GG: Mozart's Requiem

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Gnomon's Guide

Mozart's Requiem is a work with a story behind it. Wolfgang Amadé Mozart (1756–1791) was a musical genius at a time when only the very rich could afford music. All his life he worked to compose and perform for wealthy patrons: concerts were not yet funded by the public paying at the door1. In 1791, Mozart was commissioned to write a grand work, a Requiem Mass. This was to be given to Count Walsegg, a wealthy amateur composer, who would present it to the world as his own composition, as a memorial mass for his own late wife. Mozart had been in severe debt for many years but his finances had recently started to improve and a commission such as this would help them improve still further, although his own name would not be attached to the music.

Things did not work out as planned. Mozart became suddenly very ill and then died. The official cause of death was 'severe miliary fever', but this merely describes his symptoms - a fever accompanied by a rash. The Requiem was left unfinished. In an effort to get the work completed so that she could be paid, Mozart's wife Constanze enlisted the help of one of his students, Franz Xaver Süssmayr, who himself got help from other composers. The Requiem was completed and Count Walsegg had it performed as his own work as intended, but it became well known that it was in fact the work of Mozart.

But how much of it is Mozart and how much Süssmayr is something scholars have been arguing about ever since. Tradition has it that Mozart died after setting the first line of the Lacrimosa movement to music, but it is probably not as simple as saying that everything up to that point is Mozart and everything after that is Süssmayr. Mozart fully orchestrated only the first movement, and Süssmayr claimed to have written the Sanctus, Benedictus and Agnus Dei entirely himself, so we can take it that the rest is probably a combination of the two composers.

More recent Requiem Masses such as those by Brahms, Fauré and Rutter are intended to console the bereaved friends and relatives and to assist them in their grief. Mozart's is from an earlier, more God-fearing time. The work is based on impassioned pleas to God for forgiveness for the departed soul, alternating with descriptions of the terrors of the last judgement to remind those left behind of the perils of sin.

I Introitus

Requiem aeternam dona eis Domine: Grant them eternal rest, Lord:
Et lux perpetua luceat eis. And may perpetual light shine on them.
Te decet hymnus Deus in Sion, You are praised, God, in Sion
Et tibi reddetur votum in Jerusalem: And homage will be paid to You in Jerusalem.
Exaudi orationem meam, Hear my prayer,
Ad te omnis caro veniet. To You all flesh will come.

The first movement starts with a quiet orchestral introduction which gradually builds up to a full orchestral sound. Mozart uses unusual instruments in his orchestra: trombones at the time were used mainly for church music and rarely featured in orchestras; basset horns, a type of low-pitched clarinet, add a new sound that would have been unfamiliar to the listener.

This opening movement sets the scene - this is going to be a dramatic work. The choir asks God to grant rest to the departed soul, starting with the basses, the other voices joining in turn. In a brief period of calm, the soprano soloist praises God, but then the choir is back with more dramatic pleading.

II Kyrie

Kyrie eleison, Lord have mercy
Christe eleison, Christ have mercy
Kyrie eleison. Lord have mercy

The second movement follows on directly from the first. This and much of the Requiem is written in a style called 'fugue', which literally means 'chase'. Instead of all the voices singing the same thing at the same time, one voice starts first, the second voice comes in after a delay with the same tune, and the others follow in turn. We hear the same theme occurring again and again, sung by different voices. Of course to make it all fit together, some clever techniques are needed such as changing the key, or modifying the tune slightly to get it to fit.

This fugue has two themes, a slow one on the words 'Kyrie eleison' and a fast one on 'Christe eleison', which are sung simultaneously. The slow theme is borrowed from 'And with His stripes' from Handel's Messiah, a work Mozart was very familiar with.

III Sequenz

The Sequence is a long prayer in rhyming triplets, long enough that Mozart has broken it up into six separate movements. It tells of the tribulations of the End of the World, when the Lord will come in judgement and those found wanting will be punished.

No 1 Dies Irae

Dies irae, dies illa, Day of wrath, that day
Solvet saeclum in favilla: Will dissolve the world in ashes,
Teste David cum Sibylla. As foretold by David and the Sibyl.
 
Quantus tremor est futurus, What dread there will be
Quando judex est venturus, When the Judge comes
Cuncta stricte discussurus! To judge all things strictly.

One of the most dramatic choruses of the Requiem, it's full-blown apocalypse as the Last Day arrives.

