Journal of Siberian Federal University. Humanities & Social Sciences 3 (2014 7) 498-509
~~~
УДК 783.29
Once again on Mozart’s Requiem
(Issues of Intonation-and-Style Analysis)
Andrey Yu. Sapsuev*
Krasnoyarsk State Academy of Music and Theatre
22 Lenin Str., Krasnoyarsk, 660049, Russia
Received 14.10.2013, received in revised form 26.12.2013, accepted 11.01.2014
The article considers the hypothesis of the possible endings of Wolfgang Amadeus Mozart Requiem
mass. Based on the study of the epistolary heritage of the composer the author attempts to reconstruct
the events of the last days of the great Viennese classics, as well as to identify the Requiem`s author
attitude to death. The author gives reasons for the early end of Mozart’s life, addresses the issues of
philosophical understanding of the problems of death. When considering a vocal-symphonic work
researchers usually apply intonation-and-stylistic analysis that allows to draw conclusions about
the organic nature and thematic unity of all parts of the cycle. The usage of the musical-rhetorical
vocabulary and terminology of the Baroque helped to identify features of the musical text of the
Requiem mass.
Keywords: Mozart, Requiem, requiem mass, vocal-symphonic work, rhetorical figures.
Death is not the end, and it holds infinitely more hopes
than our life gives to us.
G. Strehler
Death is the true ultimate goal of our life
Wolfgang Amadeus Mozart
A swan song. That is another title, which is
often attributed to the latest creation of Wolfgang
Amadeus Mozart – Requiem. The existence of
the funeral Mass, which began with an order in
July 1791 under rather mysterious circumstances,
even to this day causes a storm of opinions
and arguments concerning the question of the
authenticity of the work. To date, we know the
names of the customer and the messenger in
gray. Mysterious messenger in a gray cloak was
*
Anton Leitgeb (1747-1812). He was sent to Mozart
with the order to create a requiem mass by count
Valzegg zu Stupp. Subsequently the aristocrat
intended to issue a Requiem as his own essay,
written on the death of his young wife. Valzegg`s
decision to ask Mozart to write the mass was
not accidental. Here Mr. Abert writes about this:
“M. Puchberg, providing financial assistance to
Mozart for a long time, lived in Vienna in a house
of Valzegg. When benevolent attitude Puchberg
© Siberian Federal University. All rights reserved
Corresponding author E-mail address: [email protected]
– 498 –
hopes than our life gives to us.”
G. Strehler
“Death is the true ultimate goal of our life”
Wolfgang Amadeus Mozart
Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis)
another title, which is
creation of Wolfgang
The existence of the
h an order in July 1791
stances, even to this day
d arguments concerning
y of the work. To date,
omer and the messenger
r in a gray cloak was
He was sent to Mozart
equiem mass by count
y the aristocrat intended
n essay, written on the
zegg`s decision to ask
not accidental. Here Mr.
M. Puchberg, providing
for a long time, lived in
egg. When benevolent
ould not be surprising if
iculties of Mozart and willing to support him, either personally or
to the composer or the count directly recommended him as an
e is no documentary evidence of this, however, this assumption is
to Mozart would not be surprising if he is aware
of the financial difficulties of Mozart and willing
1
to support him, either personally or by drawing
Leitgeb`s attention to the composer or the count
directly recommended him as an author right for
the work. There is no documentary evidence of
this, however, this assumption is justified. It can
be assumed that the name of the customer was not
a secret for Mozart”. (Abert, 1990: 506).
There was also another parallel chain that
connected Mozart with Valzegg through DeimMüller and Leitgeb, who according to one
version worked as a manager at belonging to
Valzegg plaster mills. The owner of a kind of
cabinet of curiosities or a meeting of wax figures,
Deim-Müller was the person, for whom Mozart
created several pieces for the mechanical organ
in 1790 and 1791, respectively. G. Abert points
out: “Deim was also engaged in the manufacture
of copies of classical sculptures, and for that he
needed some cast. So in this way he turned out to
be related to the same Leitgeb, and through him
with Valzegg. Deim, of course, was also aware of
the financial difficulties of Mozart and also could
recommend Mozart as a possible author for the
requiem. This may be just a possibility, but it is
justified”. (Abert, 1990: 506).
What caused Mozart to agree to take
the order and create the requiem? “The main
reason was financial problem. According to the
documentation associated with the inheritance
of the property of Mozart, a special commission
determined his debts in the amount of 918 florins
16 kreuzers. This amount included the sum that
Mozart owed to pharmacists – 204 florins 23
kreutzers. In this case in this total amount was
not included at least 1,000 florins that Mozart
had borrowed from Puchberg, who did not put
forward any claims to the widow” (Abert, 1990:
506-507). For Mozart's Requiem was promised a
substantial sum (100 ducats), half of the amount
the composer received in advance.
The decision of creating the Requiem was
influenced by another event. On May 4, 1791
Mozart took (as a volunteer) the position of
deputy Kapellmeister at St. Stephen's Cathedral,
and the chance to write a large-scale church work
was very helpful. And since Mozart was widely
known as an opera composer, the creation of the
Mass served as a good opportunity to establish
himself as a composer for the church.
The reasons which led to begin the work on
Mozart's Requiem Mass today are known, but
about the music composition and the time of its
occurrence, researchers still have not reached
a consensus. A large number of versions and
proposals that arise around the Requiem, due to
the lack of definitive information that can form
the basis for meaningful hypotheses, which leaves
plenty of room for all kinds of fantasies and even
pseudo-scientific innuendos.
In particular, the German researchers
J. Dal`khov, G. Duda and D. Kerner argue that
the Requiem was written entirely before the
composer’s death. They assert that the basis
for this statement are letters from the publisher
Andre Offenbach, and also letter from the singer
Benedict Shaq. It is reported that Mozart “was
told not to rush to work, and he still managed
– 499 –
Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis)
to go to Frankfurt” (on this, see Dal’khov, along with figures in parts of the Requiem, Kyrie,
Duda, Kerner, Moscow, 121; Sakva, 6). In this Dies irae – Confutatis and Domine Jesu; in the
case, the opinion of the researchers contradicts instrumentation in some places he only outlined
the historical facts, the visit to Frankfurt took the basic line. The part of Lacrymosa has only
place in autumn 1790, and the order to compose a total of 8 times written with the hand of the
the Mass was in July 1791. In addition, if, after composer. The last three parts were not fixed:
the composer’s death the version of the product Sanctus, Benedictus and Agnus Dei. It can
had been complete, Constanze Mozart would be assumed that in the mind of the author the
not have had to turn to other musicians with a Requiem existed from the first to the last note,
request to finish the mass.
but the disease, which took him in the grave, did
Supporters of another version say that the not allow him to finalize his essay.
Requiem was partially written by Mozart before
As the entire multitude Mozart`s works
his death and completed by his student – Franz show that the author’s style was characterized
Xaver Zyusmayer. The researchers G. Abert, by a particular striving for coherence and
A. Neumayr, C. Sakva pay great attention to consistency of the musical form as separate
the letters of Constanze Mozart to the Abbe parts, and the cycle as a whole. It is embodied
Maximilian Stadler (1748-1833) on May 3, in a thematic unity and fine intonation work, as
1827 and Zyusmayer, in which he informed the is exemplified by the Requiem. In this work, the
publishers Breitkopf and Herter about the finished task based on the analysis of musical texts is to
parts of this masterpiece.
grasp the essence of the work and try to imagine
The authenticity of this version was also how the composer would have completed his
supported by the expertise. One of the tests took latest creation.
place in Tuzone in 1987. The object of the study
Notwithstanding the magnitude of the work
was the type of paper with Mozart’s autograph. and the diversity of its musical material, based on
As a result of examination the experts came to the Mass are relatively few thematic elements,
Anotherthat
graphology
20 November
1791
first part
day of
of the
his work –
the conclusion
the type expertise
of papershowed
similar that
to after
which
are indicated
in (the
the first
fatal illness) Mozart did not add to the Requiem a single note, in the autograph there is no
the
one thatthat
Mozart
used to record
thetowork
aeternam.
indication
the composer
continued
workdid
on theRequiem
Mass being
sick.
not existAs
before
1791.ofTherefore,
the recordingsit was found
Consider
the intonations
make up
a result
various examinations
that Mozart
managed which
to write
completely
the
four
main
singing
voices
and
the
bass
part
along
with
figures
in
parts
of
the
were made after the composer`s returning from the topic. It consists of two elements: The first
Requiem, Kyrie, Dies irae - Confutatis and Domine Jesu; in the instrumentation in some places
Prague,
in early
(In July –
a tonic
theoffuneral
service,with
thethe
theme of
he onlyi.e.
outlined
theSeptember.
basic line. The
part ofAugust
Lacrymosaishas
only a to
total
8 times written
handMozart
of the composer.
three
parts
were not fixed:
Sanctus,
and Agnus
Dei. It of the
1791
worked onThe
the last
opera
“La
Clemenza
“breath.”
