Ένα βίντεο που όλοι οι λάτρεις της κλασσικής μουσικής και ιδιως του αγαπημένου μας Μότσαρτ πρέπει να δούν και να ακούσουν πράγματικα Συγκινητικό. Ευχαριστούμε πολύ Κώστα μου 🙏🙏🙏
Thanks for making this video it was truly amazing to experience the score as Mozart composed it. It is fascinating to see his sketches in the incomplete version and to see how much he did create. His genius does shine through in much of the composition. Truly, only Bach could write such exquisite harmony before this period. The emotional power of this music is unbelievable. The figured bass showing his voice intended chords was also interesting to follow. This obviously took effort to do this. As for the MIDI I don’t mind it because I can imagine the music in my mind.
"The Introitus and Kyrie of the Requiem have to be one of the most extraordinary movements in all music." I love Mozart, he's my favourite composer by far. And I love the Requiem. But: The Introitus and Kyrie are what we now would call a cover. Handel wrote this music, Mozart just pimped it.
@@amuller3101one more thing. In the 18th century it was veru common to borrow themes. The point was what you could with a theme. Mozart here really did something!
@@amuller3101Could you link the composition that Haendel wrote? It's not because I dont believe you, its just out of curiosity since my teacher mentioned it a while ago and I wasnt able to gind anything on the internet. Thank you in advance!
Yes, this seems much more like Mozart, it's more flowing like his symphonies and even much brighter and not so dark. I hope it will one day published for a whole Orchestra to perform it. Big thanks to you for showing, explaining and letting hear this Masterfull original Requiem.
@@CostasCourtComposer Oh, that's really great. Yes I understand the problems with copyright. Might it be possible to recieve the recording somehow privatly throw E-mail or similar ?
The last unfinished music masterpiece of genius Mozart. It is weird that is a Requiem, that seems to affect him so deep that he thought , that if he finish it he 'll die. But death came in December 1791 , on his death bed , when he finished Lacrymosa choral part. Is very strong music piece , and we know that one of his pupils Schüssmayer, at last finished it based on his style , notes and sketches of Mozart himself. And then played for his memory. The orchestration of the piece is also a magnificent part of the piece's score that shows the orchestrating genius of Mozart . 2 Flutes, 2 Basset Horns in F, 2 Bassoons , 2 Trumpets in D , 3 Trombones that doubling the choir ( Alto ,Tenor and Bass), Timpani , Choir (SATB) , Strings and Basso Continuo . Great presentation of the handwriting score. My favourite part is Kyrie, Dies Irae, Tuba Mirum , Hostias, Confutatis Maledictis and Voca me , and Lacrymosa. Are the highlights of the score, personally speaking.
"My favourite part is Kyrie, Dies Irae, Tuba Mirum , Hostias, Confutatis Maledictis and Voca me , and Lacrymosa." That's nearly the whole piece... But I agree!
Legend says that Wolfgang never made corrections on sheet music, that he never made mistakes. Then historians said that in reality he also made errors and this is a legend. But even seeing this extremely complex score, which he composed on paper, perhaps without even the aid of a keyboard, the truth is... that he rarely made mistakes 🎶
@@CostasCourtComposer Yes, I agree 👍Thank you for this video, really interesting and with an original idea. While I'm listening to his Requiem part, I'm looking at these yellowed sheets, full of pure beauty (and of course you can see errors and small second thoughts). But literally I'm almost shocked by how clear, legible, and flowing his writing is, for such a complex orchestral work. Just as it's said in the film, it was "He had simply written down music already finished in his head".
