Mozart Requiem is undoubtedly a wonderful recording, a powerful modern instrument rendition with clarity of tone and singing that draws to the audience, a classical piece. Again and again, this has remained a gorgeous piece which was rendered by singers with precise pitch. One of the most intriguing legends adheres to final masterpiece that was composed by Mozart Requiem just before he died in 1791. Although he did not finish his final masterpiece, the classical piece was composed in the form of a tale, narrating the mischief that fell upon Mozart before he died at the age of 35. Mozart was envied by Aleksandr Pushkin, who schemed a drama by fantasizing that he supremely talented Mozart. As a result of his rivalry and mediocrity, Pushkin wrote a short verse, “Mozart and Salieri”, in a manipulative effort to deprive Mozart of his recognition. Pushkin was also driven with the desire to kill Mozart recognition in public with the poison of envy; as a result, he acclaimed Mozart piece as his own by working towards completing the music piece against the depressed and destitute Mozart. By 1791, the career of Mozart in music had already eclipsed. The central paradox in the enthralling life of Mozart was that he was constantly compelled to remain as the inevitably inferior composer and yet, something bizarre actually happened. He was commissioned for a requiem from a stranger who insisted on anonymity. The stranger offered to pay in advance half of the fee for the performance and it is only afterwards that it was known the envoy to be Count Walsegg. Walsegg was an amateur flutist who relentlessly sought for a lasting fame by claiming authorship of musical note he had bought from famous music artists. It was not until Mozart took to his bed that he did not trust anyone with his requiem and he decided not to complete writing his final music pieces. In a letter that was written to score publishers in 1800 by Franz Süssmayr, a copyist and occasional pupil, he clearly showed that he was motivated to complete Mozart’s directive of the final piece of music. The letter showed that Mozart had frequently the remaining piece, including orchestration, but the three remaining pieces had to be composed afresh. There have been many reports concerning the sketches that were produced for the requiem. It is only until Richard Maunder wrote the modern edition, which included Mozart’s initiatives and Süssmayr’s concluding technical and stylistic grounds that he did most likely want to be the missing portions (Schroeder 115-200).The structure of Mozart Requiem is divided into fourteen movements which, expresses a dark sounding record that is slightly airy, light and superficial for a death mass.

Classical Concert #1: Mozart Requiem

When I was watching the orchestra on a tape, I noticed the soloists were first rate. The voice was perfectly intoning with explicit calmness, yet at the time, embellished with tacit darkness and tension one makes one not to comprehend what Mozart was thinking when he was composing it. Nevertheless, the conducting was careful and the tempi are perfect. The music flows slow enough for expressions, but also, fast enough to hold interest. Unlike what one hears from other recordings, the Mozart Requiem is perfectly balanced; it neither drags nor is overpowering. With a keen interest in the execution of the Mozart’s notes by the choir, the voice in this recording is heard equally, making it sound like a unit. The soloist (McNair), her voice blends magnificently like an angel with the most beautiful voice I have ever heard. I have not heard a “Recordare” executed most radiantly as this, or “Kyrie” with such driving force, and handled with precision. Even the technical challenging movement, “Domine Jesu”, has been executed with precision. Not to mention the choir, the chorus invokes fear; however, the choirs seem to sound too amateurish or too large for such as piece. It is hardly difficult to say that there can be a problem with the sound quality. Perhaps it is the resonance of the sound quality, but it is largely the “ecclesiastical” atmosphere that makes Mozart Requiem more appropriate. As for this Mozart’s performance is downright outstanding, one should bear in mind that it is a Requiem mass-a mass for dead people. As a result, the odds are that this music can either depress a person or perpetuate his ill state of mind. Nonetheless, the musicality of it all makes one’s spirit to be lifted and bearing in mind that it is requiem mass music; one can mostly likely term it as fantastic music, and not a happy song (Mozart, “Mozart Requiem”).