No 2 Tuba mirum

Tuba mirum spargens sonum, A trumpet, spreading a wondrous sound
Per sepulchra regionum, Through the graves of all lands,
Coget omnes ante thronum. Will drive everyone before the throne.
 
Mors stupebit et natura, Death and Nature will be astonished
Cum resurget creatura, When all creation rises again
Judicanti responsura. To answer the Judge.
 
Liber scriptus proferetur, A written book will be brought forth
In quo totum continetur, In which is contained everything that is,
Unde mundus judicetur. Out of which the world will be judged.
  
Judex ergo cum sedebit When therefore the Judge takes His seat
Quidquid latet apparebit: Whatever is hidden will reveal itself.
Nil inultum remanebit. Nothing will remain unavenged.
  
Quid sum miser tunc dicturus? What then shall I say, wretch that I am,
Quem patronum rogaturus? What advocate entreat to speak for me,
Cum vix justus sit securus. When even the righteous may hardly be secure?

In this movement, the four soloists tell more of the Last Day, in a calmer manner. It starts with a wonderful duet between the bass and the trombone, representing the 'Last Trumpet'. In German tradition, it is always a trombone that the Angel uses to announe the End of the World.

No 3 Rex tremendae

Rex tremendae majestatis, King of awesome majesty,
Qui salvandos salvas gratis, Who freely saves the redeemed,
Salve me, fons pietatis. Save me, O fount of goodness.

The majestic King is hailed with the word 'Rex' (king) against a marching accompaniment. The mood then changes for a soft plea 'Salva me' (save me).

No 4 Recordare

Recordare Jesu pie, Remember, blessed Jesus,
Quod sum causa tuae viae: That I am the cause of your pilgrimage,
Ne me perdas illa die. Do not forsake me on that day.
  
Quaerens me, sedisti lassus: Seeking me you sat down wearily,
Redemisti crucem passus: You redeemed me, dying on the cross.
Tantus labor non sit cassus. Don't let not such work be wasted.
  
Juste judex ultionis, Just and avenging Judge,
Donum fac remissionis, Grant remission
Ante diem rationis. Before the day of reckoning.
  
Ingemisco, tamquam reus: I groan like a guilty man.
Culpa rubet vultus meus Guilt reddens my face.
Supplicanti parce Deus. Spare a suppliant, O God.
  
Qui Mariam absolvisti, You who absolved Mary Magdalene
Et latronem exaudisti, And listened to the thief,
Mihi quoque spem dedisti. You've also given hope to me.
  
Preces meae non sum dignae: My prayers are not worthy,
Sed tu bonus fac benigne, But You in Your goodness grant
Ne perenni cremer igne. That I won't burn in everlasting fire.
  
Inter oves locum praesta, Place me among Your sheep
Et ab haedis me sequestra, And separate me from the goats,
Statuens in parte dextra. Setting me on Your right hand.

The Recordare is a beautiful extended piece for the four soloists which shows that the Requiem is not all about fire and damnation.

No 5 Confutatis

Confutatis maledictis When the accursed have been confounded
Flammis acribus addictis, And given over to the bitter flames,
Voca me cum benedictis. Call me with the blessed.
  
Oro supplex et acclinis, I pray in supplication on my knees.
Cor contritum quasi cinis: My contrite heart is like the dust,
Gere curam mei finis. Safeguard my fate.

The brimstone is back for the first two lines of this chorus, with an insistent theme hammered out on the strings as the male voices shout about those souls who will burn. Then in complete contrast, the female voices queitly ask to be called over to the side of the blessed. All the singers join in a gentle plea for forgiveness.

No 6 Lacrimosa

Lacrimosa dies illa, Mournful that day
Qua resurget ex favilla When from the dust shall rise
Judicandus homo reus: Guilty man to be judged.
  
Huic ergo parce Deus. Spare them, therefore, O God.
Pie Jesu Domine, Merciful Lord Jesus,
Dona eis requiem. Grant them rest.
  
Amen. Amen.

The Sequence prayer concludes with one of the most moving pieces - the weeping of those arising to be judged is echoed in the orchestra, and the choir asks once again that the dead person should be given rest.

