coget omnes ante thronum.


 * (Tenor)
 * Mors stupebit and natura
 * Cum resurget creatura
 * Judicanti responsura.
 * Liber scriptus proferetur
 * In quo totum continetur,
 * Unde Mundus judicetur.


 * (Contralto)
 * Judex ergo cum sedebit
 * Quidquid latet apparebit,
 * Nile inultum remanebit.


 * (Soprano)
 * Quid sum miser tunc dicturus,
 * Quem patronum rogaturus,
 * Cum vix Justus sit securus?


 * (All soloists)
 * Cum vix Justus sit securus?


 * Rex tremendae:
 * Rex tremendae majestatis,
 * Who salvandos Salvas gratis
 * Salva me fons pietatis.


 * Recordare:
 * (Soloists)
 * Recordare, Jesu pie,
 * Quod Sum caused tuae Viae,
 * Do me Perdas illa die.
 * Quaerens sedisti me lassus,
 * Redemisti crucem passus,
 * Tamus Labor not sit cassus.
 * Just iudex ultionis
 * Donum remissionis fac
 * Ante diem rationis.
 * Ingemisco tanquam reus
 * Culpa Rubet vultus meus,
 * Supplicanti because Deus.
 * Who Mariam absolvisti
 * And latronem exaudisti,
 * Mihi quoque spem dedisti.
 * Preces meae non sunt dignæ,
 * Sed you bonus benign college,
 * Do perenni cremer ine.
 * Inter oves locum Praesta,
 * And ab hædis sequestered me
 * Statuens in parte dextra.


 * Confutatis:
 * Confutatis maledictis
 * Flammis acribus addictis,
 * Voca me cum benedictis.
 * Oro supplex and acclinis,
 * Cor contritum almost cinis,
 * Gere curam finished mei.


 * Lacrimosa:
 * Lacrimosa dies illa
 * Qua resurget ex favilla
 * Judicandus homo reus.
 * Huic because ergo Deus,
 * Pie Jesu Domine,
 * Dona eis requiem. Amen.


 * Offertorium


 * Domine Jesu :
 * Domine Jesu Christe, Rex gloriae,
 * libera animas omniurn Fidelium defunctorum
 * of poenis inferni and profundo lacu:
 * libera eas of ore leonis,
 * does absorbeat eas Tartar,
 * Cadant do in obscurum,


 * (Soloists)
 * Sed signifer sanctus Michæl
 * repræsentet eas in lucem sanctam,


 * (Chorus)
 * Quam olim Abrahæ promisisti and semini eius.


 * Hostias:
 * Hostias and preces, tibi, Domine, laudis offerimus:
 * you suscipe animabus pro illis,
 * quarum hodie facimus Memoriam:
 * fac eas, Domine, ad vitam transire dead,
 * quam olim Abrahæ promisisti and semini eius.


 * Sanctus


 * Sanctus, Sanctus, Sanctus,
 * Dominus Deus Sabaoth!
 * Pleni sunt coeli et terra gloria tua.
 * Osanna in excelsis.


 * Benedictus:


 * (Soloists)
 * Benedictus qui venit in nomine Domini.


 * (Chorus)
 * Osanna in excelsis.


 * Agnus Dei


 * Agnus Dei, which tollis peccata mundi
 * dona eis requiem.
 * Agnus Dei, which tollis peccata mundi
 * dona eis requiem sempiternam.


 * Communio


 * Lux Æterna
 * (Soprano and chorus)
 * Lux æterna luceat eis, Domine,
 * Cum Sanctis holsters in aeternum,
 * quia pius es.


 * (Chorus)
 * Dona eis requiem æternam, Domine,
 * lux perpetua and luceat eis,
 * Cum Sanctis holsters in aeternum,
 * quia pius es.


 * Introit
 * Introit


 * Requiem:
 * (Chorus)
 * Lord, grant them eternal rest,
 * and make them shine for the unfading light.


 * (Soprano)
 * God is in Zion we worthily sing your praises;
 * we come to Jerusalem to offer sacrifices.


