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: postprintpack@gmail.com

– 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 Deim-
Müller 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).
– 499 –
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
 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
the conclusion graphology
the type expertise
of papershowed
similar that
to after 20 November
which are indicated 1791in (the first part
the first day of
of the
his work –
fatal illness) Mozart did not add to the Requiem a single note, in the autograph there is no
the one thatthat
indication Mozart used to record
the composer continuedthetowork
workdidon theRequiem
Mass being aeternam.
sick.
not existAs before 1791.ofTherefore,
a result the recordingsit was found
various examinations Consider the intonations
that Mozart managed which to writemake up
completely the four main singing voices and the bass part along with figures
were made after the composer`s returning from the topic. It consists of two elements: The first in parts of the
Requiem, Kyrie, Dies irae - Confutatis and Domine Jesu; in the instrumentation in some places
Prague,
he onlyi.e. in early
outlined theSeptember. (In July –
basic line. The part ofAugust
Lacrymosaishas a tonic
only a to theoffuneral
total service,with
8 times written thethetheme of
handMozart
1791 of the composer.
worked onThe the last three
opera “Laparts were not fixed:
Clemenza Sanctus,
“breath.” In Benedictus
the musical and Agnus Dei. It of the
vocabulary
dican be assumed
Tito,” which was thatpremiered
in the mind onof6 the author the
September of Requiem
Baroque existed
periodfromforthe
thisfirst to the turn
melodic last note,
entrenched
but the disease, which took him in the grave, did not allow him to finalize his essay.
the sameAs year
theinentire
Prague).
multitude Mozart`s works show the thatsemantics
the author'sofstyle
grief,wascrying, otherwise
characterized by known
a particular striving for coherence and consistency of the musical form as separate
Another graphology expertise showed that as lamento. Start moving melodies with tonic and parts, and the
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)
essenceMozart
of the did
worknot andadd
try to
to the Requiem
imagine how the a composer
seen as a would
sign of have
predestination,
completed ahis predetermined
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
As aConsider
result ofthevarious
intonations which make
examinations it up
was the topic. It
consists of two elements: The first is a tonic to the funeral
found thatthe
service, Mozart
theme managed
of “breath.”to In
write completely
the musical vocabulary of
the
thefour main period
Baroque singing forvoices and theturn
this melodic bassentrenched
part 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 story of Calvary, the upward movement The two elementstheme which of theform fugue Kyrieof eleison,
the basis the themewhich Requiem is aeternam
the combined
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
Presented intreatment
the works of of the
theauthor
figureof of a cross.in For
“Passion” variousexample,
forms, it is a symbol o
with the image of the “last way ofcrucifixion,
the Cross, compare
the Lord's theIntopic
Passion. Kyrie eleison
the inverted form of with the theme
this symbol means “the accompli
redemption The through
two elements
the crosswhich form(Nosina,
throes” the basis2002,
of the theme Requiem aeternam combined
91).
processions apocalyptic” (Val’kova,another
2000:The 691).figure of
rhetorical of thecross,
figure,
the fugue
whichwhich g-moll
was formed of the
is scheduled first
already involume
to startthe works
Requiem ofof “Das
J.S. Bach:
aeternam, the shapein
is revealed
The researcher calls the move fromfirst cross. Presented
theme
stage I toof theinWohltemperirter
the works
fugue Kyrieof eleison,
the author of “Passion”
which
Clavier” is
bythe in various
J.S.treatment
Bach: of forms, it is of
the figure a symbol
a cross.o
crucifixion,
example, the Lord's
compare the topicPassion.
