W.A. Mozart - Requiem in D minor, K. 626 - Unfinished Fragment Version with Score
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- เผยแพร่เมื่อ 30 มิ.ย. 2024
- With the exception of the Kyrie (which was fully orchestrated colla parte by two unknown hands after Mozart's death), this recording of Mozart's Requiem consists only of what the composer himself put to paper before his demise. Only the first movement - the Requiem aeternum - was completed by Mozart; the rest of the score consists of the fully written choral parts, a basso continuo (cello, bass and organ) line and occasionally written out bars of the upper strings and woodwinds to link the vocal material together. This recording was originally interspersed with "Sieben Klangräume," a dissonant soundscape inspired by Mozart's final days written by contemporary composer Georg Friedrich Haas. Those sections have been removed here. Furthermore, the sketch for an 'Amen' fugue intended to close the Sequenz has been included from a similar recording by Das Neue Orchester and Chorus Musicus Koln conducted by Christoph Spering.
Recorded live at the Lutherkirche Bad Cannstadt on March 19th 2016 by the Stuttgarter Kammerorchester and the SWR Vokalensemble Stuttgart as conducted by Risto Joost.
Featuring soprano Kirsten Drope, alto Sabine Czinczel, tenor Johannes Kaleschke, bass Mikhail Shashkov and organist Jörg Hannes Hahn.
Introit: Requiem aeternum: 0:00
Introit: Kyrie eleison 4:34
Sequence: Dies irae 7:01
Sequence: Tuba mirum 9:01
Sequence: Rex tremendae 12:17
Sequence: Recordare 14:15
Sequence: Confutatis 18:57
Sequence: Lacrimosa 21:36
Sequence: Amen 22:36
Offertorium: Domine Jesu 23:09
Offertorium: Hostias 26:42
Concert program: www.swr.de/-/id=17062980/prope... - เพลง
![Mozart - Requiem in D minor, K. 626 [complete]](http://i.ytimg.com/vi/8Ra0wDScRwg/mqdefault.jpg)
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![W.A. Mozart - Requiem, K. 626 [Andris Nelsons, Boston Symphony Orchestra]](/img/n.gif)
Hearing Lacrimosa and Amen end abruptly is like hearing Mozart dying, and I'm starting to get the feels
Death is an insurmountable wall that we all must face.
@@dickboy5274 knowledge is immortal
Mozart's music talks to us about immortality
One of the few videos that wasn't recommended by youtube, but that I searched by myself.
Because in the others is simply anything but too many notes...
this guy here speakin the truth
Same.
@@amerrylittlemonarch what are you doing here I thought you were died 🤔
youtube recommendations nowdays is just: "hey, there's this video you just watched! you should watch it again! and again,and again..."
For mobile Users:
Introit: Requiem aeternum: 0:00
Introit: Kyrie eleison 4:34
Sequence: Dies irae 7:01
Sequence: Tuba mirum 9:01
Sequence: Rex tremendae 12:17
Sequence: Recordare 14:15
Sequence: Confutatis 18:57
Sequence: Lacrimosa 21:36
Sequence: Amen 22:37
Offertorium: Domine Jesu 23:09
Offertorium: Hostias 26:42
Grazie.
❤
Often critics and commentaries argue that Mozart only partially composed the requiem. In my opinion, the fragments actually show that the parts which Mozart composed were in fact providing the complete essence of the music. The missing instrumental parts, which were not written down, could be completed by any competent professional musician, who follows the fragments lines. i do not feel that i am missing much by only listening to the fragments.
i always felt that the Sanctus, Benedictus and the Agnus Dei are inferior to the rest, probably because Mozart did not compose them. i am always wondering what kind of Agnus Dei Mozart would have composed...
It was smart by Sussmayr to provide the last parts of the requiem with the same music of its beginning. By doing so he gave it a sense of a respectful adequate closure
The only thing I "miss" from the Sussmayr realisation is the epic plagal cadence at the end of the Lacrimosa. I have performed a realisation that expanded the "Amen" excerpt into a full movement, but it didn't feel right.
