The art of music, Vol. 06 (of 14) : $b Choral and church musicCole, Rossetter G. (Rossetter Gleason)
History
The art of music, Vol. 06 (of 14) : $b Choral and church music
Cole, Rossetter G. (Rossetter Gleason)
Music -- History and criticism; Musicians
Hermann Kretzschmar[81] says that ‘between Mozart’s last mass and his
"Requiem" there lies a whole lifetime,’ and indeed this noble work, the
completion of which was cut off by the master’s death, is considered
one of the great choral compositions of all time. Doubtless its wide
appeal is due somewhat to the pathetic and romantic circumstances
surrounding the period of its composition. One never thinks of it
without recalling the mysterious, long black figure of the stranger
who commissioned Mozart to write it, and the apprehension of the sick
and discouraged composer and his pathetic desire to live to see its
completion. The mysterious stranger was later revealed as Count Franz
von Walsegg of Ruppach, who was possessed with the idea of posing as a
composer and who desired to perform a Requiem in memory of his wife who
had died a short time before. It was his plan, which he later carried
out, to let this Requiem be known as his own. Mozart died on Dec. 5,
1791, before completing this work, which occupied his thoughts up to
his last conscious moments. His widow, who was most anxious to have the
‘Requiem’ ready for delivery on the day that it was due, commissioned
Süssmayer to complete the work. Süssmayer was a composer of some
repute and, as a close friend and a pupil of Mozart, was intimately
acquainted with the composer’s ideas regarding the ‘Requiem’; then,
too, his handwriting was so much like Mozart’s that the widow was the
more ready to entrust the completion of the task to him, since he could
preserve the external resemblance to the fragments. So successful was
Süssmayer in writing in his master’s style that for many years the
_Benedictus_, which was entirely his own work, was considered the gem
of the whole. The parts that were written in Mozart’s own hand were the
_Requiem_ and the _Kyrie_ complete, the voice parts, organ and part of
the accompaniment of _Dies iræ_ (68 measures); _Tuba mirum_ (62); _Rex
tremendæ_ (22); _Recordare_ (130); _Confutatis_ (40); _Lacrymosa_ (8);
_Domine_ (78); and _Hostias_ (54).
[Illustration: Mozart rehearsing his Requiem (shortly before his death)]
_Painting by Munkacsy_
Public-domain text, read in full here on John Shaqi.
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