KyrieIneleison
the inverted
with theformtheme of of
thisthesymbol means of
fugue g-moll “the
theaccompl
first vol
III to be the motif of “leaving-farewell”
of
1
, that
redemption
“Das in
through thethefugue
Wohltemperirter cross Kyrie
throes”
Clavier” by eleison
(Nosina,
J.S. Bach:2002, 91).
the context of Mozart’s work takes on a special The figure of the cross, which is scheduled to start Requiem aeternam, is revealed i
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
If you consider this elementof from “Dasthe fugue Kyrie eleison
Wohltemperirter
the Clavier” by J.S. Bach:
position of tonal vocabulary of the Baroque, you
will find it similar to the rhetorical anabasis, the the fugue g-moll the fugue g-moll
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
“climbing”, etc. This allows you to earthly
say, that thethe
mortalfuguecoilg-moll
in which a person is doomed to drag out their miserable existence, and g
to supreme bliss, which begins beyond life. A connecting link in the chain is the figure
composition of Mozart symbolizescross. the care Thus, ofa detailed discussion of the topic shows how complicated is its meaningful con
temporal life in a different world: a world of unity
The indissoluble
Explanation of
of the the
main
Thus, two worlds
atheme is presented
from
detailed the in theof
perspective
discussion first
of barstopic
musical
the ofrhetoric
the works: the wor
is quite nat
earthly
since themortal
subject,coilwhich
in which a person
opens is doomedMozart
the Requiem, to dragborrowed
out their from
miserable existence,
the baroque and g
vocabu
light, joy and happiness embodiesProof tothe ability
supreme
of are shows
thisbliss, which
the howworks
begins
spiritual complicated
beyond of life.
J.S. A isandits
connecting
Bach meaningful
G.F.link in the which
Handel, chain is
usethethefigure
com
cross.
Protestant chorale melody.
to break out of the vicious circle, which is the content. The indissoluble unity of the two worlds
Here areExplanation
some examples. of the main theme from the perspective of musical rhetoric is quite na
earthly life, and to find the awaited sincefreedom
Chorale the“Herr
subject, iswhich
Jesu presented
opens
Christ, in Requiem,
the
du höchtes the Gut”
first (“the
bars Lord
Mozart ofborrowed
theJesusworks:
from the
Christ, theYou
baroque
are the vocabu
supr
outside the death. Proof
good”): of this are the spiritual works of J.S. Bach
world of earthly mortal coil in which a person and G.F. Handel, which use the com
Protestant chorale melody.
Mozart’s string writing, documenting
Here are some is doomed to drag out their miserable existence,
his examples.
thoughts about the death of the mother, can andChrist,
Chorale “Herr Jesu goingdu to höchtes
supremeGut” bliss,(“the
whichLordbegins
Jesus Christ,
beyondYou are the sup
good”):
serve as confirmation of such a treatment
G.F. Handel,ofthe beginninglife. A connecting
of the openinglink in the
chorus chain is
of “Funeral the figure
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
redemption through thewhichClavier”
cross throes” by(Nosina,
J.S. Bach:
The two elements form the basis of the2002,
theme91). Requiem aeternam combined form
The figure of the cross, which is
another rhetorical figure, which was formed already scheduledin theto works
start Requiem aeternam,
of J.S. Bach: is revealed
the shape of a in the
first theme
cross. Presentedof in
thethefugue
works Kyrie eleison,
of the author of which
“Passion” is inthevarious
treatment
forms,of thea symbol
it is figure of
of the
a cross. For
crucifixion, the Lord's
example, compare Passion.Kyrie
In the eleison
invertedwith
formtheof theme
this symbol means
fugue“the accomplished
Andreythe Yu.topic
Sapsuev. Once again on Mozart’s of the
Requiem (Issues ofg-moll of the first volume
Intonation-and-Style Analysis)
of “Das the
redemption fugue the
through Kyrie
Wohltemperirter crosseleison
throes” (Nosina,
Clavier” 2002, 91).
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
Explanation of Kyrie eleison,theme
the main which is the treatment
from the of the figure of aMozart`s
Possibly, cross. For appeal to the well-
example, compare the topic Kyrie eleison with the theme of the fugue g-moll of the first volume
perspective of musical
of “Das Wohltemperirter
the fugue rhetoric
Clavier”
g-moll by J.S.isBach:
quite natural, known theme of choral served to Dal`khov,
the fugue Kyrie eleison
since the subject, which opens the Requiem, Kerner and Duda a reason to assume that
Mozart Thus,borroweda detailed
fromdiscussion
the baroque of the topic shows how
vocabulary. the complicated
work wasis created its meaningful content.