Other than that I agree.
the benedictus? really? i could understand the sanctus, being that the overture is somewhat lacking chord-wise and the fugal section was too rushed to be finished, but i see nothing wrong with the benedictus at all.
steve istheman there’s nothing “wrong” with the Benedictus. It even has a certain charm that you would expect from a Mozart piece. The main theme is shockingly similar to a counterpoint exercise Mozart had written down for Ployer (I think), though this might have been a coincidence. But it is so harmonically conservative that it’s betrayed as not Mozart’s; it never leaves the immediate tonal orbit of B-flat and F. Look at the rapid modulations in the other solo quartet movements for comparison.
@@skrymir42 Just so you're aware, Mozart was planning on incorporating an Amen fugue at the end of the Lacrimosa as a way to wrap up the entire Dies Irae sequence. It's entirely likely that Süssmayer's plagal cadence was written that way to avoid having to tackle a complex fugue (though I agree, it is still epic). Which alternate completion did you perform?
@@MartyMusic777 I performed Robert Levin's realization and it was great. I know it was always Mozart's vision to have the Amen fugue, but I truly love that massive plagal cadence Amen.
It's hard not to get emotional where the Lacrimosa breaks off. Also, can you imagine how onerous the challenge of picking it up from there? The end of the phrase is so emphatic, there' s just no clue as to what Mozart might have done next. Enormous respect must be due anyone who even attempted it. Indeed, Sussmayr seems to have gone beyond his apparently modest capabilities with the Lacrymosa in particular. I think Mozart would certainly have approved of the 'Qua resurget ex favilla' section shortly after, which is beautiful.
Thankyou for this post, I was actually surprised by how much of the vocal parts Mozart had actually written.
Mozarts last writing in requiem was Confutatis oro supplex part.Lacrimosa s first eight bar was written when he was writing the Rex tremendae.
@@mustafaemir462 Could I please have a citation for that information?
@@olly8453 I read so much about the Mozarts life. So much books i had read. All of them said like that.
@@mustafaemir462 you claim daring theses but you can´t prove it with sources... that´s not very credible. I read also a lot of reference books about Mozart, for example one of the most important about the Requiem until now: "Mozarts Requiem - Historical and Analytical Studies. Documents. Score" by Christoph Wolff...and I´ve never noticed that someone claimed that his last writing was within the Confutatis movement. There is generally no 100 % evicendce but only assumptions due to a lack of original documents like for example original sketches or working score (and the autograph score is not enough for chronological conclusions) so, there is only the most logical assumption that the last notes were at the final of the hostias movement (before the "quam olim da capo"-instruction of the repeating "quam olim abrahe-fugue", the last notes of Mozarts part within the autograph score) but far away from an evidence. Strangely the "International Foundation Mozarteum Salzburg" published 2006 a research paper from 1965 with the conclusion: "Einigermaßen sicher ist auch wieder nur, daß die acht Takte des 'Lacrimosa' Mozarts letzte Noten sind..." (it is relatively certain, that the last eight bars of the Lacrimosa are Mozarts last notes...) maybe a research paper which influenced other biographers because this is, what mainly older biographies are saying. Wolff is arguing on pp.35 (german edition) why their assumption is unwarrantable (a further explanation would be too extensive, but you can read it in this book).
So...now I´m curious about your sources and the furhter explanation of your theses! (also where you found that information about the composed chronology of the Requiem-parts)
Your blood freezes...
Wow, you can really feel the emotion of "This is the End." in this song.
Actually he died very suddenly. Probably by food poisoning related to Pork.
I beg your pardon, a song???
@@geuros Well yeah actually. It has words in it so technically you can call it a song. An unusual long song tho😂
@@slubert I don't think it's that, I think he was taking strengthening because he was depressed and very weak, and we know that they put Mercury in those things, because they was think that it was good, so Mozart take it, and dead of an renal failure
I sorry for grammar/Orthograph I am french!