Hello, I’m a music analyst based in Japan and have been deeply drawn to Mozart’s works ever since watching "Amadeus." Right now, I’m analyzing Confutatis from a music theory perspective and am just a few days away from completing my study. While searching for reference materials, I came across your video of the reconstructed performance of Mozart’s final manuscript. Listening to it gave me chills-I truly appreciate the effort and sincerity you put into creating such a video. As one of the many Mozart devotees in Asia, I want to express my gratitude. May I ask you a few questions? The sheet music for this version is available in Japan, but I haven’t seen it myself. In your video, the score displayed alongside the performance-was it the one Jesmayer transcribed and completed, or was it the version with Eybler’s annotations on Mozart’s final manuscript? In other words, aside from the large X marks that seem to have been added through video editing, is the rest of the score in Mozart’s original handwriting? You explain this at the beginning of the video, but I couldn’t quite grasp it. Specifically regarding Confutatis, I’m not sure which parts are Mozart’s original notation. Also, could the large X marks on the score during the performance have actually been drawn by Mozart himself?
Hello thank you for your comment. Good luck with your analysis. The X were made by me. The facsimile score is as follow: Requiem and Kyrie are in Mozarts hand. Then the Dies irae and the rest Sussmayer made a new copy (which is not the one in this video). The Dies Irae and the rest I m showing in the video is by Mozart and the orchestration by Eybler (the sections I'm crossing out). You can see the Mozart fragment if you type Mozart Fragment IMSLP on google. It's for free if you wait there for 15 seconds. Please if you need anything feel free to contact me.
@@CostasCourtComposer Thank you for your prompt reply. This video of yours is wonderful. First, it allows us to hear Mozart’s final, unfinished version of the Requiem without any later additions. Since I don’t have the genius ability of someone like Antonio Salieri, who could look at a score and immediately hear the music in his mind, this video is incredibly valuable for my study of the Requiem. Second, listening to this piece with Vocaloid gives it a quality reminiscent of Peter, Paul & Mary’s Puff, the Magic Dragon, allowing me to appreciate the original from a different perspective. Did you input all the notes into the sequencer manually? If so, that must have been an enormous effort. The Confutatis was used to great effect in that famous dictation scene from Amadeus. Neville Marriner served as the music director for the film. I imagine he knew that Mozart hadn’t actually composed the piece in that particular order, but he deliberately had Tom Hulce, as Mozart, sing each part in sequence to heighten the dramatic impact. A well-known Japanese novelist-one of whose works was later adapted into "Rashomon" by Kurosawa-once made a striking remark: "There are truths that can only be conveyed through lies." That quote comes to mind. Are you Greek? As a Japanese amateur musician, I find it amusing to be discussing the final work of Austria’s musical prodigy with a Greek musician. How can I contact you personally? I’d like to publish an analysis of the Amadeus soundtrack, ideally around December 5th, the anniversary of Mozart’s death. My focus is specifically on the Requiem, and I’d greatly appreciate any insights you could share.
@久美薫 it wasnt onlu Antonio Salieri who had the ability. Almost all classicl training musicians could do that back in th day. Yes Neville Marriner of course knew that! It is known for centuries! I agree on Rashomon quote. Yes I am Greek and I thought exactly the same thing. A Japanese and a Greek talking about an Austrian Composer. Mozarts music is universal. I forgot to mention before that the whole work of Mozart is on line. Type nma mozart. In there you can find the fragment version too. Sure you can find me on Facebook as Kostas Papazafeiropoulos
Great experience to listen to the pure fragment but there is a mistake in the Confutatis movement. At the end of the “Oro supplex et acclinis” line there is a flat minor chord, the note of the second corno di bassetto is g flat (sounding c flat).
@@CostasCourtComposer Maunder actually performer a deep analysys of requiem and evidenced all the errors in the Sussmayr completetion. He had also a a reviewd ediction whitout the sussmayr parts and he discharged al the parts of requiem after the lacrimosa. Maunder itself completed the remaining part and the the lacrimosa on the basis of Mozart (?) schetcs. He finally added an amen fugue on the basis of a suposed fragment that he claim to have Find. He finally realized a recording of this requiem, but I Speak of 90’s.