entirely before the
The indissoluble
the fugue Kyrie unity of the two worlds is presented in the first bars of the works: the world of
eleison
Proof
earthlyof thethis
fugue
mortal are thein spiritual
g-moll
coil works isofdoomed
which a person J.S. Bach to drag composer’s death. However,
out their miserable existence,even the fact of the
and going
to supreme bliss, which begins beyond life. A connecting
and G.F. Handel, which use the common Protestant use of common tunes by the Requiem`s link in the chain is the figure of a author
cross. theThus, a detailed discussion of the topic shows how complicated is its meaningful content.
fugue g-moll
chorale melody. unity of the two worlds is presented in the
The indissoluble is first
no proof
bars of of thesuch
works:a therelease.
world ofFor, according
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
sinceHerethe are somewhich
Thus,subject,
a detailed examples.
discussion of the
opens thetopic shows how
Requiem, toborrowed
complicated
Mozart B.V.
is itsAsafiev,
from the“Mozart
meaningful baroque did
content. not create new
vocabulary.
to supreme
The indissolublebliss, which
unity of thebegins beyond
two worlds life. A inconnecting
is presented the first barslink in works:
of the the chain is theoffigure of a
the world
Proof of
cross.Chorale
earthly this
mortal coil are
“Herr the spiritual
Jesua person
in which Christ, works
du höchtes
is doomed of J.S.
to drag Bach
Gut” and
out theirworlds G.F. Handel,
miserable–existence,
he created which use the common
a new system of proof.”
and going
Protestant
to supreme chorale
bliss,
Explanation melody.
whichof begins
the beyond
main themelife. A
from connecting
the link
perspective in the
of chain
musical is the figure
rhetoric of
is a
quite natural,
(“the Lord Jesus Christ, You are the supreme And, based on the last-known works in the 17th
Here are
cross.
since the some
subject,examples.
which opens the Requiem, Mozart borrowed from the baroque vocabulary.
good”):
Chorale
Proof Explanation
of “Herr of
this areJesuthetheChrist,
main theme
spiritual du fromof
höchtes
works theJ.S.
perspective
Gut”
Bach (“the
and century
of musical
Lord Jesus
G.F. Handel, hymns,
rhetoric iswhich
Christ, heYou
quite created
natural,
use his supreme
are common
the the own authorship,
since
good”):the subject, which opens the Requiem, Mozart borrowed from the baroque vocabulary.
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
middle chorus
section of “Funeral
of “Requiem Anthem”:
G.F. Handel, the beginning of the opening in aeternam”:
which traditional themes and intonations
chorus of “Funeral Anthem”: In the text of hymns usedfound by Bach,a very
Handelspecial meaning.
and Mozart In order
human turns to Godtofor
prove
mercy and
G.F.Handel,
Handel,thethe beginning of opening
the opening
choruschorus
salvation ofofthe of “Funeral
soul after Anthem”:
death. The same meaning is contained in the words of the chorale
G.F. beginning of the
“Meine
“Funeral
Seeloferhebt
the stylistic
Anthem”:
denused
Herren” (“My soul
unity toofGod”),
ascends
the the
Requiem,
melody
we istrace
In the text hymns by Bach, Handel and Mozart human turns which
to God used in the and
for mercy
middle Possibly,
section of Mozart`s
“Requiem the emergence
appeal to
aeternam”: the of the
well-known topic
theme and
of its
choral
salvation of the soul after death. The same meaning is contained in the words members
served to ofinthe chorale
Dal`khov, Kerner
and Duda
“Meine a reason
Seel to assume
erhebt den Herren” that
(“My thesoul
work was created
ascends to entirely
God”), the beforewhich
melody the composer's
is used in death.
the
However, evenofthe
middle section fact ofother
“Requiem the useparts of the tunes
of common
aeternam”:
cycle.