@@geuros
A piece of music with lyrics
So I guess we can all be thankful that he still wrote down his sketches in basso continuo. Had he lived 40 years later it is doubtful he would have still done that and it would have been next to impossible to accurately harmonize the rest of the work according to his style.
very true
If only Mozart had lived to see (and write music in) the early romantic era (~1820s), we would have been blessed with so many masterpieces. Seeing what Schubert and Berlioz wrote in that era make me wonder what would have come of the child prodigy who died a poor man of 35 in 1791.
I think we should be satisfied with the plenty of music we already have....
When Lacrimosa gets cut off, I always tear up for some reason.
That's just so deep as in he litteraly dies and doesnt finish it ... that's life right there
Lacrimosa is the best part of the piece. But in this case, it's sad to hear Mozart only got the first 20 seconds or so. It just stops so abruptly. At that moment you can tell it was all over.
😭😭😭😭😭😭
The rest is basically repetition
@@ionthegreat13 not really lol?
@@DemirSezer The basic motif is set, it’s not like it was much else to do for lacrimosa other that build off that motif. Any competent composer, like Süssmayr, would be able to complete it.
it’s actually about a minute long
"Instrument doubling the Voice"
- Mozart
It goes with the harmony!
@@radoslavkhun299 Tonic Dominant 1st and 3rd beat XD
@@jesseindo5660 Do you have it???
@@radoslavkhun299 I dont understand
@@jesseindo5660 Now the real fire, pararam pam pam, pararam pam pam, the next measure rising
Incredible! Even with 90% of the instrumentation missing it is obvious that Mozart meant his requiem as a choral piece with orchestral accompaniment and not the other way around. The music without instruments remain so strong that (as we say in Holland) it stands like a house!
"Obvious" is a bit an overstatement, I would say.
@@nickthegreek5296 If you're writing an orchestral piece with a choral accompaniment, you wouldn't write the choral part first.
If you are writing a Mass, always the text first.
It's not like a Danny Elfman movie score (or Ravel's Daphnis et Chloé) with a choir in the background muttering "ooooooo" only for a nice effect, you know.
Then the Introitus has such a relevant orchestral part, that perhaps all Requiem'd have been that way, if completed. But who knows? Nothing obvious at all.
Let’s be honest. TH-cam didn’t recommend this-we searched for it ourselves
True
This is invaluable in terms of learning not only how Mozart's work on the Requiem evolved, and perhaps how it could have evolved had he finished it, but it's also quite useful for stumbling musical enthusiasts like myself who are trying to learn compositional theory. Here, we have an in-progress framework from one of the greatest who ever lived, all exposed and showing all its secrets to the world. Stunning!
Now I'm shocked, because all my favorite parts from the Requiem are here and all are written by Mozart himself!!! These parts are which I always listen and enjoy the most. I listened other parts just for few times, but THESE are my lovely ones which I keep listening again and again! So appearantly Mozart shows his difference just by listening. I'm amazed from that! Of Course I respect other composers for their work, who completed Requiem, but Mozart's own work, own melodies are irreplaceable and recognizable. For me, only exception is Lacrimosa. I love Lacrimosa from the beginning till the end. His student has done really great job with that, he has compeleted it perfectly, totally in a decent way to Mozart's music!
Mozart was a genius. A child prodigy that became truly a Master like his friend-follower Joseph Hyden. His music can swell in mea feeling of life and death in one full breath cycle. With eyes closed I can see light-dark in the same instance. I've never taken "drugs" in my life but in Mozart's work, I find truly the greatest of highs that anyone could ever experience.
@@drdimento *Haydn
@@elias69420 you are so right on your analogy of Mozart and other composers. His life was amazing.
@@drdimento wtf I just corrected your spelling of "Haydn"
@@elias69420 big deal. 100 bucks says he doesn't care. in fact, i know he doesn't . . HE'S GONE !! I still like the chaps music even if I don't spell his name right and since I'm a fan, 100 bucks says that if he were here, he'd nod his head in gratitude instead of being insulting to me.
Very beautiful he was at his composing height when he made this
Then he died...