In Benedictus
the musical
vocabulary
be assumed
thatpremiered
in the mind
author the
existed
from
to the turn
last note,
dican
Tito,”
which was
onof6 the
September
of Requiem
Baroque
period
forthe
thisfirst
melodic
entrenched
but the disease, which took him in the grave, did not allow him to finalize his essay.
the sameAs
year
Prague).
grief,was
crying,
otherwise
theinentire
multitude Mozart`s works show the
thatsemantics
the author'sofstyle
characterized
by known
a particular
striving
for
coherence
and
consistency
of
the
musical
form
as
separate
parts,
and
the
Another graphology expertise showed that as lamento. Start moving melodies with tonic and
cycle as a whole. It is embodied in a thematic unity and fine intonation work, as is exemplified
after 20 November 1791 (the first day of his fatal a return to it, even within such a short motif is
by the Requiem. In this work, the task based on the analysis of musical texts is to grasp the
illness)
Requiem
a composer
seen as a would
sign of have
predestination,
predetermined
essenceMozart
of the did
worknot
andadd
try to
to the
imagine
how the
completed ahis
latest
creation.
single note, in the autograph there is no indication outcome. The entry threads with weak interest in
Notwithstanding the magnitude of the work and the diversity of its musical material,
that
the composer continued to work on the Mass this context and acts as a symbol of inevitability
based on the Mass are relatively few thematic elements, which are indicated in the first part of
being
sick.- Requiem aeternam.
the work
thevarious
intonations
which make
the topic. It
As aConsider
result of
examinations
it up
was
consists of two elements: The first is a tonic to the funeral
found
thatthe
Mozart
to In
write
completely
service,
theme managed
of “breath.”
the musical
vocabulary of
the
main period
singing
and theturn
bassentrenched
part
thefour
Baroque
forvoices
this melodic
the semantics of grief, crying, otherwise
known as lamento. Start moving melodies with tonic and a return to it, even within such a short
– 500 –
motif is seen as a sign of predestination, a predetermined
outcome. The entry threads with weak
interest in this context and acts as a symbol of inevitability of the impending doom, and a pause
gives the impression of breath. The creation of a tragic way also contributes to the association
with the genre of sarabande pointed to the emphasis of the second part. In addition, an important
element of the musical fabric is the instrumental section «Requiem aeternam», which performs a
Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis)
of the impending doom, and a pause gives the her deathbed, the composer, according to his
impression of breath. The creation of a tragic words, “imagined how she would be happy in
way also contributes to the association with a moment, much happier than us, and I wished
the genre of sarabande pointed to the emphasis that for myself at this point to get away with it”
of the second part. In addition, an important (Mozart – to his father in Salzburg, July 9, 1778,
element of the musical fabric is the instrumental Paris ).
section «Requiem aeternam», which performs a
The two elements which form the basis of
rhythmic figure “step”, are evident in a smooth the theme Requiem aeternam combined form
motion with eighth length-notes in the voices of another rhetorical figure, which was formed
the string part of the orchestra. The picture of the already in the works of J.S. Bach: the shape of
procession complements the dotted rhythm that a cross. Presented in the works of the author of
occurs in the instrumental parts (from figure 3 “Passion” in various forms, it is a symbol of the
of the score).
crucifixion, the Lord’s Passion. In the inverted
However, the tragic hopelessness, scheduled form of this symbol means “the accomplished
in the first element of the theme becomes redemption through the cross throes” (Nosina,
overridden in the subsequent motif. It is a gradual 2002: 91).
climbing to the third (tertia). V.B. Valkova
The figure of the cross, which is scheduled
considers that intonation in connection with to start Requiem aeternam, is revealed in the first
The two elements
the basis
the themewhich
Requiem
combined
the story of Calvary, the upward movement
theme which
of theform
fugue
Kyrieof eleison,
is aeternam
the
another rhetorical figure, which was formed already in the works of J.S. Bach: the shape
in the volume of a minor third iscross.
associated
of the
theauthor
figureof of
a cross.in For
example,
Presented intreatment
the works of
“Passion”
various
forms, it is a symbol o
the Lord's
Passion.
the inverted
form of with
this symbol
means “the accompli
with the image of the “last way ofcrucifixion,
the Cross,
compare
theIntopic
Kyrie eleison
the theme
The through
two elements
which
form(Nosina,
the basis2002,
of the
theme Requiem aeternam combined
redemption
the cross
throes”
91).
processions apocalyptic” (Val’kova,another
2000:The
691).
thecross,
fugue
g-moll
of the
first
ofof
“Das
rhetorical
figure,
whichwhich
was
formed
already
involume
the
works
J.S. Bach:
the shapein
figure of
of
the
is scheduled
to start
Requiem
aeternam,
is revealed
cross.
Presented
the works
the author
of “Passion”
in various
it is of
a symbol
theme
of theinWohltemperirter
fugue
Kyrieof eleison,
which
is
of forms,
the figure
a cross.o
The researcher calls the move fromfirst
stage
I to
Clavier”
bythe
J.S.treatment
Bach:
crucifixion,
the Lord's
Passion.
the inverted
of of
thisthesymbol
means of
“the
example,
compare
the topic
KyrieIneleison
with theform
theme
fugue g-moll
theaccompl
first vol
1
III to be the motif of “leaving-farewell”
, that
in
thethefugue
Kyrie
redemption
through
cross
throes”
(Nosina,
of
“Das
Wohltemperirter
Clavier”
by eleison
J.S.
Bach:2002, 91).
The figure of the cross, which is scheduled to start Requiem aeternam, is revealed i
the context of Mozart’s work takes on a special
first theme of the fugue Kyrie eleison, which is the treatment of the figure of a cross
significance.
example, compare the topic Kyrie eleison with the theme of the fugue g-moll of the first vo
fugue Kyrie eleison
“Dasthe
Wohltemperirter
Clavier” by J.S. Bach:
If you consider this elementof from
the
position of tonal vocabulary of the Baroque, you
will find it similar to the rhetorical anabasis,
the fugue g-moll the fugue g-moll
the
the fugue
fugue g-moll
Kyrie eleison
which appeared in the works of the Baroque
Thus, a detailed discussion of the topic shows how complicated is its meaningful con
meaning-bearing words “heaven”, The
“heavenly”,
indissoluble unity of the two worlds is presented in the first bars of the works: the wor
thethe
fugue
mortal
coilg-moll
in which a person is doomed to drag out their miserable existence, and g
“climbing”, etc. This allows you to earthly
say, that
to supreme bliss, which begins beyond life. A connecting link in the chain is the figure
composition of Mozart symbolizescross.
the care
ofa detailed discussion of the topic shows how complicated is its meaningful con
Thus,
The
indissoluble
of
the
two
worlds
is presented
in theof
first
barstopic
ofrhetoric
the works:
the wor
Explanation
of the
main
from
the
perspective
of
musical
is quite
nat
Thus,
atheme
detailed
discussion
the
temporal life in a different world: a world of unity
earthly
coilwhich
in which
a person
is doomedMozart
to dragborrowed
out their from
miserable
existence,
and g
since
themortal
subject,
opens
the Requiem,
the baroque
vocabu
howworks
complicated
isandits
meaningful
light, joy and happiness embodiesProof
ability
tothe
supreme
which
begins
beyond
connecting
in the which
chain is
of
thisbliss,
are shows
the
spiritual
of life.
J.S. A
Bach
G.F.link
Handel,
usethe
thefigure
com
cross.
Protestant
chorale
melody.
to break out of the vicious circle, which is the content. The indissoluble unity of the two worlds
of the main theme from the perspective of musical rhetoric is quite na
Here areExplanation
some examples.
iswhich
presented
in Requiem,
the Gut”
first (“the
bars Lord
ofborrowed
the
works:
earthly life, and to find the awaited
sincefreedom
the“Herr
subject,
opens
the
Mozart
from the
theYou
baroque
vocabu
Chorale
Jesu
Christ,
du höchtes
Jesus
Christ,
are the
supr
Proof
of
this
are
the
spiritual
works
of
J.S.
Bach
and
G.F.
Handel,
which
use
the
com
good”):
world of earthly mortal coil in which a person
outside the death.
Protestant chorale melody.
is doomed to drag out their miserable existence,
Mozart’s string writing, documenting
his examples.
Here are some
Chorale
“Herr
Jesu
(“the
Lordbegins
Jesus Christ,
goingdu
to höchtes
supremeGut”
bliss,
which
beyondYou are the sup
thoughts about the death of the mother, can andChrist,
good”):
life. A connecting
in the
chain is
the figure
serve as confirmation of such a treatment
G.F. Handel,ofthe beginning
of the openinglink
chorus
of “Funeral
Anthem”:
the first theme of the Requiem. Being beside of a cross.