IV Offertorium

No 1 Domine Jesu

Domine Jesu Christe, Rex gloriae, Lord Jesus Christ, King of glory,
Libera animas omnium fidelium defunctorum Deliver the souls of all the faithful
De poenis inferni, et de profundo lacu: From the pains of hell and from the bottomless pit.
Libera eas de ore leonis, Deliver them from the lion's mouth.
Ne absorbeat eas tartarus, ne cadant in obscurum: Neither let them be swallowed by the abyss nor fall into darkness.
  
Sed signifer sanctus Michael And let St. Michael, your standard-bearer,
Repraesentet eas in lucem sanctam: Lead them into the holy light
Quam olim Abrahae promisisti As once you promised Abraham
Et semini ejus. And his offspring.

This movement has a hurried feel with lots of motion in the strings. The singers all start singing together but gradually separate into the fugue style. The soloists make a brief interjection before the choir launches into one of the big fugues of the work, the magnificent 'Quam olim Abrahae' (As You promised Abraham).

No 2 Hostias

Hostias et preces tibi Domine We offer to You this sacrifice
Laudis offerimus: of prayer and praise.
Tu suscipe pro animabus illis, Receive it for those souls
Quarum hodie memoriam facimus: Whom today we commemorate.
Fac eas, Domine, de morte transire ad vitam. Lord, let them cross from death to life,
Quam olim Abrahae promisisti As once you promised Abraham
Et semini ejus. And his offspring.

The frenetic pace of the previous movement gives way to a beautiful and gentle prayer. This is followed by a verbatim repeat of the 'Quam olim Abrahae' fugue.

V Sanctus

Sanctus, Sanctus, Sanctus Holy, holy, holy
Dominus Deus Sabaoth. Lord God of Hosts
Pleni sunt coeli et terra gloria tua. The heavens and earth are full of Your glory.
Osanna in excelsis. Hosanna in the highest

We've already encountered the Sanctus in Panufnik's Westminster Mass. Whereas Panufnik's setting was joyous and lively, here the mood is solemn and accentuates God's majesty, as befits a funeral mass. This and the next three movements are entirely Süssmayr's work. The majestic theme is followed by a short fugue on 'Osanna in excelsis'.

VI Benedictus

Benedictus qui venit in nomine Domini. Blessed is He who comes in the name of the Lord.
Osanna in excelsis. Hosanna in the highest.

The soloists sing the Benedictus as a quartet. We're treated to a beautiful few minutes of calm reflection on the divinity of Christ. The first section is punctuated by twelve loud chords on the trombones, perhaps reminding us that amid the beauty, this is still a funeral mass. These chords are repeated as the soloists finish their singing, then the choir coming once again with a reprise of the 'Osanna' fugue in a slightly different, shorter version.

VII Agnus Dei

Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away the sins of the world
Dona eis requiem. Grant them rest.
Agnus Dei, qui tollis peccata mundi: Lamb of God, who takes away the sins of the world
Dona eis requiem. Grant them rest.
Agnus Dei, qui tollis peccata mundi, Lamb of God, who takes away the sins of the world
Dona eis requiem sempiternam. Grant them eternal rest.

The Agnus Dei prayer of the Requiem is similar to that of the normal mass except that it asks for rest for the departed soul rather than forgiveness for those saying the prayer.

Three times, the choir makes a loud and impassioned cry to the Lamb of God, followed by an almost inaudible 'Grant them rest'. The final time, the word 'sempiternam' (eternal) provides a sequence of chord changes which rounds off the movement and leads to the final section of the Requiem.

VIII Communio

Lux aeterna luceat eis, Domine: May eternal light shine on them, Lord:
Cum sanctis tuis in aeternum, With your saints forever,
Quia pius es. For you are merciful.
  
Requiem aeternam dona eis, Domine, Grant them eternal rest, Lord.
Et lux perpetua luceat eis. And may perpetual light shine on them
Cum sanctis tuis in aeternum, With your saints forever
Quia pius es. For you are merciful.

For the final movement of the Requiem, to bring closure to the work, Süssmayr chose to re-use the music of the first two movements. The entire Introitus except for the first 18 bars and the entire Kyrie are repeated here but with the words of the Communio prayer. Thus the Requiem ends as it started, with the work of its composer Mozart.

The final chord consists only of the notes D and A, which means it is neither minor nor major. Alternatively it could be considered both minor and major, combining sadness and hope in equal quantities.

1This is not entirely true. Handel's Messiah was funded by the public 150 years before this.

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