His whole life would've been a continuously rising composing height, I don't think he would've ever reached a plateau
Son Of Montreal I agree. Mozart had an immense love of learning and experimentation. I'm sure he'd keep finding new ideas and music for as long as he lived. Before writing this Requiem, Mozart actually had visited Leipzig and studied Bach's scores quite a bit. I think, had he lived, he would have started delving even deeper into the old Baroque style and experimenting more with that, since he had already done so much with Classicism. This piece could have marked the start of a new neo-baroque phase in his composing, or some other style of composing inspired by the baroque. Sadly, we'll never know since he died so early :(
Yes. He was always on his composing height...
He was just getting started. ;( wish I could just reverse time and sure he didn’t die so early. Humanity was robbed.
Thank you so much. I have always wondered which were the original parts composed by Mozart without any other additions.
I think that his original is 100% perfect beauty and as you said in reality what was missing any profesional musician arranger or copyist could have add of what we now have. I really appreciate to not only upload the music but the sheet music.
L'ossatura dell'opera c'era tutta e al contrario di quello che molti pensano l'opera non si interruppe all'ottava battuta del Lacrimosa ma prosegue con frammenti abbastanza "corposi". Video molto istruttivo.... Grazie !
Mr. Bennett.. my middle school music teacher rest in peace. He would always say at the top of his lungs, "I'm not mad I'm just determined!" Years years later that really sunk in and I miss him so much for some reason.
Mince! La rupture abrupte du ''Lacrimosa'' peut couper le cœur à quelqu'un. En fait ça donne l'impression que c'est à cet endroit précis qu'il s'est arrêté avant de fermer les yeux à ce monde de misère.
Des autres choses dont j'ai pu me rendre compte, il ressort que ce Requiem de Mozart pourrait avoir toujours été pensé comme une oeuvre pour chœur avant tout autre chose; j'en veux pour preuve que l'accompagnement connu comme orchestral est vierge la plupart du temps avec des voix soutenues uniquement par une basse continue. Ceci à mon humble avis nous enseigne énormément sur la façon dont Mozart procédait dans ses compositions : basse continue et parties chantantes ( comprendre ici voix et/ou instruments ayant le ''lead'') d'abord, parties d'accompagnement ensuite. Je pourrais me tromper, ce qui serait normal vu que je n'ai pas de grandes notions en composition musicale, mais c'est le ressenti brut que j'ai en tant que simple auditrice.
Merci beaucoup pour l'expérience.
Mireille Duboise ASSENA.
wow. this sounds so hollow and so spooky, yet so complete and so soothing as if for a requiem.
TBH, being able to hear the lyrics clearer (than if more instruments were there) brings much more emotion (keeping the translation of the Latin while listening to this)
Every December 5th...this & "Amadeus"
GOD bless you, Hollowchatter, for the upload AND score!
Peace be with you...Lukerdog
Listened to this in a cafe down the street from where Mozart died. It felt insane.
REALLY REALLY GOOD!!!! Love it!!!!
Wow! Thanks for posting!
I really like the dynamic in the Dies Irae. The violin and violincello combination is so good, loud and smooth when it is needed to be, especially from 7:50 - 7:54. Usually the orchestra will play smoother and quieter in that part, but in this video they play it louder and louder and stressed in the "Quan". It really gives me goosebumps there since I can feel like something powerful is coming.
Tuong Khang then theres the poor viola
How incredibly underrated is this beautiful version! Appreciating the unfinished work really puts in perspective how little time we have. Thank you!
7:28, i can't get enough of these 4 measures
If we could go back in time i would bring mozart some medecine
Soo he can at least finish this masterpiece
I have really appreciated the noble idea of showing us what Mozart really wrote. The completion of his requiem is not his completion. Probably he would have used different notes. Maybe a computer, according to the original Mozart style and background, could create the completion that Mozart himself could have created if he did not die!
Wow! This is fascinating! Thanks.
Wow, so majestic! 👍
Requiem demo tape.
I love Mozart so much!
Thank you for uploading this. This is an invaluable resource for anyone trying to see what was left by Mozart and what was added by those who completed the score. The most remarkable thing might be how much he left and therefore much of the completions are orchestrations more than anything, except for the movements Sussmayr added and the Lacrimosa--which ironically has become the most popular movement. (And what a shame that is, considering those first 8 bars are beyond magnificent.) Thanks also for removing the Haas, which should never have been "interspersed" with this at all. Yuck.