– 501 –
G.F. Handel, the beginning of the opening chorus of “Funeral Anthem”:
example, compare the topic Kyrie eleison with the theme of the fugue g-moll of the first volume
crucifixion, the Lord's Passion. In the inverted form of this symbol means “the accomplished
of “Das Wohltemperirter
Clavier”
by(Nosina,
J.S. Bach:
redemption
through
thewhich
cross
throes”
The two
elements
form
the basis
of the2002,
theme91).
Requiem aeternam combined form
The
figure
of
the
cross,
which
is
scheduled
to works
start Requiem
aeternam,
is revealed
in the
another rhetorical figure, which was formed already
in the
of J.S. Bach:
the shape
of a
cross.
Presented
works Kyrie
of the author
of which
“Passion”
forms,of
it is
first theme
of in
thethefugue
eleison,
is inthevarious
treatment
thea symbol
figure of
of the
a cross. For
crucifixion,
the Lord's
Passion.Kyrie
In the eleison
invertedwith
formthe
of theme
this symbol
means
accomplished
example, compare
of the
fugue“the
of the first volume
Andreythe
Yu.topic
Sapsuev. Once
again on Mozart’s
Requiem
(Issues
ofg-moll
Intonation-and-Style
Analysis)
redemption
through
crosseleison
throes” (Nosina,
2002, 91).
fugue the
Kyrie
of “Das the
Wohltemperirter
Clavier”
by J.S. Bach:
The figure of the cross, which is scheduled to start Requiem aeternam, is revealed in the
first theme
of the fugue
eleison,theme
which is
the treatment
of the
figure of aMozart`s
cross. For
Explanation
of Kyrie
the main
from
the
Possibly,
example, compare the topic Kyrie eleison with the theme of the fugue g-moll of the first volume
perspective
of musical
rhetoric
quite natural, known theme of choral
of “Das Wohltemperirter
Clavier”
by J.S.isBach:
the fugue
g-moll
appeal to the wellserved to Dal`khov,
the fugue Kyrie eleison
since the subject, which opens the Requiem, Kerner and Duda a reason to assume that
a detailed
of the
topic shows how
its meaningful
content.
Mozart Thus,
borrowed
fromdiscussion
the baroque
vocabulary.
the complicated
work wasis created
entirely
before the
the fugue Kyrie
eleison
The indissoluble
unity
of the two worlds is presented in the first bars of the works: the world of
the
fugue
g-moll
Proof
this
are
the
works isofdoomed
J.S. Bach
composer’s
death. However,
the fact of the
earthlyof
mortal
coil
in spiritual
which a person
to drag
out their miserable
existence,even
and going
to
supreme
bliss,
which
begins
beyond
life.
A
connecting
link
in
the
chain
is
the
figure
of a author
and G.F. Handel, which use the common Protestant use of common tunes by the Requiem`s
Thus,
a detailed discussion of the topic shows how complicated is its meaningful content.
fugue g-moll
cross. the
chorale
melody. unity of the two worlds is presented in the
is first
no proof
release.
For, according
The indissoluble
bars of of
thesuch
works:a the
world of
Explanation of the main theme from the perspective of musical rhetoric is quite natural,
earthly
mortal
coil
in
which
a
person
is
doomed
to
drag
out
their
miserable
existence,
and
going
Thus,subject,
a detailed
discussion
of the
shows how
complicated
is itsAsafiev,
meaningful
content.
are
somewhich
examples.
toborrowed
B.V.
not create new
sinceHere
the
opens
thetopic
Requiem,
Mozart
from the“Mozart
baroque did
vocabulary.
to supreme
bliss,
which
beyond
life. A inconnecting
in works:
the chain
is theoffigure of a
The
indissoluble
unity
of thebegins
two worlds
is presented
the first barslink
of the
the world
Proof
of
this
are
the
spiritual
works
of
J.S.
Bach
and
G.F.
Handel,
which
use
the
common
“Herr
Jesua person
Christ,
du höchtes
Gut”
he created
a new system of proof.”
earthly
mortal coil
in which
is doomed
to drag
out theirworlds miserable–existence,
and going
cross.Chorale
Protestant
chorale
melody.
to
supreme
bliss,
which
begins
beyond
life.
A
connecting
link
in
the
chain
is
the
figure
of
a
Explanation
of
the
main
theme
from
the
perspective
of
musical
rhetoric
is
quite
natural,
(“the Lord Jesus Christ, You are the supreme And, based on the last-known
works in the 17th
Here are
examples.
cross.
since
the some
subject,
which opens the Requiem, Mozart borrowed from the baroque vocabulary.
Explanation
of
main theme
fromof
theJ.S.
perspective
of musical
rhetoric
iswhich
quite
natural,
good”):
century
hymns,
heYou
created
his supreme
own authorship,
Chorale
du
höchtes
Gut”
(“the
Lord
Jesus
Christ,
are common
the
Proof
of “Herr
this areJesu
thetheChrist,
spiritual
works
Bach
and
G.F. Handel,
use
the
since
the subject, which opens the Requiem, Mozart borrowed from the baroque vocabulary.
good”):
Protestant chorale melody.
Proof of this are the spiritual works of J.S. Bach and G.F. Handel, which use the common
Here are some
Protestant
choraleexamples.
melody.
Chorale
“Herr
Jesu Christ, du höchtes Gut” (“the Lord Jesus Christ, You are the supreme
Here are some examples.
In the text of hymns used by Bach, Handel and Mozart human turns to God for mercy and
good”): “Herr Jesu Christ, du höchtes Gut” (“the Lord Jesus Christ, You are the supreme
Chorale
salvation of the soul after death. The same meaning is contained in the words of the chorale
good”):
“Meine Seel erhebt den Herren” (“My soul ascends to God”), the melody which is used in the
G.F. Handel, the beginning of the
opening
chorus
of “Funeral
Anthem”:
middle
section
of “Requiem
G.F. Handel, the beginning
of the
opening
in aeternam”:
which traditional themes and intonations
chorus of “Funeral Anthem”:
a very
meaning.
In order
prove
In the text of hymns usedfound
by Bach,
Handelspecial
and Mozart
human turns
to Godtofor
mercy and
G.F.Handel,
Handel,thethe
beginning
of opening
the opening
of “Funeral
Anthem”:
salvation
ofofthe
soul
after
death.
The same meaning is contained in the words of the chorale
G.F.
beginning
of the
choruschorus
“Funeral
Anthem”:
the stylistic
unity toofGod”),
the the
Requiem,
we istrace
“Meine
Seeloferhebt
denused
Herren”
(“My soul
ascends
melody
used
in the and
In
the text
hymns
by Bach,
Handel
and Mozart human
turns which
to God
for mercy
middle
section
of
“Requiem
aeternam”:
Possibly,
Mozart`s
appeal
to
the
well-known
theme
of
choral
served
to of
Dal`khov,
Kerner
the
emergence
of
the
topic
and
its
members
inthe chorale
salvation of the soul after death. The same meaning is contained in the words
and
Duda
a reason
to assume
that
thesoul
work
was created
entirely
beforewhich
the composer's
death.
“Meine
Seel
erhebt den
Herren”
(“My
ascends
to
God”),
the
melody
is
used
in
the
of the tunes
cycle.
However,
evenofthe
fact ofother
the
useparts
of common
by the Requiem`s author is no proof of such
middle section
“Requiem
aeternam”:
a release. For, according to B.V.
Asafiev,
“Mozart
did notuses
createof
newthe
worlds
- he created a new
The
simple
visual
initial
th
system of
proof.” And, based ontothe
last-known
worksofinchoral
the 17served
century
hymns,Kerner
he created his
Possibly, Mozart`s appeal
the
well-known
theme
to
Dal`khov,
intonations
of theand
Requiem
in its
original
form
own
authorship,
in towhich
traditional
themes
intonations
found
a very
specialdeath.
meaning. In
and Duda
a reason
assume
that the work
was created
entirely before
the
composer's
order
to prove
thefact
stylistic
unity
of
the Requiem,
weRequiem`s
trace the
emergence
of the
can
intunes
thebyfollowing
parts:
However,
even the
of the
usebe
of found
common
the
author
is no proof
of topic
such and its
Possibly,
Mozart`s
to the well-known
of choral
served- he
to created
Dal`khov,
Kerner
members
in
other
parts of
the
a release.
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according
to appeal
B.V.cycle.
Asafiev,
“Mozart did theme
not create
new worlds
a new
№1
Requiem
aeternam
th
and
Duda
a simple
reason
to assume
the
workintonations
was
created
before
theitscomposer's
death.
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visual
uses
of
the
initial
ofentirely
the
Requiem
in
original
can be
system
of proof.”
And,
based
onthat
the
last-known
works
in the
17
century
hymns,
he
created form
his
However,
even
the
of traditional
the use of themes
common
tunes
by the Requiem`s
author
is no
proof ofInsuch
own authorship,
in fact
which
and
intonations
found a very
special
meaning.
found
in the
following
parts:
aorder
release.
