This work, when completed and delivered to Count von Walsegg, was copied by him and performed as his own on Dec. 14, 1793, but after many years the manuscript, as turned over by Süssmayer, was found and placed in the _Hofbibliothek_ in Vienna. That Mozart strove to emphasize the churchly character in his ‘Requiem’ is particularly in evidence in the Introit (_Requiem æternam_), also in his use of the Gregorian chorale and in the simplicity of his themes. The picturing of the approach of the Day of Judgment (_Dies iræ_) is dramatic and reveals a heaviness which is further augmented by the restlessness of the orchestra; notwithstanding this, however, Mozart introduces a spirit of resignation and the whole passage becomes peaceful and expressive. The _Kyrie_ is a beautiful, ornate double fugue developed from the two themes to which the words _Kyrie eleison_ and _Christe eleison_ are set. The _Rex tremendæ_ is another example of elaborate as well as effective contrapuntal writing--here in four-voiced canon form. Its close is delicately contrasted with the body of the movement by the introduction of the prayer, _Salva me, fons pietatis_. The _Recordare_, sung by a quartet of solo voices with an independent fugal accompaniment, is one of the most exquisite portions of the work and by many is considered the finest. It is rich in beautiful melodies and is worked out in most delicate detail. The touching _Confutatis_, sung antiphonally by men’s and women’s voices, is another effective portion of this great work, which Jahn speaks of as ‘the true and legitimate expression of his (Mozart’s) artistic nature at its highest point of finish--his imperishable monument.’ Masses.--Mozart had mastered this form of composition, according to the standards of the time, while still a mere boy; but probably his best mass, the one ranking closest to the ‘Requiem,’ is the sixth, the Mass in F, which is very contrapuntal and contains some masterly writing. In the _Credo_ of this mass he used material from the ‘Jupiter’ Symphony, as he did also in the _Sanctus_ of the B-flat or ‘Credo’ Mass. The Mass in D is a close second to the one in F above mentioned and in these two he expressed himself freely, while in the following five, which are unfortunately his best known, he was obliged to write more artificially in order to satisfy his display-loving patron, the Archbishop of Salzburg.