@@CostasCourtComposer Huge thanks for the video but do not take it badly; it is true that the music sounds terrible and it is a pity because it is so hard to follow the manuscript for more than a couple of minutes. Cannot you find a way to use a nice existing recording?
I'm not taking it badly at all. There is no way to use a recording because yt can easily shut down a channel if a complaint for copyright issues is made.
Perhaps you don't know, but even the Requiem aeternam movement has had questions raised about if Mozart truly orchestrated it (because of the violin ostinato drop in measure 37, right where the ink changes). Nonetheless, research about the requiem has stagnated since the 2010's and new research about that has not been made yet.
Thanks but you are mistaken. Mozart aeterman has his handwriting throughout. If you cant see it here you can download the scorw on imslp and chech for youself.
@@CostasCourtComposer No no, I mean this because there are scholars who mentioned this in the past. There is a scholarly article written by Simon Andrews on the Musical Times in 2013 named "Is Mozart the author of the orchestration of bars 37-48 of the "Requiem aeternam" of K.626?" where he talks about this. Benjamin Cohrs on his completion preface also kinda alludes to this. I'd be curious to know if you think there are any ground to those claims or not.
The Introitus is mainly in Mozart’s autograph but the faded greenish ink used by Franz Suessmayr can be seen in a few of the Bezifferungen (figured bassline with numerals) as well as the ‘fake’ Mozart signature at the upper right-hand corner of the first page (‘di me W.A. Mozart’) which was written in Suessmayr’s hand (M. himself never wrote ‘di me W.A. Mozart’ in any of his 1785-1791 autographs - if he signed a composition at all he’d write ‘di W.A. Mozart’ and would usually begin his last name with an M that begins at the top of the letter not the bottom as Suessmayr did-a clumsy oversight but it was commissioned and prepaid for anonymously for a wealthy eccentric who was going to put ‘Di Comte Walssegg’ at the top of his own hand-copy (claiming the work to be his own, but the musicians all knew Mozart or some great composer was behind the notes on the page-and had to ‘humour the Count’) But 99% of the Introitus is purest ineffable Mozart from beginning to end - including the exemplar for the instrumentation he left for Eybler-Suessmayr-Maximilian Stadler to emulate as he lay dying with a head full of new music he was never able to live to set in writing - which was NOT the case for the remainder which comprised mainly of four vocal parts and figured bassline without orchestration except for the 1st violin line accompaniment (see the Rex Tremendae) and in the spaces between vocal utterances meant for orchestral fill-ins (v.g. the opening & mid-sections of the ‘Recordare’ and the opening of the ‘Lacrymosa’ etc)
Ένα βίντεο που όλοι οι λάτρεις της κλασσικής μουσικής και ιδιως του αγαπημένου μας Μότσαρτ πρέπει να δούν και να ακούσουν πράγματικα Συγκινητικό. Ευχαριστούμε πολύ Κώστα μου 🙏🙏🙏
Ευχαριστω αγαπητε Βασιλη που το ακουσες!
Thanks for making this video it was truly amazing to experience the score as Mozart composed it. It is fascinating to see his sketches in the incomplete version and to see how much he did create. His genius does shine through in much of the composition. Truly, only Bach could write such exquisite harmony before this period. The emotional power of this music is unbelievable. The figured bass showing his voice intended chords was also interesting to follow. This obviously took effort to do this. As for the MIDI I don’t mind it because I can imagine the music in my mind.
Thanks for listening and of course for writing the comment. Yes the vocal midis are still a little primitive but I think really soon this will change.
What a great gem you are going to share, thank you so much Court Composer! ❤
Thank YOU! Mozart is my favorite composer and it is always a pleasure making a video for his music!
The Introitus and Kyrie of the Requiem have to be one of the most extraordinary movements in all music.
Yes I agree!
"The Introitus and Kyrie of the Requiem have to be one of the most extraordinary movements in all music."
I love Mozart, he's my favourite composer by far. And I love the Requiem.