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according
to unity
B.V. of
Asafiev,
“Mozartwedid
not the
create
new worlds
created
a new
to№1
prove
the stylistic
the Requiem,
trace
emergence
of the- he
topic
and its
Requiem
aeternam
th
system
of inproof.”
And,ofbased
on the last-known works in the 17 century hymns, he created his
members
other parts
the cycle.
own authorship,
traditional
themes
and intonations
foundinaitsvery
special
The simpleinvisual
of the initial
intonations
of the Requiem
original
formmeaning.
can be In
№2
Dies iraewhichuses
found to
in prove
the following
parts: unity of the Requiem, we trace the emergence of the topic and its
order
the stylistic
№1
aeternam
members
inRequiem
other parts
of the cycle.
№2 Dies irae
The simple visual uses of the initial intonations of the Requiem in its original form can be
№3
Domine
Jesu
irae parts:
found in№2
theDies
following
№1 Requiem aeternam
4
№3 Domine
№2
Dies iraeJesu
4
4
Domine Jesu
In the text of hymns usedMore
by complex
Bach, thematic№3
modifications
are much more common. For example, the use of
treatment
as
a
“primary
intonation
impetus” for countersubject in the middle section of
Dominefor
Jesu
Handel and Mozart human turns №3
to God
“Requiem
aeternam”, thematic
in “Tubamodifications
mirum”: are much more common. For example, the use of
More complex
mercy and salvation of the soul after
death.
treatment as a “primary intonation impetus” for countersubject in the middle section of
“Requiem
aeternam”,
The same meaning is contained
in the
wordsin “Tuba mirum”:
More complex
thematic
modifications
are the use of
of the chorale “Meine Seel erhebt den
MoreHerren”
complex thematic modifications
are much
more common.
For example,
treatment as a “primary intonation impetus” for countersubject in the middle section of
much more common. For example, the use of
(“My soul ascends to God”), the
melody
whichin “Tuba
aeternam”,
In the text of hymns used by “Requiem
Bach, The
Handel
and movement
Mozartmirum”:
human
turns istofound
Godinfor
mercy
and “Domine Jesu”:
backward
of the theme
“Rex
tremendae”,
as ain“primary
impetus” for
issalvation
used inof the
middle
of “Requiem
the soul
aftersection
death. The
same meaningtreatment
is contained
the wordsintonation
of the chorale
The backward movement of the theme is found in “Rex tremendae”, “Domine Jesu”:
“Meine Seel erhebt den Herren” (“My soul ascends to God”), the melody which is used in the
aeternam”:
middle section of “Requiem aeternam”:
The backward movement of the theme is found in “Rex tremendae”, “Domine Jesu”:
Intonations of the theme are often accentuated in Cadenza elements. According to the
rhetorical
music dictionary,
thisare
turnover
is called symploce
For more
Intonations
of the theme
often accentuated
in Cadenza(complexio).
elements. According
to unity
the of the
rhetoricalconstruction,
music dictionary,
turnover at
is called
symploce and
(complexio).
unityItofis the
melodic
it is this
performed
the beginning
repeatedFor
at more
the end.
significant
– it502
– ofonly
Possibly, Mozart`s appeal
tothese
theconstruction,
well-known
choral
served
toandDal`khov,
melodic
istheme
performed
at the
beginning
repeated
atKerner
the end. It is significant
that
revolutions
are
present
in the
parts created
by Mozart:
that these
revolutions
present only
in thebefore
parts created
by Mozart:
and Duda a reason to assume that
the work
wasare
created
entirely
the composer's
death.
However, even the fact of the use of common
the Requiem`s
author is in
noCadenza
proof ofelements.
such According to the
Intonationstunes
of thebytheme
are often accentuated
a release. For, according to B.V.rhetorical
Asafiev,
“Mozart
did not
worlds
- he created
a newFor more unity of the
music
dictionary,
this create
turnovernew
is called
symploce
(complexio).
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th the beginning and repeated at the end. It is significant
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construction,
it is performed
system of proof.” And, based onmelodic
the last-known
works
in the 17at
century hymns, he created his
that these revolutions are present only in the parts created by Mozart:
section of “Requiem aeternam”:
foundwe
in the
following
parts: of the topic and its
istic unity of the Requiem,
trace
the emergence
№1
Requiem
aeternam
№3
Domine
Jesu
of the cycle.
al uses of the initial intonations of the Requiem in its original form can be
№2 Dies irae
parts:
Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis)
ternam
Possibly, Mozart`s appeal to the well-known theme of choral served to Dal`khov, Kerner
uda a reason to assume that the
wasJesu
created entirely before the composer's death.
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Domine
More
complex
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Confutatis
in
thetunes
middle
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intoproof
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melodic
ver, even the fact ofcountersubject
the use of common
by section
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such movement and are subject to
treatment as a “primary intonation impetus” for countersubject in the middle section of
se. For, according to
B.V. Asafiev,
“Mozart
did not create new worlds - he
created a new Thus, in the fifth part of the
aeternam”,
in “Tuba
mirum”:
reconsideration.
“Requiem aeternam”,
in “Tuba mirum”:
of proof.” And, based on the last-known works in the 17th century hymns, he created his
are much more common. For example, the use of cycle in the introduction we find the theme of
umatic modifications
uthorship,
in which traditional themes and intonations
foundJesu
a very special meaning. In
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intonation impetus” for countersubject in the middle
section of
“breath”
and the
movement in the hidden
o prove the stylistic unity of More
the Requiem,
we
trace the
emergence are
of the
topic
its upward
complex
thematic
modifications
much
more common.
For example, the use of
Tuba mirum”:
ers in other parts of the cycle.
Often individual
elements
of the theme, which
havemiddle
independent
significance,
are woven
two-voices.
treatment as a “primary intonation
impetus”
for
countersubject
in the
section
of
The simple visual uses“Requiem
of the initial
intonations
of the
the melodic
Requiem
in its original
form
can to
bereconsideration. Thus, in the fifth part of the cycle
movement
and are
subject
aeternam”,
ininto
“Tuba
mirum”:
Recordare
n the following parts:
in the introduction
weisfind
the theme of “breath” and the upward movement in the hidden twoThe backward movement
the theme
found
Confutatis
thematic
modifications
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example,
the
use
of in “Rex tremendae”, “Domine Jesu”:
voices.
№1 Requiem
aeternamare much more common.
ary intonation impetus” for countersubject in the middle section of
n№2
“Tuba
mirum”:
Dies
vement
of irae
the theme is found
in “Rex tremendae”,
The backward
movement“Domine
of the Jesu”:
theme
is Jesu
Domine
Recordare
found in “Rex
“Domine
Thetremendae”,
backward movement
ofJesu”:
the theme is found in “Rex tremendae”, “Domine Jesu”:
Often individual elements of the theme, which have independent significance, are w
Intonations of the theme The
are often
accentuated
in
Cadenza
elements.
to melody
the
Confutatis
motif
ofmelodic
“breath”
throughout
the
development
of the
into the
movement
and are
subject
toAccording
reconsideration.
Thus, inisthetransformed,
fifth part of the
rhetorical music dictionary,acquiring
this turnover
isemotional
called symploce
(complexio).
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moreand
unity
of
the of grief, in
various
shades.
In
some
cases,
it
serves
as
an
expression
weeping
in the
introduction
we The
find
the
theme
of
“breath”
the
upward
the hidden
motif of “breath” throughoutmovement
the
melodic
construction,
it ispleas
performed
at the
beginning
and repeatedand
at greatness:
the end. It is significant
of“Domine
desperation
and fear, determination
voices.
movement of the theme
is found
in “Rex tremendae”,
Jesu”:
development of the melody is transformed,
theme are often accentuated
in Cadenzaare
elements.
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toDomine
thecreated
that these revolutions
present only
in the parts
Jesu by Mozart:
y, this turnover is called symploce (complexio). For more unity of the acquiring various emotional shades. In some cases,
complex
thematic
modifications
areofmuch
more
example,
the
use of
of theelements.
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individualin
elements
theme, which
have independent
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are
often For
accentuated
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sMore
performed
at the
beginning
and
repeated
atthe
the theme
end.
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ismirum
significant
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it
serves
as
an
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into
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and
areof
subject to reconsideration.
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the fifth
ent
as
a
“primary
intonation
impetus”
for
countersubject
in
the
middle
section
Confutatis
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rhetorical
music
dictionary,
this
turnover
is
called
symploce
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more
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present only in the parts created by Mozart:
in the introduction we find the theme of “breath” and the upward movement in the hidden twoRecordare
em aeternam”, in “Tubamelodic
mirum”:
desperation
and fear,
and greatness:
construction, it is performedvoices.
at the beginning
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the end. It is significant
The motif of “breath” throughout the development of the melody is transfo
that
these
revolutions
are
present
only
in
the
parts
created
by
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he theme are often accentuated in Cadenza elements. According
the emotional
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mirum In some cases, it serves as an expression of grief, we
acquiring to
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nary, this turnover is called
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often Jesu
t is performed at the beginning and repeated at the end.