Sussmayr showed respect to Mozart in Lacrimosa. He pretty much kept the same melody throughout that segment.
@@calebduprest6438 His additions to Lacrimosa are still inferior in every way to the Mozart-written opening.
@@jpiccone1 I mean yes if course they are but then again fauré requiem is better than both :p
@@oibruv3889 That is definitely an underrated work. I remember the first time I heard it - "why hasn't anyone told me about this?"
@@jpiccone1 indeed, I sung it with my choir and it was amazing
Amazing
18:07 to 18:53 is absolutely gorgeous.
3:12
I love the horn sound lol
Unbelievably gorgeous 😍
18:57
- Do you have it?
+ Don't be fast
-DO YOU HAVE ITTTT??
+ ONE MOMENT PLEASE, ONE MOMENTTTT...
I say “one moment please” to my girlfriend like that all the time since I saw the film
@@gandalfgrey91 jajaja i will try too
È già bellissimo così.
Tuba Mirum sounds so creepy without all the parts
14:15 Beautiful
Very nice. Sounds cleaner and with more substance and makes me wonder if the orchestration became oversaturated at the hands of others.
Incredibly haunting
That Recordare feels very imposing, damn.
I feel ya, bro
So Mozart wrote all the highlights of the Requiem. Imagine if he had lived at least one year longer..
Live to dream!
What will his requiem sounds like if he live to 95 ?
I believe there is no such thing.
It wouldn't have been composed
In fact, there is a science fiction book or a play which i took a glance in, many years ago, that describes something like that: Mozart was taken or "kidnapped" by some entities or aliens, he is continuing to compose in the most comfortable environment... he is composing music which is behind music. By KV 2000 the music could influence your subconsciousness in a very deep level, or even space and time...i am sorry that i don't remember the book/play, was younger and less appreciative i guess...
Often i feel that nature could not let Mozart to live longer, because if, by the age of 35, he was able to compose such painfully beautiful music, it would have broken the law of nature if he composed even extra five years, not to mention 30 years. i am even wondering that perhaps God was envy at Mozart and felt somehow jealous that he could create a better world than God, and thus had to kill him...i know, it sounds silly, and besides, thanks God, i am atheist so the verdict is that God is not guilty :)
Ummm bach ?
@@jesseindo5660 bro, lu indo?
22:37
The B-A-C-H theme from the Art of Fugue appears in the base right before Mozart died. In The Art of Fugue, the same figure appears right before Bach’s death
I have two questions.
1. One can find "Huic ergo parce Deus" in the autograph (Lacrimosa, 9th and 10th bars, soprano). Who wrote it? (Eybler?)
2. Is it sure that Mozart intended to close the Sequence with the Amen fugue? Does it surely belong to the Requiem at all? If yes: does it really belong to the Sequence and not to the Offertory or the Communion, concluding the entire mass? From where do we know the answers to all these questions?
1. Yes, Eybler wrote those bars - Sussmayr did not use them in his completion.
2. There is a pretty conclusive academic consensus that the Amen sketch does belong to the end of the Sequence in the Requiem. Consider the following points: a) The word 'Amen' does not appear anywhere else in the liturgical requiem mass text other than at the end of the Dies Irae sequence - exceptions are rare and none can be counted within Viennese manuscripts. b) It is internally consistent to have each section of the Requiem conclude with a fugue - the Kyrie for the Introit, the Amen for the Sequence, the Quam olim Abrahae for the Offertory, the Osanna for the Sanctus, and the Cum sanctis tuis for the Agnus Dei/Postcommunion. c) The sketch is in the unusual time signature of 3/4 which only makes sense if one considers Mozart intended metrical continuity with the Lacrimosa which is in in 12/8. d) One of the two subjects of the double fugue is the main theme of the requiem (as it appeared in the opening movement) inverted. e) The sketch itself was composed on paper that also contains a Magic Flute sketch, dating it to late 1791. f) Finally, it was traditional Viennese custom to set the final words of the Dies Irae to a fugue - see contemporary examples in the requiems of Bonno, Gassmann and Dittersdorf.
