about the "Requiem," which he left unfinished, and which has been the subject of so many legends, so many disputes? Did not the mystery that for a time surrounded its birth give it a fictitious value? The Requiem and Kyrie are the work of Mozart as they now exist; the movements from the Dies Iræ to the first eight bars of the Lacrimosa, also the Domine Jesu and Hostias, were finished by him in the voice part and bass, and the principal points of the instrumentation were also indicated by him. It will be seen, therefore, that the part of Süssmayer, who completed it, is considerable. Now there has been much discussion concerning the merits of the double fugue even from the technical standpoint, and it is true that the most beautiful portions of the work are the least polyphonic, as the wailing Lacrimosa, which beyond a peradventure belongs to Mozart, although so little was actually written with his own hand; the Confutatis with the antiphonal effects of male and female voices, and the marvellous, unearthly harmonies of the _Oro supplex_; the powerful and concise _Rex tremendae_. On the other hand the _Tuba mirum_ with the trombone cantabile is an inadequate setting of the dread scene. By many worshippers of Mozart, who at the same time believe in the supremacy of religious music, the Requiem is called the truest and most genuine expression of Mozart's nature, and his imperishable monument. But the contrary opinion now prevails among prominent musicians. The Requiem as a whole cannot be considered as complete a revelation of the genius of the composer as the G-minor symphony, the quartets dedicated to Haydn, "Figaro" or "Don Giovanni."