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is Often
significant
into the
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5 significance, are woven
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elements
of
the
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independent
in the
introduction to
we find the theme of “breath” and the upward movement in the hidden twoaccentuated
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re present only in the
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Mozart:elements.
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irae
into
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and are subject
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in the fifth partsignificance,
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mirum
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ininthe
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is“Domine
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Jesu”:
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acquiring various emotional shades. In some cases, it serves as an expression of grief,
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the pleas
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called symploce (complexio). For inmore
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is significant
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motif isonly
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that these revolutions are present
indesperation
the partsand fear, determination and greatness:
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motif
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throughout
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iraeAccording
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5
acquiring various emotional
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created
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cal music dictionary, this turnover is called symploce (complexio).
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ese revolutions are present only in the parts created by Mozart:
acquiring various
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Rex tremendae
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mirum
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motif Requiem
is highlighted: Rex tremendae
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tremendae demonstrate, in the slow movements, thanks to plaintive intonations,
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Dies irae
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increased expression
of
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the cycle, and appearsDies
in its
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iraemirum
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6
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e melodic
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and
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in
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mirum
which have independent significance, areRequiem
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necessary to allocate another thematic element, adjacent to the main. It is a
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melody
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ng various
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6
f desperation and fear, determination and greatness:
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Rex
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the tune of “breath” in the process of development, it takes a variety of emotional
Requiem
tones: swift, melodious, soulful:
In other cases, it is associated with descending
melodic turns, in which the rhythmic
Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis)
Dies irae
f is highlighted:
Tuba mirum
Dies irae
Requiem aeternam
Dies irae
Domine Jesu
Like the tune of “breath” in the process of development, it takes a variety of emotional
Rex tremendae
Rex remendae
Requiem
tones: swift, melodious, soulful:
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turns,mirum
in which the rhythmic
Requiem aeternam
tif is highlighted:
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the tune of “breath” in the process of development, it takes a variety of emotional
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The organic nature
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ofTuba
the cross
theme that is found in the “Recordare”, “Lacrymosa”, “Domine Jesu”:
The organic nature and unity of the musical
Rex
remendae
Like
the tune of “breath” in the process of development, it takes a variety of emotiona
Recordare
material also is reflected in the germination of
Dies
irae
tones: swift,
melodious, soulful:
As these examples demonstrate, in the slow movements, thanks to the
plaintive
intonations,
cross theme
that is found in the “Recordare”,
Lacrymosa
asedTuba
expression
of
grief,
and
it
is
fast
achieving
greater
drama
and
pathos.
Domine
Jesu
mirum
“Lacrymosa”,
“Domine Jesu”:
Requiem
aeternam
remendae
It is necessary to allocate another thematic Rex
element,
Dies iraeadjacent to the main. It is a
As by
these
examples
in the
slow
thanks
to plaintive
intonations,
ement
the
sound demonstrate,
of the chord.
For
themovements,
first time
theorganic
item
isnature
scheduled
inRecordare
the
part of material also is reflected in the germination
The
and unity
of first
the musical
Domine
Jesu
reasedand
expression
of grief,
and
it is fast achieving
drama
andtheme
pathos.
ycle,
appears
in its
crystallized
form greater
atofthe
beginning
of
the
Third
Part
“Tuba
mirum”:
the
cross
that
is found
in
the
“Recordare”,
“Lacrymosa”, “Domine Jesu”:
As
these
examples
demonstrate,
in
the
slow
Tuba
It is necessary to allocate another thematic element, adjacent“Lacrymosa”
to the main.
is amirum
is ofIt
particular
interest in the light of the topic of our work. As is well
Rex
remendae
Domine
Jesu
vement by the sound
of the chord. For
the first to
time plaintive
the item known
is scheduled
the firstto part
of only 8 primary bars of the score.
Mozart in
managed
record
movements,
thanks
intonations,
6 in the process of development, it takes a varie
Now
we“Tuba
shall consider
features
of the theme.
cycle, and appears in its crystallized form at the beginning ofRecordare
the Third
Part
mirum”:
Likeintonation
the tune
of “breath”
increased expression of grief, The
andorganic
it is nature
fast
tones: swift,
melodious,
and unity
of the soulful:
musical material also is reflected in the germination
6
of the
cross
theme
that
is
found
in
the
“Recordare”,
“Lacrymosa”, “Domine Jesu”:
achieving greater drama and
pathos.
Domine Jesu
The
triad intonation a1-f2-d2
is fused with the motive of “breath” d2-cis2, so that the
It is necessary to allocate another
thematic
Lacrymosa
Lacrymosa
Dies iraeto it, and the last sound of the triad intonation d2 highlights
sixth is perceived as a recapitulation
organic
and unity
of the
musical material also is reflected in the germinatio
and
exacerbates
thenature
expressiveness
of the final
motif.
element, adjacent to the main. ItRecordare
isThe
a movement
“Lacrymosa”
can also
first topic of “Requiem
aeternam”,“Domine
which appears
of the cross Intheme
that isyou
found
in find
the the
“Recordare”,
“Lacrymosa”,
Jesu”:
on first
the verge
of 4the
and 5 bars in the soprano. Here it is dispersed between two different motives.
by the sound of the chord. For the
time
Domine
Jesu
Rex
remendae
But if we ignore the caesura and the difference in the registers and connect the tune of “breath”
Tuba mirum
Dies irae
item is scheduled in the first part of
the
and
with
thecycle,
beginning
of the subsequent huge and extremely busy upward movement, it is clear that
Recordare
Lacrymosa
“Lacrymosa”
is of initial
particular
the light of the topic of our work. As is well
Mozart put the Requiem
tone as interest
the basis ofin“Lacrymosa”.
appears in its crystallizedknown
form at
the
beginning
Mozart managed to record only 8 primary bars of the score.
Jesufeatures
of the Third Part “Tuba mirum”: Now we shall considerDomine
Domine
Jesu of the theme.
intonation
Domine Jesu
Lacrymosa
This
part,
therefore,
is
the
culmination
of the cycle, which emphasizes the connection to
Requiem aeternam
The organic nature and unity of the musical material also is reflected in
its main motive meaning-bearing works. Perhaps that is why “Lacrymosa” is often performed as
theme
that
is found
in representation
the
“Recordare”,
“Lacrymosa”,
“Domine
Jesu”
a“Lacrymosa”
separate concertofnumber,
speaking
a kind
of master
of the
Requiem
Mass:work.
istheofcross
particular
interest
inimage
the
light
of the
topic
of our
As is well
mourningmanaged
a man whotodied
and only
the request
to grantbars
him of
peace.
After 8 cycles Mozart`s
known The
Mozart
record
8
primary
the
score.
Domine
Jesu
triad intonation
a1-f2-d2 is fused with the motive of “breath” d2-cis2, so that the
we shall
intonation
features
of sound
the theme.
Recordare
sixth is Now
perceived
as a consider
recapitulation
to it, and
the last
of the triad intonation7d2 highlights
quiem aeternam
and exacerbates
the expressiveness
of the final
motif.
“Lacrymosa”
is of particular
interest
in the light of the topic of our work. As is wel
“Lacrymosa”
ofbars
particular
interest
in thewhich appears
In Mozart
“Lacrymosa”
youtocan
also
find the
firstistopic
ofof“Requiem
aeternam”,
known
managed
record
only
8 primary
the score.
on
the
verge
of
4
and
5
bars
in
the
soprano.
Here
it
is
dispersed
between
two
different motives.
Lacrymosa
Now
we
shall
consider
intonation
features
of
the
theme.
Tuba mirum
light of the topic of our work. As is well known
ba mirum
The
triadthe
intonation
a1-f2-d2
is fusedinwith
the motive
“breath”
so that the
But if we
ignore
caesura and
the difference
the registers
andofconnect
the d2-cis2,
tune of “breath”
quiem aeternam
Mozart huge
managed
to record
onlyupward
primary
bars it is d2
with
beginning as
of athe
subsequent
busy
movement,
clear
that
sixththe
is perceived
recapitulation
to it,and
andextremely
the
last sound
of8the
triad
intonation
highlights
ke the tune of “breath” in the process of development,
takes
a variety
of emotional
Mozart
put theitRequiem
initial
as
the
“Lacrymosa”.