But: The Introitus and Kyrie are what we now would call a cover.
Handel wrote this music, Mozart just pimped it.
@@amuller3101 well we can surely say that Mozart elevated the themes!
@@amuller3101one more thing. In the 18th century it was veru common to borrow themes. The point was what you could with a theme. Mozart here really did something!
@@amuller3101Could you link the composition that Haendel wrote? It's not because I dont believe you, its just out of curiosity since my teacher mentioned it a while ago and I wasnt able to gind anything on the internet. Thank you in advance!
Yes, this seems much more like Mozart, it's more flowing like his symphonies and even much brighter and not so dark. I hope it will one day published for a whole Orchestra to perform it.
Big thanks to you for showing, explaining and letting hear this Masterfull original Requiem.
Thanks it has been recorded. I couldn't use this cause of copyright!
@@CostasCourtComposer Oh, that's really great. Yes I understand the problems with copyright. Might it be possible to recieve the recording somehow privatly throw E-mail or similar ?
@EwicoCylinder i have no idea!
@ The Requiem that was recorded, might it be possible to get a copy of the recording via E-mail or similar ?
Im sure you can find it here on youtube. Just type Mozart Requiem Fragment.
The last unfinished music masterpiece of genius Mozart. It is weird that is a Requiem, that seems to affect him so deep that he thought , that if he finish it he 'll die. But death came in December 1791 , on his death bed , when he finished Lacrymosa choral part. Is very strong music piece , and we know that one of his pupils Schüssmayer, at last finished it based on his style , notes and sketches of Mozart himself. And then played for his memory.
The orchestration of the piece is also a magnificent part of the piece's score that shows the orchestrating genius of Mozart . 2 Flutes, 2 Basset Horns in F, 2 Bassoons , 2 Trumpets in D , 3 Trombones that doubling the choir ( Alto ,Tenor and Bass), Timpani , Choir (SATB) , Strings and Basso Continuo . Great presentation of the handwriting score. My favourite part is Kyrie, Dies Irae, Tuba Mirum , Hostias, Confutatis Maledictis and Voca me , and Lacrymosa. Are the highlights of the score, personally speaking.
The name is Süßmayr. You can interchange the ß with two s if you don´t have this letter on your computer keyboard.
@vonpfrentsch Thanks.
@dimitrisnikoloulis4071 παρακαλώ
"My favourite part is Kyrie, Dies Irae, Tuba Mirum , Hostias, Confutatis Maledictis and Voca me , and Lacrymosa."
That's nearly the whole piece...
But I agree!
Thank you Costas, great approach to further admire, enjoy and understand the genius of Mozart
Thank you for watching the video. Mozart was a rare genius!
the silence after is... tear-jerking it hits very hard
I got the chills... this is mind blowing
I agree
Thank you for your work! It gives a very interesting insight in this magnificent music.
Thank you very much for listening and for taking the time to comment!
Es increíble el genio de Mozart. Pero hay que reconocer el aporte y talento de Franz Xaver Süsmayer
thank you! you did a great job
Thanks for watching!
Thank you for this ✝️🙏🏿🎵🕊️🥀
You re welcome!
Πολύ κατατοπιστικό βίντεο!!!!❤
Almost an angelic touch to it
Thanks so much!!
You are welcome!
Legend says that Wolfgang never made corrections on sheet music, that he never made mistakes. Then historians said that in reality he also made errors and this is a legend. But even seeing this extremely complex score, which he composed on paper, perhaps without even the aid of a keyboard, the truth is... that he rarely made mistakes 🎶
He made less mistakes than others! Of course there are corrections in his scores. It is truly remarkable.
@@CostasCourtComposer Yes, I agree 👍Thank you for this video, really interesting and with an original idea. While I'm listening to his Requiem part, I'm looking at these yellowed sheets, full of pure beauty (and of course you can see errors and small second thoughts). But literally I'm almost shocked by how clear, legible, and flowing his writing is, for such a complex orchestral work. Just as it's said in the film, it was "He had simply written down music already finished in his head".