@@hollowchatter7429 Thanks for the exhaustive answer. I have only one question left: it is a fact that Süssmayr did not use the Amen sketch. Süssmayr must have been aware of the Viennese traditions you mentioned but in this case, he didn't follow them: he just wrote the final bars of the Lacrimosa with "Amen" and that was it. Well, this closure is re-written by Robert Levin completion and he integrates the Amen fugue into his work. But I still wonder why Süssmayr didn't do something like Levin did. So one of the these three sentences must be true:
1. Süssmayr saw the Amen sketch but he (intentionally) discarded it/did not include into his work.
2. The Amen sketch was discarded by Mozart and Süssmayr just followed his instructions of discarding it. (This is far less probable because Süssmayr was allegedly not the first on his list of candidates for completing the Requiem, although not impossible)
3. Süssmayr didn't see the Amen sketch at all. This is also questionable because if he had the manuscript as a whole the Amen fugue should have been included.
Which of the three could be true?
@@harczymarczy Any of three things you listed are possible but there is simply not enough evidence to conclude if one of them is definitely correct. Whilst it is likely that Sussmayr did have some of Mozart's sketches to work with, we have no idea which ones and it is entirely possible that Constanze did not give him the sketchleaf containing the Amen fugue exposition. Some scholars including Levin have suggested that Sussmayr may have indeed seen the sketch but opted not to use it due to his lack of contrapuntal skill. On the other hand Sussmayr composed a Missa Solemnis some years later that contains four fugues (though none of them with two subjects and all of them no longer than 40 bars). Perhaps he improved his counterpoint after completing the requiem? It is also possible that Mozart changed his mind at the last minute and told Sussmayr not to conclude the Sequence with a fugue, but this seems quite unlikely for the reasons I've listed above.
It should be performed only this way.
Who would ever dare to "complete" Michelangelo's Pietà Rondanini?
I agree 100%
Just flollowing along at home, it would be really good if you would continue to label the parts of the score as it rolls - for example, sometimes the bass vocal line is on such-and-such a line and then on the next screen it is elsewhere as other lines have been added in above. I sang this twice(!) with a community choir and would love to follow along accurately. Thank you if you read this, and pretty please, adjust the vid to suit!
Sussmayer was said to be his best student, and the rest of the Lacrimosa is finest music.
Look up Sussmayers history. He was a jealous pervert
I agree. It's just my opinion, but Sussmayr's completion for the Lacrymosa, as compared to the Sanctus and the Benedictus (not to mention those awkward Osannas) is so convincing! If we hadn't a sketch by Mozart for the Amen I would believe that Sussmayr got some sketches or at least some oral suggestions from Mozart that we do not have.
@@nowfela-r4161 Can you give me a link?
Parfait
Mozart composed the best part of lacrimosa imo.
Woww..
Introit: Requiem aeternum: 0:00
Introit: Kyrie eleison 4:34
Sequence: Dies irae 7:01
Sequence: Tuba mirum 9:01
Sequence: Rex tremendae 12:17
Sequence: Recordare 14:15
Sequence: Confutatis 18:57
Sequence: Lacrimosa 21:36
Sequence: Amen 22:36
Offertorium: Domine Jesu 23:09
Offertorium: Hostias 26:42
26:00 *Hermoso pasaje.*
@ 7:00 min mark.... awesome
9:59 A FLAT!!!!
Shit slaps
hell yeah it does
Where can I find this score?
2024 and still relevant.
I would love to have this score. Is it available? When yes, where can I order it?
24:59
28:41
Mozart: *"(Jumped off the bed) Oh let me write it down"*
What!? Süssmayr wrote the tenor trombone accompaniment to the tenor solo in the Tuba Mirum!? I could have sworn Mozart wouldn't have stopped after the bass solo, because Mozart intended the trombone to be that counter solo. References please? German is ok but if English translation that's better. Thanks. Very interesting recording and performance.
