The Diversity of the Requiem Mass: Two perspectives from W.

A Mozart, and Camille

Saint-Saëns
Ariel Myler
University of Oregon
March 7th 2020

Abstract

Many cultures practice funerals and rights of the dead in an abundance of different ways.
Christianity has dominated Western culture and therefore is the main religion practiced for many
centuries. The catholic funeral is carried out in accordance with the rites of the Catholic church.
One of the most important aspects of the funeral is the requiem mass that can be set to a musical
setting. These funeral mass compositions were originally meant to be preformed in a liturgical
service in the form of a monophonic chant, but with the popularity of this event, this Requiem
mass became its own genre for composers. I will be examining the history of the Requiem mass,
as well as comparing two popular masses for their stylistic characteristics for the time period
they come out of. I will be examining the popular Mozart’s requiem K. 626 (1791) in the
classical style, in contrast with a later composition, Camille Saint-Saëns Messe de Requiem, Op.
54, which is in the ‘romantic’ style. I will be looking, specifically at the Kyrie, the first
movement of these masses for similarities and differences in text, setting, and style.

Structural Outline

Introduction

The catholic funeral is carried out in accordance with the rites of the Catholic church. One of
the most important aspects of the funeral is the requiem mass that can be set to a musical setting.
These funeral mass compositions were originally meant to be performed in a liturgical service in
the form of a monophonic chant, but with the popularity of this event, this Requiem mass
became its own genre for composers. I will be examining the history of the Requiem mass, as
well as comparing two popular masses for their stylistic characteristics for the time period they
come out of. I will be examining the popular Mozart’s requiem K. 626 (1791) in the classical
style, in contrast with a later composition, Camille Saint-Saëns Messe de Requiem, Op. 54,
which is in the ‘romantic’ style. I will be looking, specifically at the Kyrie, the first movement of
these masses.

Historical Background and Composer Information

It’s no secret that many scholars are interested in Mozart’s final piece of music, the
unfinished requiem mass. This famous piece, K.262 was written in 1791, about six months
before Mozart’s death in December. The mystery of this requiem is an enigma from its
mysterious donor, and the continuation of the mass in leu of Mozart’s death by his student, Fanz
Süssmayr. Mozart composed the Introitus and Kyrie and managed to sketch the skeleton of Dies
Irae through the Hostias. Although the differences are limited between Mozart and Süssmayr’s
compositions in this Requiem, there are subtle styles that are seen in each composer.
Looking forward a hundred years, the Requiem was becoming a genre template that was used
by many composers. This Requiem, full title Messe de Requiem, Op. 54, is a Requiem Mass
composed by Camille Saint-Saëns in 1878 for soloists, choir and orchestra. This piece still
remains mostly unknown by Scholars. Church music was viewed as “backwards looking” in the
19th century, yet this piece is beautiful and intricate and deserves recognition. Similar to Mozart,
this requiem contains eight movements, and was dedicated to a friend of Saint-Saëns.

Structure

Mozart reflects the Galant style in most of his music, but with maturity, he ventured into
exploring older Baroque ideas that are plainly present in his final requiem. Previous studies of
Fugue, and counterpoint modeled after his predecessor, Handel, are manifested in the first two
movements. The ‘older’ style of church music is presented here with a Mozartian flair of operatic
drama that was popular in his other works.
The Adagio begins in d minor, a key unusual for Mozart. The orchestral opening of eight
bars opens with the first fugal material, a slow and mournful cantabile theme is played by the
bassoon, and then passed to the other instruments. The voices of the choir enter at measure eight,
in forte imitative style. The vocal texture is homophonic and uncomplicated. The chorus sings:
“Et lux perpetua luceat eis” which translates to “Eternal light shine upon them” which paints the
tension of need to be accepted by God. The first movement ends on the dominant (V), which is
also highly unusual for Mozart, and leaves the church with a sense of uneasiness and dearth as
the piece moves forward.
The Kyrie starts suddenly. In this section, the instrumental parts double the vocal lines,
and the double bass begins in the dominant (V) of d minor. The text is simple: Kyrie Eleison,
(Lord, have mercy) and Christe Eleison (Christ, have mercy). The ‘Christ’ vocals are stretched
between the chorus and elaborated with the doubled parts and are heard in stretto throughout.
Finally, the Kyrie ends back on the tonic of d minor.
Saint-Saëns requiem sits in stark contrast to Mozart’s. Written almost 100 years later, this
requiem contains many romantic, and even modern musical ideas. The first movement, written in
c minor, the Kyrie is in a 5-part arch form (ABCBA) that could resemble a Galant rondo. In this
movement, the text “Te decet Hymnus”. Each movement contains various forms, with the second
movement even containing the sonata allegro form.

Text Settings

Unlike Mozart, Saint-Saëns sets almost the entire liturgical text of the Requiem Mass.
While Mozart seemed to use pieces of the text to paint an image for the audience, Saint-Saëns
takes a more conservative approach. While Saint-Saëns was not particularly religious, this mass
contains many overtly Christian themes in the text, which was somewhat ‘outdated’ in his time.
The setting of the text is largely syllabic, and almost never repeated. One significant expectation
is the seventh movement where “Benedictus” is repeated multiple times. Unlike Mozart, where it
is apparent in almost every movement, the instances of text paintings are infrequent in Saint-
Saëns mass. Instead, the mood is generally represented in each movement.

Similarities Between Masses

Surprisingly, other scholars have often compared both Requiem Masses for their
similarities. Brent Rodgers, from the University comments on the similarities of the fates of both
composer’s requiems. “The original request (For Saint-Saëns) for a Mass for the dead, made in
unusual circumstances, turned out to be as fateful as a similar request had been for Mozart. Death
followed it, and although Saint-Saëns continued living, something in him also died.” (19). While
there seems to be not much written about Saint-Saëns unknown requiem, there are similar
comparisons that can be made among scholars of the combination of liturgy and drama among
both pieces. Perhaps Saint-Saëns drew inspiration from the late Mozart, who had been at rest for
almost 100 years.

Conclusions

In Conclusion, both pieces hold an important place in the genre of sacred liturgy.
Mozart’s final Requiem Mass is one of the first instances of this liturgical mass for the dead
being used in a secular way, when it was mainly a sacred genre. This mass contains elements that
are classically Galant, while looking back to the Baroque style. This piece Pioneered the way for
composers to begin using the Requiem in a secular context. Saint-Saën’s Requiem contains many
stylistic differences yet has the same tone that was used by Mozart. Both pieces are no longer
just for Catholic funerals but has evolved into Liturgical Dramas that continue to be used by
composers in the Modern Era and beyond.
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https://www.wjec.co.uk/qualifications/music/r-music-gce-asa-from-2016/Mozart
%20Requiem%20(english).pdf?language_id=1
Accessed March 7th 2020