@matsy7450 i agree with you!
Hello, I’m a music analyst based in Japan and have been deeply drawn to Mozart’s works ever since watching "Amadeus." Right now, I’m analyzing Confutatis from a music theory perspective and am just a few days away from completing my study.
While searching for reference materials, I came across your video of the reconstructed performance of Mozart’s final manuscript. Listening to it gave me chills-I truly appreciate the effort and sincerity you put into creating such a video. As one of the many Mozart devotees in Asia, I want to express my gratitude.
May I ask you a few questions? The sheet music for this version is available in Japan, but I haven’t seen it myself. In your video, the score displayed alongside the performance-was it the one Jesmayer transcribed and completed, or was it the version with Eybler’s annotations on Mozart’s final manuscript? In other words, aside from the large X marks that seem to have been added through video editing, is the rest of the score in Mozart’s original handwriting?
You explain this at the beginning of the video, but I couldn’t quite grasp it. Specifically regarding Confutatis, I’m not sure which parts are Mozart’s original notation. Also, could the large X marks on the score during the performance have actually been drawn by Mozart himself?
Hello thank you for your comment. Good luck with your analysis. The X were made by me. The facsimile score is as follow: Requiem and Kyrie are in Mozarts hand. Then the Dies irae and the rest Sussmayer made a new copy (which is not the one in this video). The Dies Irae and the rest I m showing in the video is by Mozart and the orchestration by Eybler (the sections I'm crossing out). You can see the Mozart fragment if you type Mozart Fragment IMSLP on google. It's for free if you wait there for 15 seconds. Please if you need anything feel free to contact me.
@@CostasCourtComposer Thank you for your prompt reply. This video of yours is wonderful.
First, it allows us to hear Mozart’s final, unfinished version of the Requiem without any later additions. Since I don’t have the genius ability of someone like Antonio Salieri, who could look at a score and immediately hear the music in his mind, this video is incredibly valuable for my study of the Requiem.
Second, listening to this piece with Vocaloid gives it a quality reminiscent of Peter, Paul & Mary’s Puff, the Magic Dragon, allowing me to appreciate the original from a different perspective. Did you input all the notes into the sequencer manually? If so, that must have been an enormous effort.
The Confutatis was used to great effect in that famous dictation scene from Amadeus. Neville Marriner served as the music director for the film. I imagine he knew that Mozart hadn’t actually composed the piece in that particular order, but he deliberately had Tom Hulce, as Mozart, sing each part in sequence to heighten the dramatic impact. A well-known Japanese novelist-one of whose works was later adapted into "Rashomon" by Kurosawa-once made a striking remark: "There are truths that can only be conveyed through lies." That quote comes to mind.
Are you Greek? As a Japanese amateur musician, I find it amusing to be discussing the final work of Austria’s musical prodigy with a Greek musician.
How can I contact you personally? I’d like to publish an analysis of the Amadeus soundtrack, ideally around December 5th, the anniversary of Mozart’s death. My focus is specifically on the Requiem, and I’d greatly appreciate any insights you could share.
@久美薫 it wasnt onlu Antonio Salieri who had the ability. Almost all classicl training musicians could do that back in th day. Yes Neville Marriner of course knew that! It is known for centuries! I agree on Rashomon quote. Yes I am Greek and I thought exactly the same thing. A Japanese and a Greek talking about an Austrian Composer. Mozarts music is universal. I forgot to mention before that the whole work of Mozart is on line. Type nma mozart. In there you can find the fragment version too. Sure you can find me on Facebook as Kostas Papazafeiropoulos
I wonder whether Süssmayr could have used the music of Exultate, Laudate or other suitable original pieces. Just wonder.
Blessings
Great experience to listen to the pure fragment but there is a mistake in the Confutatis movement. At the end of the “Oro supplex et acclinis” line there is a flat minor chord, the note of the second corno di bassetto is g flat (sounding c flat).