The continuation of the trombone solo through the 'Liber scriptus' section is one of numerous points of criticism against Sussmayr's completion of the Requiem. First, if Mozart had intended that the trombone continue as a solo instrument in this movement, he would have written the whole part out along with the voices and basso in the manuscript - solo parts are important enough to write out completely. Second, the tone and character of the music changes with the both the entry of the tenor and the change of topic that no longer warrants the continued appearance of the 'trumpet' motif from before. Because of these factors, most modern completions remove Sussmayr's trombone part (except Beyer's where the part is adapted for two bassoons). For more points of critique on Sussmayr's completion, I recommend the book "Mozart's Requiem: Historical and Analytical Studies, Documents, Score" by Christoph Wolff.
hollowchatter I can see the textual argument why the trumpet motif is useless, because there's no "tuba" in the "mors stupedibit et natura". I just wonder what was Süssmayr thinking why he thought it was a good idea to place a trombone solo in the middle, not at the beginning of a solo, as accompaniment. I personally would feel a little awkward standing for half a solo not playing. (I'm a trombonist myself, although I haven't dove deeply into this topic. Chose my Beethoven class over Mozart lol) I'll take a look into the book you recommended. Thanks.
18:57, 23:09
7:02 , Thanks me later
thank you
thank you
There's something I don't quite understand.
Everyone always says that Mozart's writing in the manuscript ends at that eighth bar of the Lacrimosa (+the Amen sketch).
So what about the Domine Jesu? Did he write it or not? If he did, then why do we say the last notes he ever composed are in the Lacrimosa, when they're clearly going past that and into the Offertorium? And if he didn't, then what's it doing here in this recording? Someone, help please :(
Mozart probably wrote the Domine Jesu and the Hostias after halting work on the Lacrimosa because he wanted to plan out how that movement would segue directly into the 'Amen' fugue which he sketched but never finished. It's a misconception that he died right after writing the first eight bars of the Lacrimosa.
@@hollowchatter7429 Thank you!!! But "probably"? So we don't know for sure that Domine Jesu is his?
@@krowapaulinka4351 Yes, we do. He just did not sketch everything down before moving on to the next movement.
And so Silver Chariot Requiem was born
Does anyone know what instrument is playing the nice higher pitched melody in the background at 24:30
en.wikipedia.org/wiki/Positive_organ
Sounds like it’s a chamber organ playing continuo
Being an artist, not necessarily in music, this triggered my first panic attack in my life. I was 27 😂
from description my understanding is he completed the basic "sketch" through to the end. why are people assuming his framework ended at lacrimosa? am I missing something?
Not really - he finished the choral parts until 8 bars into the Lacrimosa. He then sketched a quick idea for an Amen fugue, and wrote the full choral parts and figured bass through the end of the Offertory. Everything beyond that is thanks to the work of other composers. Basically, Mozart wrote a skeleton of about 70-75% of the Requiem. For most of the Sequence, he sketched out fragments of the orchestral parts, so we do have a pretty decent guess which direction he was heading with the parts he left incomplete. The sections he didn't write at all at the end are up to the imagination.
What did Costanza do with the piece after the unfinished (finished?) Work? Did she sell it to the commissioner (requester) after all?
Students of Mozart (especially Süßmayr) did finish the job , they even mimicked the signature of him and when it was finished they sold it to the commisioner to the price which was promised before. Constanze really needed that money.
Mozart was buried in a mass grave he had no money and they had 2 children so yeah they finished it asap for the commission
Как тяжело осознавать, что последний аккорд в реквиеме - был самым последним для моцарта...
It would be my dream to view a Mozart video devoid of insipid Amadeus references.
LOL, you said it my dude!
@@DanielFahimi Ikr, it's so annoying when these people pretend like they are insiders solely via references from a terribly mainstream "film" (more like a slander of both Mozart and Salieri lmao).
@25:00 .... i'm losing my mind
This can prove he is a complete genius.
@18:58 .... wow
Lacrimosa: 21:36
Domine Jesu Christe: 23:08
Why the first voca me is in c and the second is in a ??
angel adrian Because its written like that
first voca me section is written in the key of C major while the second one written in the key of A minor
You can interpretate it like a lose of hope in being saved after death (go to heaven): being the sentence in C major a begging to God in the hopes of being called to go to heaven; and being the second sentence in A minor the same begging but slowly losing hope in it).