Domine
Jesu
and exacerbates
the expressiveness
of
thebasis
finalofmotif.
of tone
the
score.
t, melodious, soulful:
InThe
“Lacrymosa”
you can
also find
the
first
topic
ofmotive
“Requiem
aeternam”,
whichsoappears
ba mirum
Now
weisshall
consider
ofd2-cis2,
triad intonation
a1-f2-d2
fused
with
theintonation
offeatures
“breath”
that th
“Lacrymosa”
is ofHere
particular
interest in
the light
of different
the topic motives.
of our w
onsixth
the verge
of
4
and
5
bars
in
the
soprano.
it
is
dispersed
between
two
is perceived as
a
recapitulation
to
it,
and
the
last
sound
of
the
triad
intonation
d2
highlight
the
theme.
known Mozart
managed
to record
8 primary
of thethe
score.
But
we ignore
the
and
the
difference
in
theonly
registers
and bars
connect
tune of “breath”
e the
of “breath” in the process of development,
it takes
aexpressiveness
variety
of culmination
emotional
andif exacerbates
thecaesura
of
the
final
motif.
Requiem
aeternam
es
iraetune
This
part,process
therefore,
isNow
the we
of extremely
the
cycle, which
emphasizes
the connection
to that
shall
consider
intonation
features
of the
theme.
with
the
beginning
of
the
subsequent
huge
and
busy
upward
movement,
itwhich
is clear
Like
the
tune
of
“breath”
in
the
t, melodious, soulful:
In “Lacrymosa”
you can
also Perhaps
find the that
firstistopic
of
“Requiem is
aeternam”,
appear
its
main
motive
meaning-bearing
works.
why
“Lacrymosa”
often
performed
as
put
the Requiem
initial
tone
assoprano.
the basisHere
of “Lacrymosa”.
on
the
verge
of
4
and
5
bars
in
the
it
is
dispersed
between
two
different
motives
of development, it takes aaMozart
variety
of
emotional
separate concert number, speaking a kind of master image representation of the Requiem Mass:
Tuba
mirum
But if wea ignore
the caesura
andthetherequest
difference
in thehim
registers
connect
the tune
of “breath
x remendae
mourning
man who
died and
to grant
peace.and
After
8 cycles
Mozart`s
tones: swift, melodious, soulful:
s irae
em
aeternam
with the beginning of the The
subsequent
huge
and
extremely
busy
upward
movement,
it
is
cleard2-c
tha
triad intonation a1-f2-d2 is fused with the motive of “breath”
Dies in
irae
Like the tune of “breath”
the process of development,
takes
a variety
of emotional
Mozart put theit Requiem
initial
tone
as athe
basis of “Lacrymosa”.
7
sixth
is
perceived
as
recapitulation
to
it,
and
the
last
sound
of
the
triad
intonatio
This part, therefore, is the culmination of the cycle,
emphasizes the connection to
1 2which
wift, melodious, soulful:
Thethetriad
intonationofathe
-f -d2 ismotif.
fused with
and exacerbates
its main motive meaning-bearing
works.expressiveness
Perhaps that is
whyfinal
“Lacrymosa” is often performed as
mine
Jesu
mirum
remendae
2 find
2 the first topic of “Requiem aeternam”
In
“Lacrymosa”
you
can
also
the motive
of “breath”
-cis ,representation
so that the sixth
a separate concert number, speaking
a kind
of master dimage
of the Requiem Mass:
on the verge of 4 and 5 bars in the soprano. Here it is dispersed between two di
mourning
a
man
who
died
and
the
request
to
grant
him
peace.
After
8 cycles
Mozart`s
e
organic
nature
and
unity
of
the
musical
material
also
is
reflected
in
the
germination
the tune
it takes
variety
emotional
isofis
perceived
as a recapitulation
towhich
it, in
and
the
last
Dies
irae of “breath” in the process of development,This
part,atherefore,
the culmination
of the
emphasizes
the connection
But
if we
ignore
the caesura
and
the cycle,
difference
the
registers
and
connect the t
s theme thatsoulful:
is found in the “Recordare”, “Lacrymosa”,
“Domine
Jesu”:
melodious,
2 “Lacrymosa”
its main motive meaning-bearing
works.
Perhaps
that is
why
is often
performed
with thesound
beginning
of the
subsequent
huge
extremely and
busy
upward
movemena
of
the
triad
intonation
dand
highlights
mine Jesu
7
a separate concert number,
speaking
a kindinitial
of master
image
representation
of the Requiem Mass
Mozart put
the Requiem
tone as
the basis
of “Lacrymosa”.
Rex remendae
exacerbates
the
expressiveness
of
the
final
motif.
Rex
remendae
mourning
whoindied
and the request to grant him peace. After 8 cycles Mozart`
ecordare
organic nature and unity of the musical material
also ais man
reflected
the germination
rae
In “Lacrymosa” you can also find the first
s theme that is found in the “Recordare”, “Lacrymosa”, “Domine Jesu”:
topic of “Requiem aeternam”, which appears on
This part, therefore, is the culmination of the cycle, which emphasizes th
Domine
Jesu
crymosa
verge
of 4 and 5 bars
in Perhaps
the soprano.
emendae
ordare
its mainthe
motive
meaning-bearing
works.
that is Here
why “Lacrymosa” is ofte
a separate concert number, speaking a kind of master image representation of the
– 504in–the germination
The organic nature and unity of the musical material also is reflected
mourning
a man who died and the request to grant him peace. After 8 c
oss
minetheme
Jesu that is found in the “Recordare”, “Lacrymosa”, “Domine Jesu”:
ne
Jesu
rymosa
acrymosa” is of particular interest in the light of the topic of our work. As is well
Recordare
rganic
nature and
unity only
of the
musical bars
material
is reflected in the germination
zart managed
to record
8 primary
of thealso
score.
heme Jesu
that is found in the “Recordare”, “Lacrymosa”, “Domine Jesu”:
mine
added instrumentation for the parts that had been completed in
manuscript received by Eybler from Constanta. After attempting
he refused to continue the process. In the score of Lacrymosa E
second sentence, which are structurally a variant of the initial phra
Domine Jesu
the theme tune of “breath”, which had been strongly emphasiz
Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis)
“Lacrymosa” is of particular interest in the light of the topicMozart..
of our work. As is well
Lacrymosa
known Mozart managed to record only 8 primary bars of the score.
shall consider
intonation
of the motives.
theme.
itNow
is we
dispersed
between
twofeatures
different
to the second idea, set out at the beginning of the
But if we ignore the caesura and the difference chorus, develops it. The structure of the melody
After Eybler`s refusal the work was continued and
in the registers and connect the tune of “breath” Zyusmayer.
first motive is
the inverse sequence
of 1-7-1,
which
is a common
practice
in the concert, s
The triad intonation a1-f2-d2 is fused with the motive of “breath” d2-cis2, This
so thatversion
the
detail.
By repeating
thethird
text of the
the primary
first sentence,
the music contin
the as
beginning
of the
huge ofand
is intonation
“fused”
with
of the
phrase.
sixth iswith
perceived
a recapitulation
to it,subsequent
and the last sound
the triad
d2 highlights
at
the
beginning
of
the
chorus,
develops
it.
The
structure
of the me
and exacerbates
the
expressiveness
of
the
final
motif.
extremely busy upward movement, it is clear that In the hidden two-bass tone it is easy to see the
In “Lacrymosa” you can also find the first topic of “Requiem sequence
aeternam”, of
which
appears
1-7-1,
which is “fused” with of the third of the prima
Requiem
initialHere
toneit as
the basisbetween
ascending
on the Mozart
verge of 4put
andthe
5 bars
in the soprano.
is dispersed
two
different
motives.
bass
tone
it intonation:
is easy
to see the ascending intonation:
But if we ignore the caesura and the difference in the registers and connect the tune of “breath”
of
“Lacrymosa”.
with the beginning of the subsequent huge and extremely busy upward movement, it is clear that
Mozart put the Requiem initial tone as the basis of “Lacrymosa”.
wouldseem
seem that
that Zyusmayer
the particular the
It Itwould
Zyusmayersubtly
subtlytook
took
This part, therefore, is the culmination of the cycle, which emphasizes
connection
to
“pulses”thethat
were laid
out in Mozart`s manuscript. However,
the is
particular
thematic
its main motive meaning-bearing works. Perhaps that is why “Lacrymosa”
often performed
as work and those melodic
development of the melodic line of the upper voice stops, giving w
a separate concert number, speaking a kind of master image representation of the Requiem Mass:
This part, therefore, is the culmination of “pulses”
that
were laidand
outthen
in Mozart`s
manuscript.
motif
of “breath”,
there is an
impression that the melo
mourning a man who died and the request to grant him peace. the
After
8 cycles
Mozart`s
th
20). As
if the
gain
its force and “break away”
the cycle, which emphasizes the connection to 1962:
However,
even
withmelody
the 11cannot
bar the
development
Also seems doubtful
the repetition of the modulation turno
7
its main motive meaning-bearing works. Perhaps second
of the sentence
melodic inline
of the upper
voice arises
stops,here as importa
the orchestra
part. Major
that is why “Lacrymosa” is often performed as precise
giving way
to a three-fold
of the motif
commentary
on the repetition
semantic content
of the text (“pie Jes
(him)
Jesus,
Jesus
the
Lord”),
associated
with
a separate concert number, speaking a kind of of “breath”, and then there is an impression the
thatidea of hope fo
hosting the instrumental voices of music material in the choral p
master image representation of the Requiem effect.
the melody makes no headway (Sakva, 1962: 20).