Revisiting Süssmayr’s notes, the S-A-T-B and continuo and the bass organ were written by Mozart. The first violins, the second violins, viola and trombones and basset horn were written by Freystädtler. It was only the middle kettledrums and trumpets that were in Süssmayr’s notes. In the twentieth century, the full manuscript of Mozart Requiem has garnered popularity fueled in large by the myths surrounding its creation. Indeed, even in relation to the late masterpieces, Mozart’s music is extraordinarily condensed into a vast realm of feeling. As such, the music is poised between visceral bombastic of the romantic Requiems and the formal dignity of the great baroque religious works. As a result of this condensed feelings, Mozart Requiem displays an integration of styles within a pervasive sobriety appropriate to the subjects. The sobriety is reflected in somber instrumentation of trombones. Also, the sobriety is experienced in the basset horns and strings which display lower registers. Similar to other Mozart musical crafts, Mozart Requiem is expressive of emotions that delve beneath the surface for startling emotional richness. In other words, the music does not push, but it points and beckons (Mozart, “Mozart Requiem”).

Those versed with Mozart’s style of composition can notice that Süssmayr’s work is intensely flawed with technical errors, for instance, the general lack of inspiration and the instrumental doubling of voice. The non-scholarly ears may not identify the faults, yet as many concede, the contemporary editions and recordings may be found lacking when compared to the genius of Mozart. In regard to Süssmayr’s material, the most radical eliminate it altogether, substituting realization of their own or leaving a torso with new orchestrations based on Mozart’s bass and vocals. Furthermore, more moderate editors have included Süssmayr’s work but they have tried to correct his “grammatical mistakes” and lighten the instrumentation. Intimate composers of Mozart work immersed in the tradition of the time have expressed some “fairness” in Süssmayr’s material. They have suggested that the student paid close attention to Mozart’s verbal directives and it is as a result of the intrinsic value by Süssmayr’s, that Mozart Requiem has been played with such grandeur and sublimity (Mozart, “Mozart Requiem”).

As a guide to various recordings and edition, Mozart Requiem has been structured into fourteen movements; with major divisions written in italics while the movements in bold. The standard traditional edition includes the Süssmayr’s material and the first part being the introitus. In this division, the Requiem opens in a choir with a solo soprano which takes the D minor. The second division is the Kyrie choir and it is sung in D minor. The third division is Sequentia that is a text that is based on parts of Dies Irae. In this division, there are several movements that are played. There is Dies Irae choir that played in D major, followed by Tuba mirum. The section is comprises contralto, tenor, bass solo and soprano which are in B flat major. Rex tremendae choir takes the is sung in G-minor and also in D-minor. There is also the Recordare section which comprises the following voices: contralto, tenor, bass solo and soprano and, the choir is sung in F-major. Confutatis choir follows Recordare as the eighth section and in A-minor and F-major. However, the last chord V is sang in D-minor. The third division ends with Lacrimosa choir which is sung in D minor. The fourth division is Offertorium which has two sections: Domine Jesu choir and the Hotias choir. Domine Choir is sung with solo quartet in G minor. Hostias follows and it is sang in E flat major and then in G minor. The fifth division is “Sanctus” which is also a choir and it is sung in D major. After “Sanctus”, “Benedictus” follows in solo quartet and choir in B flat major. The seventh division is “Agnus Dei” and it is played in D-minor and also, in B-flat major. The last division is the “communio” which is soprano solo and choir that is played in B flat major (Schroeder 50-100).

Conclusion

When one listens to the dotted rhythms of the first movement, introitus, one can notice the use of arcane counterpoint, and its expression of liturgical archaism. From the beginning of Mozart Requiem, Mozart was able to compose a paradoxical combination of orchestra colors; a continuo section of organ and a more conventional 18^th edition line-up. As a result, this is what makes Mozart is able to intensify and reflect the earlier models of grief. On the other hand, the music Mozart composed leaves us with myths and realities concerning his death. Perhaps his death also played part in the music which makes its heartbreaking. As for me, I cannot say that it is the Dies Irae chral writing or Rex Tremendae movement that makes that I find to be most affecting. Instead, it is Recordare, comprising quartet of the four soloists. One can feel the devastating intimacy and tenderness in its beauty, visioning a world that is wrecked by pain and lament. However, this movement does not last of course, but it is a feeling glimpse of serenity that makes one to understand what Mozart was doing. From his Requiem with its historical musical models, it is also possible to put apart the different events that were taking place. Most importantly, Mozart managed to compose and endlessly fascinating enigma.

Works Cited

Mozart, Wolfgang Amadeus. “Mozart Requiem”, Youtube, 2011. Retrieved from:

www.youtube.com/watch?v=-1DsJ5YQr5s

Schroeder, David. Experiencing Mozart: A Listener’s Companion. Maryland: Scarecrow Press,

2013. Print.

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