 * (Chorus)
 * Hear my prayer,
 * You, who will go to all mortals.
 * Lord, grant them eternal rest,
 * and make them shine for the unfading light.


 * Kyrie :
 * Lord, have mercy.
 * Christ, have mercy.
 * Lord, have mercy.


 * Sequence


 * Dies Iræ:
 * Day of rage that day,
 * when the world will be reduced to ashes,
 * as the oracles of David and the Sibyl.
 * What terror invade us,
 * when the Judge will
 * to deliver his ruthless award!


 * Tuba Mirum:
 * (Bass)
 * The trumpet spreading stupor
 * among the graves,
 * gather all before the throne.


 * (Tenor)
 * Death and nature will be in fright,
 * when the creature rise again
 * to report to the judge.
 * The book maintained will be provided,
 * book that will contain
 * everything about what the world will be judged.


 * (Contralto)
 * So when Judge held session
 * all that is hidden will be known,
 * and nothing will remain unpunished.


 * (Soprano)
 * Unhappy that I am, what shall I say then?
 * What I will call protective,
 * when the fair itself will be in anxiety?


 * (All soloists)
 * When the fair itself will be in anxiety?


 * Rex tremendae:
 * O King, whose majesty is daunting,
 * you who save by grace,
 * Save me, O source of mercy.


 * Recordare :
 * (Soloists)
 * Remember, O sweet Jesus,
 * I'm the cause of your coming to earth.
 * So do not lose me on that day.
 * Seeking me, you sat down with fatigue,
 * you have redeemed me from the torment of the cross:
 * that such suffering is not lost.
 * O Judge who punish precisely
 * grant me the grace of the remission of sins
 * before the day I will realize it.
 * I moaned like a guilty redness me
 * covers the face because of my sin;
 * Pardon, my God, to those who implore you.
 * You who have absolved Mary Magdalene,
 * you who have heard the good thief:
 * to me as you give hope.
 * My prayers are not worthy to be heard,
 * but you, full of goodness, made by your
 * mercy I will not burn in eternal fire.
 * Give me a place among the sheep
 * and separate me astray
 * by putting me on the right.


 * Confutatis:
 * And having condemned the cursed
 * and have assigned the cruel fire
 * call me among the elect.
 * Prostrate and pleading, pray,
 * broken heart and burned as:
 * take care of my last hour.


 * Lacrimosa:
 * Day of tears that day,
 * which will rise from the ashes:
 * man, guilty in the judgment:
 * Spare him, my God!
 * Lord, good Jesus,
 * Give them eternal rest. Amen.


 * Offertory


 * Domine Jesu:
 * Lord Jesus Christ, King of glory,
 * deliver the souls of all the faithful departed
 * the pains of hell and the bottomless pit:
 * Deliver them from the lion's mouth,
 * so that the horrible gulf do not swallow
 * and they do not fall in the place of darkness.


 * (Soloists)
 * As Saint-Michel, the standard bearer,
 * introduce them into the holy light.


 * (Chorus)
 * You promised Abraham and his seed.


 * Hostias:
 * We offer you, Lord, sacrifice and prayers of our praise:
 * receive them for these souls
 * whom we remember today.
 * Lord, make them pass from death to life.
 * You promised Abraham and his seed.


 * Sanctus


 * Holy, holy, holy Lord,
 * God of the universe.
 * Heaven and earth are full of your glory.
 * Hosanna in the highest heaven.


 * Benedictus:


 * (Soloists)
 * Blessed is he who comes in the name of the Lord.


 * (Chorus)
 * Hosanna in the highest heaven.


 * Agnus Dei


 * Lamb of God, who take away the sins of the world,
 * give them rest.
 * Lamb of God, who take away the sins of the world,
 * Give them eternal rest.


 * Communion


 * Lux Æterna
 * (Soprano and chorus)
 * Let perpetual light shine on them, Lord,
 * among your saints and ever,
 * for you are merciful.


 * (Chorus)
 * Lord, grant them eternal rest
 * made for them to shine light without decline.
 * Among your saints and ever,
 * Lord, for you are merciful.


 * }