by the Requiem`s author is no proof of such
a release. For, according to B.V. The simple
Asafiev, “Mozartvisual
did notuses
createof
th
newtheworlds initial
- he created a new
system of proof.” And, based ontothe last-known worksofinchoral
the 17served
century hymns,Kerner
he created his
own authorship, in towhich intonations
Possibly, Mozart`s appeal the
traditional of theand
well-known
themes Requiem
theme
intonations in its
foundoriginal
to form
Dal`khov,
a very specialdeath.
meaning. In
and Duda a reason assume that the work was created entirely before the composer's
order to prove
However, even thethefact can
stylistic
of the usebe
of found
unity of
common intunes
thebyfollowing
the Requiem, weRequiem`s
the trace theparts:
emergence
author of the
is no proof of topic
such and its
members Possibly,
a release. in other
For, Mozart`s
parts of
according to appeal
the to the well-known
B.V.cycle.
Asafiev, “Mozart did theme of choral
not create served- he
new worlds to created
Dal`khov, Kerner
a new
and Duda
system The a simple
reason
of proof.” And,to assume
visual uses
based №1
onthat
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f is highlighted:
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the basisHere of “Lacrymosa”.
it
separate concert number, speaking a kind of master image representation of the Requiem Mass: is dispersed between two different motives
Tuba mirum
x remendae But if wea ignore
mourning man who the caesura
died and andthetherequest
difference to grantin thehim registers
peace.and connect
After the tune
8 cycles of “breath
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
Dies in
irae triad intonation a1-f2-d2 is fused with the motive of “breath”
Like the tune of “breath” the process of development,
Mozart put theit Requiemtakes
sixth
a variety
initial
is perceived
of emotional
tone as athe
as basis of “Lacrymosa”.
recapitulation to it, and the last sound of the triad 7
intonatio
wift, melodious, soulful: This part, therefore, is the culmination of the cycle, 1 2which emphasizes the connection to
and exacerbates Thethetriad intonationofathe -f -d2 ismotif.fused with
mine
mirum Jesu
remendae its main motive meaning-bearing works.expressiveness
Perhaps that is whyfinal“Lacrymosa” is often performed as
a separate concert number, speaking In “Lacrymosa”
the motive a kind you can
of master dimage
of “breath” also 2 find 2 the first topic of “Requiem aeternam”
-cis ,representation
so that the sixth of the Requiem Mass:
on the verge of 4 and 5 bars in the soprano. Here it is dispersed between two di
e organic
the tune
Dies nature and unity of the musical mourning
material
irae of “breath” in the process of development,This a
also man
is
it takes who
reflected
part,atherefore,
varietydied
in the and
isofis the
germination
emotional
perceived request
the culmination to
as a recapitulation grant
of the him peace.
towhich
it, in
and After
the last8 cycles Mozart`s
But if we ignore the caesura and the cycle,
difference emphasizes
the registers the connection
and connect the t
s theme thatsoulful:
melodious, is found in the “Recordare”, “Lacrymosa”, “Domine
its main motive meaning-bearing Jesu”: works. Perhaps that is why 2 “Lacrymosa” is often performed
mine Jesu with thesound beginning of of the
the triadsubsequent
intonation huge dand extremely and
highlights busy upward movemena
a separate concert number, speaking a kindinitial
of master image representation of the Requiem Mass 7
Mozart put the Requiem tone as the basis of “Lacrymosa”.
Rex remendae Rex remendae mourning
exacerbates the expressiveness of the final motif.
ecordare
organic nature and unity of the musical material
rae also ais man whoindied
reflected and the request to grant him peace. After 8 cycles Mozart`
the germination
s theme that is found in the “Recordare”, “Lacrymosa”, “Domine Jesu”: In “Lacrymosa” you can also find the first
topic of “Requiem aeternam”, which appears on
This part, therefore, is the culmination of the cycle, which emphasizes th
Domine
crymosa Jesu
emendae
ordare its mainthe motive verge of 4 and 5 bars
meaning-bearing works. in Perhaps
the soprano. that is Here
why “Lacrymosa” is ofte
a separate concert number, speaking a kind of master image representation of the
The organic nature and unity of the musical material also is reflected – 504in–the germination
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
zart managed unity only
to record of the musical bars
8 primary material
of thealso is reflected in the germination
score.