The
third sentence
(“Dona
eis requiem”)
performs the fun
Mass: mourning a man who died and the request As if the
melody
cannot gain
its force
and “break
bar athe
gradual
diatonic movement in the bass p
24thfrom
to grant him peace. After 8 cycles Mozart`s the
away”
sounddownward
d2.
soprano. On the one hand, it sounds like a response to the rising c
manuscript breaks off. At first, the widow of the and the
Also
seems
thesentences
repetitionof of
second
(thedoubtful
bass party)
thethe
exposure of Lacr
of symmetry,
contributing
to the achievement
composer requested to complete the Requiem form
modulation
turnover
in F-dur at
end of the of greater un
same time, the downward movement marks the beginning of c
J.L. Eybler whose songwriting talent had earned second sentence in the orchestra part. Major
limited only by two bars. Such brevity, in our opinion, is exces
high praise of Mozart. However, Eybler only “literally”
arises hererepeats
as important,
psychologically
subtle Meanwhile, t
opening bars
of the first section.
thancommentary
in the beginning
the number.
The first sentence
added instrumentation for the parts that had different
and precise
on theofsemantic
content
waiting for doomsday, the text contains a recapitulation of a prayer
been completed in the choral score and had the of the text (“pie Jesu, Jesu Domine” – “mercy on
which indicates overcoming the fear of death. Such musical and se
manuscript received by Eybler from Constanta. come
(him)from
Jesus,
Jesuswho
the was
Lord”),
associated
Mozart,
extremely
cautiouswith
about words.
with Lacrymosa
its possible
variants of
After attempting to complete the funeral Mass, the ideaInofconnection
​​hope for justice
of divine and
mercy.
Retouch upon another aspect. In 1962, on the International Musico
he refused to continue the process. In the score of held
hosting
the instrumental
voiceson
of Mozart
music material
in Kassel,
a famous expert
from Augsburg Wolfg
manuscript
breaks
off.
At
first,
the
widow
of
the
composer
requested
to
complete
the
Requiem
Lacrymosa Eybler added two bars of the second on
in Mozart`s
the choral
party,sketches,
by contrast,
reduces
Requiem
that were
found:this
J.L. Eybler whose songwriting talent had earned high praise of Mozart.
Eybler
only
1. SketchHowever,
of the canon
of the
“Rex tremendae”;
sentence,
which areforstructurally
a variant
of the
effect.
added
instrumentation
the parts that
had been
completed
in 2.the
choral score
had the
Thumbnail
fugueand
“Amen”;
manuscript
received of
by the
Eybler
from
After
to The
complete
the funeral
Mass,
initial phrases
choir.
HeConstanta.
introduced
theattempting
The
third
sentence
(“Dona
eis requiem”)
3.
third
sketch
was
not
identified
with any of the parts o
he refused
to
continue
the
process.
In
the
score
of
Lacrymosa
Eybler
added
two
bars
of
the
theme tune of “breath”, which had been strongly performs the function of reprise. Occurring in the
second sentence, which are structurally a variant of the initial thphrases of the choir. He introduced
very first
barshad
by Mozart.
24 bar a gradual
the emphasized
theme tune in
of the
“breath”,
which
been strongly emphasized
in thedownward
very first diatonic
bars by movement in
Mozart..
the bass part becomes supported by the soprano.
On the one hand, it sounds like a response to the
rising chromatic in the first (soprano) and the
After Eybler`s refusal the work was continuedsecond
and (the
completed
by Franz
Xaver
bass party)
sentences
of the exposure
Zyusmayer. This version is a common practice in the concert, so we shall discuss it in more
Eybler`s
was continued
Lacrymosa,
makes
form of
detail. ByAfter
repeating
the refusal
text of the
the work
first sentence,
the musicofcontinues
to thewhat
second
idea, asetmusical
out
at the
beginning
of the
develops
it. The structure
the melody contributing
first motive is to
the the
inverse
and
completed
by chorus,
Franz Xaver
Zyusmayer.
This ofsymmetry,
achievement of
sequence of 1-7-1, which is “fused” with of the third of the primary phrase. In the hidden twoversion is a common practice in the concert, so greater unity and harmony. But, at the same time,
bass tone it is easy to see the ascending intonation:
we shall discuss it in more detail. By repeating the downward movement marks the beginning of
the text of the first sentence, the music continues codes, so the actual reprise is limited only by two
– 505 –
It would seem that Zyusmayer subtly took the particular thematic work and those melodic
“pulses” that were laid out in Mozart`s manuscript. However, even with the 11th bar the
development of the melodic line of the upper voice stops, giving way to a three-fold repetition of
the motif of “breath”, and then there is an impression that the melody makes no headway (Sakva,
Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis)
bars. Such brevity, in our opinion, is excessive. In
3. The third sketch was not identified with
addition, Zyusmayer “literally” repeats opening any of the parts of the “Requiem”.
bars of the first section. Meanwhile, the content
Wolfgang Plath found that work on the
of the text is quite different than in the beginning sketches was done in parallel with the creation
of the number. The first sentence refers to the of the overture to “The Magic Flute”, i.e. in the
trembling soul, waiting for doomsday, the text second half of September 1791.
Wolfgang Plath
that for
work
the sketchesLet
wasus
done
in parallel
the creation
contains a recapitulation
offound
a prayer
theongift
turn
to the with
sketch
of the of
fugue
the overture to “The Magic Flute”, i.e. in the second half of September 1791.
of the eternal
which
“Amen”:
Letrest,
us turn
to theindicates
sketch ofovercoming
the fugue “Amen”:
Its intonation content, of course, indicates that it was written for the Requiem. This draft
the fear
of exposure
death. Such
musical
andfugue
semantic
Its intonation
of the
course,
indicates
of the
of the
four-part
in the tones which
are verycontent,
similar to
themes
of
“Requiem
aeternam”.
We
may
remember
that
in
the
text
of
the
Requiem
the
word
“Amen”
discrepancy could not come from Mozart, who that it was written for the Requiem. This draft of
occurs only once: at the end of his third section “Sequenz”, i.e., in the conclusion of Lacrymosa.
was extremely
cautious
words.intended to complete
the exposure
of the
fugue
in the oftones
It is therefore
likelyabout
that Mozart
this number
withfour-part
the fugue,
the sketch
In
connection
Lacrymosa
andsuch
its a termination
which are very
similar towas
the themes
of “Requiem
which
was foundwith
by Plath.
In addition,
of Lacrymosa
quite traditional.
And
yet,
it
is
impossible
to
say
definitely,
Mozart
would
complete
this
part
of
the
fugue,
or of
possible variants of finalization we would aeternam”. We may remember that in the text
rather create a different ending. It also remains to guess what would have been the final form of
like the
to fugue,
touch ifupon
another had
aspect.
In it1962,
theofRequiem
the word
the composer
included
in the text
the requiem
mass. “Amen” occurs only once:
On the other
hand, the well-known
plagalatcompletion
in the
same major
on the International
Musicological
Congress,
the end of of
hisLacrymosa
third section
“Sequenz”,
i.e., in
key
has
its
advantages.
His
sudden
and
extreme
simplicity
and
brevity
act
with
great
force.
And
which was held in Kassel, a famous expert on the conclusion of Lacrymosa. It is therefore likely
in order to dare to write such a completion, which contradicted the tradition, for one of the main
Mozart
fromofAugsburg
Wolfgang
Plath made
a that
Mozart intended
toof
complete
number
sections
the Requiem,
it was necessary
to have
the courage
and genius
Mozart.this
Perhaps
thiswith
ending
was
recorded
somewhere
among
the
composer's
sketches,
and
then
Zyusmayer
used
a
presentation on Mozart`s Requiem sketches, that the fugue, the sketch of which was found by Plath.
sketch of the composer at the completion of the work.
were found:
In addition, such a termination of Lacrymosa was
Thematic connections between the latter three parts are more straightforward,
1.
Sketch of This,
the according
canon ofto the
“Rex shows
quite traditional.
Andrather
yet, it than
is impossible
to say
unambiguous.
K. Sakva,
the “imitation
an organic
continuity”
(Nosina,
2002:
10).
Described
earlier
in
this
article
thematic
elements
present
in
the
tremendae”;
definitely, Mozart would complete this part of the
musical fabric, but remain scattered, as if isolated from each other, resulting in the loss of the
2.
Thumbnail fugue “Amen”;
fugue, or rather create a different ending. It also
integrity and unity of intonation, which were inherent for the preceded parts. In support of this
view we may draw the example of fugue “Ossana”
– 506 – in the numbers “Sanctus” and “Benedictus”
(№ № 10, 11), which some researchers call “student.” The figure of the cross, the underlying
9
Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis)
remains to guess what would have been the final
form of the fugue, if the composer had included it
in the text of the requiem mass.