I don't know if Mozart intended to write it to make this interpretation of it, or if it is a coincidence in the meaning that we can get through it.
It sounds like the original Mozart.
Lacrimosa 2
22:25-22:33 and then it ends....... he was completely dead
BroGaming VGCP AUTTP EDCP SPSF TIMYYES Oh my gosh that just made me cry 😢😢😢😢
He actually died very suddenly, probably from food poisoning related to pork.
El murió luego de escribir el "domine jesu", no la "lacrimosa"
RIP solieri
Salieri is the name
@@robertosaviano9270 indeed it is, thank you for correcting me, although the autocorrect from my phone made that mistake and I didn't even notice.
@@D4rkM00n1 no problem man
Right now, I have three different approaches to how fill those "empty spaces": Contrapuntal, create different motivs that explore dissimilar feelings on themes and of course, try to be Mozart but this last one is the most ungrateful and irrespective of any behavior. When Bach worked Vivaldi compositions he respected what the genius did but he added from his own inspiration so a new opus could come to life.
!!!
19:04 Guess they didn't go with the harmony
12:55 Incredibile salvas gratis
What would this work be like if Beethoven had completed it?
double masterpiece
Fascinating.
"Requiem aeternum" : Requiem aeternAm requies is female gender in latin).
Is there anyone who attempts to finish the Amen?
There are.
There are at least ten who have done so in the last 40 years
18:55 9:01
Not enough notes!!!
Wishful Thinking this was a reference to the movie 'amadeus' where italian composers replied 'too many notes' to mozart's music.
Wishful Thinking oh, i see
nickdryad lol
Dies irea is the most catholic way of composing
Se murió el gran Mozart... (30:21)
Given the choice between this or WAP.. well you see which I comment on.
Stop being elitist, let people enjoy things and enjoy your short time on this earth.
Hey! The pronunciation isn't quite right (among other things). This is Lating. You have 2 options:
1) ecclesiastical is appropriate here as this is religious music. The pronunciation is as in Italian: "decet", "luceat", etc. has a /tʃ/ sound, like in the Italian "ciao". Words like "spargens" are with a /dʒ/ sound as in "giorno".
2) the restored classical pronunciation is the most accurate way to pronounce Latin. "Decet", "luceat" has the /k/ sound as in the English "car". "Spargens" has the sound /g/ as in "glacier". Also here `v` is pronounced as you would pronounce `w` in English (e.g. voca -> woka).
And the pronunciation in this performance is: "luceat" and "decet" are pronounced with a /ts/ sound. This is completely wrong. You can't do that. That's like trying to sing in German and pronouncing the "e" is always "e" never "I"words as they would be in English. Here "spargens" and etc. are pronounced as per the restored classical pronunciation which is ok. But the /ts/ is totally NOT OK. Also, "e" is always "e" and never "I". gere -> gire???????? Why?
This is extremely simple. It could have certainly be done. You obviously don't need to learn the language to sing in it.
Not to mention this score has mistakes as well. And not to mention the way "de poenis" is pronounced… this is just getting vulgar now.
You're not as well informed about historical linguistics as you think you are. This performance features the traditional German pronunciation used for Latin texts.
It does not agree with the scientifically reconstructed Latin pronunciation and meanwhile also no longer with the 'Italianate' ecclesiastical pronunciation that is common today in Germany and in Switzerland, but is based on the pronunciation rules of German. It is therefore primarily a traditional pronunciation. Characteristic is the pronunciation of the "c" before "e, i, ae, oe" as [ts] instead of as [k].
For a long time, the German pronunciation was the sole standard in the German and Slavic-speaking world. Until the 1970s, it was generally used in Germany as the school pronunciation of Latin. The German pronunciation is used today primarily for historically informed performances of sacred vocal music.
I recently heard a french pronunciation. This orchestra i went to ran the 1804 napoleon coronation orchestrated by cherubini which is basicly this version but with a french pronunciation of latin
18:06