heme Jesu
mine that is found in the “Recordare”, “Lacrymosa”, “Domine Jesu”:
 added instrumentation for the parts that had been completed in
Lacrymosa
manuscript received by Eybler from Constanta. After attempting
he refused to continue the process. In the score of Lacrymosa E
Domine Jesu second sentence, which are structurally a variant of the initial phra
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
known Mozart managed to record only 8 primary bars of the score.
itNow
is we shall consider
dispersed intonation
between twofeatures of the motives.
different theme. 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
The triad intonation a1-f2-d2 is fused with the motive of “breath” d2-cis2, This so thatversion
the is a common practice in the concert, s
sixth iswith the as
perceived beginning of the
a recapitulation to it,subsequent huge ofand
and the last sound detail. By repeating
is intonation
the triad “fused” with of thethethird
d2 highlights text of the
the primary
first sentence, the music contin
phrase.
and exacerbates the expressiveness of the final motif. at the beginning of the
extremely busy upward movement, it is clear that In the hidden two-bass tone it is easy to see the chorus, develops it. The structure of the me
In “Lacrymosa” you can also find the first topic of “Requiem sequenceaeternam”, of 1-7-1,
which which is “fused” with of the third of the prima
appears
on the Mozart
verge of 4put
andthe Requiem
5 bars initialHere
in the soprano. toneit as the basisbetween
is dispersed ascending
bass two it intonation:
different
tone motives.
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”.

It Itwould
wouldseem
seem that
that Zyusmayer
Zyusmayersubtly
subtlytook the particular the
took
This part, therefore, is the culmination of the cycle, which emphasizes
“pulses”thethat
connection to
were laid out in Mozart`s manuscript. However,
its main motive meaning-bearing works. Perhaps that is why “Lacrymosa” the is
particular thematic
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.
mourning a man who died and the request to grant him peace. the motif
After of “breath”,
8 cycles Mozart`s there is an impression that the melo
the cycle, which emphasizes the connection to 1962: However,20). Aseven if the
withmelody
the 11cannot
th
bar thegain its force and “break away”
development
Also seems doubtful 7 the repetition of the modulation turno
its main motive meaning-bearing works. Perhaps second of the sentence
melodic inline of the upper
the orchestra voice arises
part. Major stops,here as importa
that is why “Lacrymosa” is often performed as precise giving way to a three-fold
commentary on the repetition of the motif
semantic content of the text (“pie Jes
a separate concert number, speaking a kind of of “breath”, and then there is an impression the
(him) Jesus, Jesus the Lord”), associated with 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).
Mass: mourning a man who died and the request As if the The melody cannot gain
third sentence (“Donaits force and “break
eis requiem”) performs the fun
to grant him peace. After 8 cycles Mozart`s the away”24thfrom
bar athe gradual
sounddownward
d2. diatonic movement in the bass p
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
second (thedoubtful
bass party) thesentences
repetitionof ofthethe
exposure of Lacr
composer requested to complete the Requiem form of symmetry,
modulation turnover contributing
in F-dur at to the achievement
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,
opening barspsychologically subtle Meanwhile, t
of the first section.
added instrumentation for the parts that had different and precise thancommentary
in the beginningon theofsemantic
the number. The first sentence
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)fromJesus, Jesuswho
Mozart, the was
Lord”), associated
extremely cautiouswith
about words.
After attempting to complete the funeral Mass, the ideaInofconnection with Lacrymosa
​​hope for justice of divine and its possible
mercy. Re- variants of
touch upon another aspect. In 1962, on the International Musico
he refused to continue the process. In the score of held hosting the instrumental
in Kassel, voiceson
a famous expert of Mozart
music material
from Augsburg Wolfg
manuscript breaks off. At first, the widow
Lacrymosa Eybler added two bars of the second on of the composer requested
in Mozart`s
the choral to complete the
party,sketches,
Requiem Requiem
by contrast, reduces
that were found:this
J.L. Eybler whose songwriting talent had earned high praise of Mozart. 1. SketchHowever, Eybler
of the canon only
of the “Rex tremendae”;
addedsentence, which areforstructurally
instrumentation the parts that a variant of the
had been effect.
completed in 2.the choral score
Thumbnail fugueand had the
“Amen”;
initial phrases
manuscript received ofby the choir.