On the other hand, the well-known plagal
completion of Lacrymosa in the same major
key has its advantages. His sudden and extreme
simplicity and brevity act with great force. And
in order to dare to write such a completion, which
contradicted the tradition, for one of the main
sections of the Requiem, it was necessary to
have the courage and genius of Mozart. Perhaps
this ending was recorded somewhere among the
composer’s sketches, and then Zyusmayer used a
sketch of the composer at the completion of the
work.
Thematic connections between the
latter three parts are more straightforward,
unambiguous. This, according to K. Sakva,
shows the “imitation rather than an organic
continuity” (Nosina, 2002: 10). Described
earlier in this article thematic elements present
in the musical fabric, but remain scattered, as
if isolated from each other, resulting in the
loss of the integrity and unity of intonation,
which were inherent for the preceded parts. In
support of this view we may draw the example
of fugue “Ossana” in the numbers “Sanctus”
and “Benedictus” (№ № 10, 11), which some
researchers call “student.” The figure of the
cross, the underlying theme is losing its sacred
meaning, which is contributed by the dance
(secular) character of the part.
The most controversial and ambiguous ending
of the Requiem was proposed by Zyusmayer.
Following “Agnus Dei” comes a reprise of the
first two parts, which reveals the desire to use
only the musical material created by Mozart.
On the one hand, the return in the latter part of
the theme “Requiem aeternam” contributed to
the unity of the work, framed the composition.
On the other – the connection itself “Agnus Dei”
with “Requiem aeternam”, sounding now with
the new text (“Lux aeternam” – “Eternal Light”),
was carried out without any logical training. In
addition, the shape of the first part of Mozart’s
Requiem was destroyed. In the embodiment of
Zyusmayer it is a three-part form with dynamised
reprise and a truncated exposure. This has led to
the fact that upper tone is not the same with the
structure. There is a sharp contradiction between
the images of the text (turning to God and to
Christ in prayer for the petition “Kyrie” solemn
and dazzling painting of God, surrounded by all
the saints in the final fugue “Cum sanctis”) and
the music itself.
Based on the facts stated above, we shall
allow to express the idea that Mozart would have
written a different ending for his masterpiece.
The rationale for the proposed hypothesis will
serve as the canonical text of the Requiem, his
incarnation in the parts belonging to the hand of
the author, as well as letters and statements by the
composer himself.
The text of the Mass displays two worlds –
the earth and heaven. This perception is due to
the peculiarities of the Catholic rite. Based on this
number 1 “Requiem aetqrnam” Anticipation can
be treated as a person in the face of death and the
priest’s prayer (“Grant eternal rest”) for the soul
of the dying. The middle section is associated
with an appeal to God of the man himself. As if in
confirmation of this Mozart charges the word “Te
decet hymnus, Deus in Sion, Exaudi orationem
meam” (“You sing a hymn, the Lord in Zion, hear
my pray”), the soloist soprano. The last choral
section (Reprise part starting from the figure 4 of
the score) may be likened to a common prayer for
the soul of the just.
Preparing a human for the transition to the
other world, the priest absolves and performs
the rite of communion. This is the last event in
the real life of the just. At the same time it is as
if symbolically closes the door of earthly life
and opens the gates of eternity. The last hours
– 507 –
Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis)
or minutes of human presence on the ground
(time-out), perhaps the most terrible and difficult
psychologically because nothing holds the soul of
man, but it is still in the earth’s shell.
Following this interpretation of “Kyrie
eleison” we can treat it as a picture of agony. The
replicas “Lord, have mercy” are requests asking
to rid of the last torment and suffering. A long
and active development leads to the climax: a stop
on DDumVII7 followed by a pause. According
to the dictionary, this baroque rhetorical figure
aposiopesis, serving as an image of death.
The short conclusion sounds like an austere,
unemotional, funeral chant.
The second through the seventh parts outline
the soul’s journey through the circles of hell and
heaven: Judgment Day (Day of Judgment) and
the Terrible Anticipation before the King, and a
petition pleading for salvation (travelogue of the
human soul in the afterlife see Vorob’ev). At the
same time on the ground to make “sacrifices and
prayers” people “for the souls of the righteous
dead” (№ № 8, 9). Numbers 10 and 11 appear as
a universal celebration of All-Good Lord. And in
the final part of the “Agnus Dei” a prayer sounds
for justification and calming the soul, “the eternal
light to shine on them.”
Thus, we can assume that Mozart would
not have repeated verbatim in the completion of
the first part of his work. Especially as the death
of the composer perceived as the highest good,
1
as the transition to eternal life. This is clearly
evidenced by the letters of Mozart.
In a letter to the father there are the following
words “let happen what has to happen, because
I know it is so pleasing to God, who cares for
our well-being (even if we do not understand)”
(Mozart – to his father in Salzburg, July 3, 1778),
which suggest the infinite faith in God, the
inherent true believer in His power, His goodness.
Reading the letters of Mozart, it can be concluded
that the death of the composer was perceived as
“eating the heavenly joys” (Mozart – to his father
in Salzburg, July 9, 1778). Having lost the dearest
person – mother, he consoled himself with the
words: “We have not lost her forever, will we
see her and we will be more than happy in this
world” (ibid.). Mozart always calls the death to
be “true and man’s best friend”, he wrote that
“the image of death not only does not contain
anything terrible, but, on the contrary, gives us
reassurance and comfort! And I thank God for
what he gave me happiness to understand death
as the source of our true happiness. For this bliss
every day I thank the Creator, and I sincerely wish
that bliss to each of my neighbors” (Mozart – to
his father in Salzburg, April 4, 1787).
Perhaps the true light, enclosed in Mozart’s
life, became the key to “eternal life” of his latest
creation, which “seemed to be moving backward
in time: becoming richer, more joyful, more
attractive” (Mysli o Motsarte, 2002: 61).
The same motif is found in the Berlioz Symphonie Fantastique (the beginning of Part IV of “The Procession to Death”),
subject to the entry of the Sixth Symphony P.I. Tchaikovsky, in the introduction to the opera Hindemith “Killer - Hope of
Women”, in a mourning march finale of the Fourth Symphony by Shostakovich and others.
References
1. Abert G. V.A. Motsart. Ch. II, kn. 2. Moscow, 1990, 560 p.
2. Dal’khov I., Duda G., Kerner D. Khronika poslednikh let zhizni i smert’. Moscow, 1984, 287 p.
3. Eskina N. Na poroge vechnosti: K 200-letiiu so dnia smerti Vol’ fganga Amadeia Motsarta.
[Muzykal’naia zhizn’. 1991, № 21–22. P. 19–20].
4. Gavrilova L. Katolicheskoe bogosluzhenie: Uchebno-metodicheskoe posobie po kursu
«Istoriia zarubezhnoi muzyki». Krasnoiarsk, 2003, 23 p.
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5. Kozyrev V. Rekviem Motsarta: http://mozart.belcanto.ru/kosyrev.html
6. Motsart V.A. Pis’ma. Moscow, 2000, 448 p.
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312 p.
8. Mysli o Motsarte. Moscow, 2004, 222 p.
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10. Sakva K. Predislovie. [Motsart V.A. Rekviem. Partitura]
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i vechnost’iu: Dokumenty. Materialy. Stat’i. St. Petersburg, 2000, p. 679–716.].
12. Vorob’ev A.V. Mirovozzrencheskii parallelizm drevneiegipetskoi i rannekhristianskoi kultur
na primere predstavlenii o posmertnom puteshestvii chelovecheskoi dushi [Voprosy kul’turologii.
2011, № 4. P. 33–37].
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printsipy, priemy. Moscow, 1983, 77 p.
Еще раз о «Реквиеме» Моцарта
(вопросы интонационно-стилевого анализа)
А.Ю. Сапсуев
Красноярская государственная академия музыки и театра
Россия, 660049, Красноярск, ул. Ленина, 22
В статье рассматривается гипотеза о возможном варианте завершения заупокойной
мессы В.А. Моцарта. На основе изучения эпистолярного наследия композитора предприняты
попытки восстановить события последних дней жизни великого венского классика, а также
выявить отношение автора «Реквиема» к смерти. Приводятся версии причин раннего ухода из
жизни Моцарта, затрагиваются вопросы философского осмысления проблематики смерти.
При рассмотрении вокально-симфонического произведения применяется интонационностилистический метод анализа, позволяющий сделать выводы об органичности и
тематическом единстве всех частей цикла. Обращение к музыкально-риторическому
словарю и терминологии эпохи барокко помогло выявить особенности музыкального текста
заупокойной мессы.
Ключевые слова: Моцарт, «реквием», заупокойная месса, вокально-симфоническое произведение,
риторические фигуры.