So interesting!
Thanks for watching!
Costas, wonderfull video!!!! What do you think about Maunder ediction?
Thanks! I can't say because I honestly don't remember very well!
@@CostasCourtComposer Maunder actually performer a deep analysys of requiem and evidenced all the errors in the Sussmayr completetion. He had also a a reviewd ediction whitout the sussmayr parts and he discharged al the parts of requiem after the lacrimosa. Maunder itself completed the remaining part and the the lacrimosa on the basis of Mozart (?) schetcs. He finally added an amen fugue on the basis of a suposed fragment that he claim to have Find. He finally realized a recording of this requiem, but I Speak of 90’s.
Ive heard the Amen fugue he made and also the completion. But I cant remember. Maybe I ll listen to it again
Wonderful presentation of the score - thank you!!!, but the music does not sound well, is that AI generated?
Its noteperformer cantamus and sibelius. Thanks
@@CostasCourtComposer It may be whatever software, it sounds terrible.
Well you are not obliged to listen to it.
@@CostasCourtComposer Huge thanks for the video but do not take it badly; it is true that the music sounds terrible and it is a pity because it is so hard to follow the manuscript for more than a couple of minutes. Cannot you find a way to use a nice existing recording?
I'm not taking it badly at all. There is no way to use a recording because yt can easily shut down a channel if a complaint for copyright issues is made.
a great pity for the singers, however a nice experiment, very interesting
Perhaps you don't know, but even the Requiem aeternam movement has had questions raised about if Mozart truly orchestrated it (because of the violin ostinato drop in measure 37, right where the ink changes). Nonetheless, research about the requiem has stagnated since the 2010's and new research about that has not been made yet.
Thanks but you are mistaken. Mozart aeterman has his handwriting throughout. If you cant see it here you can download the scorw on imslp and chech for youself.
@@CostasCourtComposer No no, I mean this because there are scholars who mentioned this in the past. There is a scholarly article written by Simon Andrews on the Musical Times in 2013 named "Is Mozart the author of the orchestration of bars 37-48 of the "Requiem aeternam" of K.626?" where he talks about this. Benjamin Cohrs on his completion preface also kinda alludes to this. I'd be curious to know if you think there are any ground to those claims or not.
@zionfortuna no i don 't think that there is any truth into that. Musicologists can be wrong too.
The Introitus is mainly in Mozart’s autograph but the faded greenish ink used by Franz Suessmayr can be seen in a few of the Bezifferungen (figured bassline with numerals) as well as the ‘fake’ Mozart signature at the upper right-hand corner of the first page (‘di me W.A. Mozart’) which was written in Suessmayr’s hand (M. himself never wrote ‘di me W.A. Mozart’ in any of his 1785-1791 autographs - if he signed a composition at all he’d write ‘di W.A. Mozart’ and would usually begin his last name with an M that begins at the top of the letter not the bottom as Suessmayr did-a clumsy oversight but it was commissioned and prepaid for anonymously for a wealthy eccentric who was going to put ‘Di Comte Walssegg’ at the top of his own hand-copy (claiming the work to be his own, but the musicians all knew Mozart or some great composer was behind the notes on the page-and had to ‘humour the Count’)
But 99% of the Introitus is purest ineffable Mozart from beginning to end - including the exemplar for the instrumentation he left for Eybler-Suessmayr-Maximilian Stadler to emulate as he lay dying with a head full of new music he was never able to live to set in writing - which was NOT the case for the remainder which comprised mainly of four vocal parts and figured bassline without orchestration except for the 1st violin line accompaniment (see the Rex Tremendae) and in the spaces between vocal utterances meant for orchestral fill-ins (v.g. the opening & mid-sections of the ‘Recordare’ and the opening of the ‘Lacrymosa’ etc)
@theophilos0910 thank you for the lengthy comment.!