Eybler from HeConstanta.
introduced theattempting
After The third
to The
3. complete
thirdsentence (“Dona
the funeral
sketch was Mass,
not eis requiem”)
identified with any of the parts o
he refused to continue the process. In the score of Lacrymosa Eybler added
theme tune of “breath”, which had been strongly performs the function of reprise. Occurring in thetwo bars of the
second sentence, which are structurally a variant of the initial thphrases of the choir. He introduced
the emphasized
theme tune in of the very first
“breath”, which barshad
by Mozart. 24 bar a gradual
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
bass party)by Franz
sentences Xaverof the exposure
Zyusmayer. This version is a common practice in the concert, so we shall discuss it in more
detail. ByAfter Eybler`s
repeating the refusal
text of the
the work was continued
first sentence, the musicofcontinues
Lacrymosa, to thewhat second makes
idea, asetmusical
out form of
at the
andbeginning of the
completed by chorus, develops
Franz Xaver it. The structure
Zyusmayer. This ofsymmetry,
the melody contributing
first motive is to the the
inverse
achievement of
sequence of 1-7-1, which is “fused” with of the third of the primary phrase. In the hidden two-
version 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
contains a recapitulation offound that for
a prayer worktheongift
the sketchesLet
wasus
done in parallel
turn to the with the creation
sketch of the offugue
the overture to “The Magic Flute”, i.e. in the second half of September 1791.
of the eternalLetrest, which
us turn to theindicates
sketch ofovercoming “Amen”:
the fugue “Amen”:

Its intonation content, of course, indicates that it was written for the Requiem. This draft
the fear
of theof exposure
death. Such of themusical
four-partandfugue
semantic
in the tones whichIts intonation
are verycontent,
similar to of the
course,
themes indicates
of
“Requiem aeternam”. We may remember that in the text of the Requiem
discrepancy could not come from Mozart, who that it was written for the Requiem. This draft of the word “Amen”
occurs only once: at the end of his third section “Sequenz”, i.e., in the conclusion of Lacrymosa.
was extremely cautious
It is therefore likelyabout words.intended to complete
that Mozart the exposure
this number of the
withfour-part
the fugue, fugue in the oftones
the sketch
In
whichconnection
was foundwith Lacrymosa
by Plath. andsuch
In addition, its a termination
which are very similar towas
of Lacrymosa the themes of “Requiem
quite traditional.
And yet, it is impossible to say definitely, Mozart would complete
possible variants of finalization we would aeternam”. We may remember that in the text this part of the fugue, or of
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
the composer aspect. In it1962,
included theofRequiem
in the text the requiemthe word
mass. “Amen” occurs only once:
On the other
on the International hand, the well-known
Musicological Congress, plagalatcompletion
the end of of hisLacrymosa in the
third section same major
“Sequenz”, i.e., in
key has its advantages. His sudden and extreme simplicity and brevity
which was held in Kassel, a famous expert on the conclusion of Lacrymosa. It is therefore likelyact with great force. And
in order to dare to write such a completion, which contradicted the tradition, for one of the main
Mozart fromofAugsburg
sections the Requiem,Wolfgang Plath made
it was necessary a that
to have Mozart intended
the courage and genius toof
complete
Mozart.this number
Perhaps thiswith
ending was recorded somewhere among the composer's sketches, and then
presentation on Mozart`s Requiem sketches, that the fugue, the sketch of which was found by Plath. Zyusmayer used a
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,
unambiguous. the according
canon ofto the “Rex shows
K. Sakva, quite traditional.
the “imitationAndrather
yet, it than
is impossible
an organic to say
continuity”
tremendae”; (Nosina, 2002: 10). Described earlier in this article thematic elements present
definitely, Mozart would complete this part of the in 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
– 507 –
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
 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,
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).

1
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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 Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis)

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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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 интонационно-
стилистический 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.